What is backline?
Backline is the musical equipment that a band uses for a performance. This can include, but is not limited to amplifiers, instruments, effect pedals, drum kits, cymbals, percussion, keyboards, synthesizers, you name it.
Why would you hire backline?
At some point in time you are going to have a performance where it is going to make considerably more sense both logistically, as well as financially to hire backline locally. Maybe it is a one-off half way across the country, or perhaps you are finishing a tour and need to get to a press event quickly where there would be no way for your gear to make it in time. Perhaps you simply can’t afford to pay the cost of freighting your gear, or maybe you just want to try out a new amp. A number of situations abound, and this is where your local backline vendor is going to come into play.
How to put together a backline rider
Putting together a clear, concise backline rider is important, because this is what you’re going to service to the backline vendor, in an effort at getting exactly what you want. Emphasis on being specific. Don’t casually omit important information that the backline company needs in order to fulfill your order. Make, model, version, etc. The last thing you want is a surprise when showing up to an engagement on a tight schedule.
As this whole passing of time thing continues its unfaltering march towards infinity, I figured why not take a minute to reflect on what all has happened this year. A little notch made on the metaphysical tree bark, if you will, that perhaps some future version of myself might one day find curious.January – Cadillac Ranch – Amarillo, TX – Fledgling memories with a new troop of troubadours.February – Rialto Beach – Forks, WA – If I was looking for powerful, I found it.
Let me offer a recent, real life example of why sending an up to date stage plot and input list when advancing is critically important.
We had a fly date into a festival in San Francisco, with a tight window of arrival. Our window became even tighter when our flight out of LAX was cancelled, and we were bumped to a later flight, now arriving across the bay in Oakland. It was one of those moments on the road where things are out of your control, and travel is either going to work out, or it isn’t, so it’s best to simply relax. With pre-arranged ground transportation botched, the festival hustled and sent us a runner van to get us on site. With traffic from Oakland into San Francisco, we ended up arriving on site 29 minutes prior to stage time. Woof.
There is a certain due process to arriving on site at a festival. Artist check in, meeting up with the festival liaison, getting your bearings, settling into the dressing room, checking in with production, checking in with backline, loading or crossloading gear to stage, building gear, grabbing a bite to eat, potential press, using the bathroom, etc. The picture that I am trying to paint is that there are a lot of things that happen before your set, and when you arrive so close to set time, things you have done in advance become even more important.
Walking onto stage, it was as if an ethereal force had descended and backline, monitors, and mics were all placed exactly where they needed to be. How did it get to be this way? How did they know to put it like this? Allow me to introduce you to the Stage Plot and Input List.