Why does festival production differ from a single concert?

A festival is not just one concert expanded multiple times, but a collection of many subsequent realizations working on a common infrastructure. Each artist can have their own rider, show file, monitor requirements, backline, microphones, IEM, and way of organizing the stage, and between performances, there remains a limited window for changing the setup.

Additionally, there may be:

• the main stage,
• the second stage,
• a tent or club stage,
• DJ zones,
• hosting,
• backstage,
• media center,
• broadcasting,
• sponsor zones.

The biggest difference is the number of dependencies.

If an error occurs in preparing one stage plan during a single concert, the problem concerns one band. At the festival, a delay in the first changeover can push back subsequent concerts, rehearsals, crew work, and the entire stage schedule.

Therefore, the festival company must be able to manage the production process, not just provide a large system. 

How to verify experience in large-scale productions?

The most valuable experience is in events similar in terms of the number of stages, artists, audience, and complexity of production. The mere information that a company "managed festivals" is too general.

It is worth asking:

• how many stages they technically coordinated,
• whether they managed multi-day productions,
• whether they worked with a large number of riders,
• whether they conducted changeovers,
• whether they provided FOH and MON,
• whether it was responsible for system engineering,
• how it organized logistics.

It is also good to establish what scope the company was responsible for in the presented implementations.

Taking a picture of a large stage does not automatically mean that the contractor was responsible for:

• PA,
• monitoring,
• lighting,
• construction,
• power supply,
• the entire production.

They could provide only one of these elements.

At a large festival, experience in coordinating multiple departments simultaneously is essential. Therefore, much more important than a flashy portfolio is the contractor's explanation of what their scope of responsibility and production workflow looked like.. 

How to assess system and storage capabilities?

The company should have systems appropriate for the project or have reliable access to additional infrastructure through verified partners. It does not need to own every device required for the largest production.

However, it is necessary to assess whether it can provide the appropriate scale in areas such as:

• PA,
• subwoofers,
• frontfill and outfill,
• delay line,
• FOH,
• MON,
• stage boxes,
• microphones,
• IEM,
• RF,
• lighting,
• multimedia,
• networks.

The way the storage is prepared is also important.

At a large festival, the system should not be assembled randomly on site. Racks, multicore cables, stage boxes, patch and part of the configuration should be prepared before departure.

It is also important to have a backup of spare parts.

It is not about the necessity of having a second complete stage in storage. However, critical devices and infrastructure elements should have an anticipated way of replacement.

When choosing a contractor, it is good to ask not only:

"How many systems do you have?"

but also:

"How do you prepare the system for the festival and what elements have you planned as spares?"

Many stages and zones – how should the company manage them?

Each stage should be treated as a separate operating system, but all must function within one festival plan. Therefore, both local production teams and coordination above them are needed.

For each stage, it is necessary to define:

• PA,
• FOH,
• MON,
• stage management,
• backline,
• RF,
• changeover crew,
• power supply,
• communication.

If the festival has three stages, one technical crew cannot be assumed to move freely between them without affecting the schedule.

Critical personnel for running the stage should be assigned unequivocally.

However, certain resources can be shared:

• transport,
• warehouse of spare parts,
• central production coordination,
• part RF,
• communication,
• logistical support.

The biggest mistake is building each stage completely independently without common management. This can lead to conflicts regarding supplies, power, crews, and schedules.

Rider advance of many artists

Rider advance at the festival involves analyzing and agreeing on the requirements of each artist before the event starts. It’s one of the most labor-intensive stages of preparation.

For each band, it is necessary to check, among other things:

• PA,
• FOH,
• MON,
• input list,
• stage plan,
• microphones,
• DI,
• RF,
• backline,
• risers,
• schedule.

Next, all requirements must be matched with the common infrastructure of the festival.

If one artist requires a specific console, and another uses a different platform, it needs to be determined:

• whether the consoles are being switched,
• whether they are working in parallel,
• how the split is resolved,
• how much time the change requires.

Similarly with monitoring and IEM.

Advance should also catch conflicts between riders and the local system.

A well-prepared process leads to the creation of one current technical documentation for each artist, rather than working with multiple versions of the rider sent in different emails.

This process is detailed in the material on what to do when the band submits a technical rider before the concert.

Changeovers and short windows between concerts

Changeover is the change of the stage setup between consecutive performers. At a festival, it must be designed as precisely as the concert itself.

If 20 minutes is allocated for the changeover, one cannot plan for a configuration that takes 35 minutes to physically switch.

Therefore, it is necessary to determine in advance:

• what remains on stage,
• what is being replaced,
• which backline is leaving,
• which is coming in,
• which microphones are shared,
• which consoles are being changed,
• how the patch is arranged.

Prepared risers are very useful.

For example, the next band's drums can be built and mic'd in advance on a mobile platform, which is brought on stage during the changeover.

The same can be prepared for:

• keys,
• racks,
• part of the backline.

With short windows, every minute of work done earlier in the backstage is of great importance.

Therefore, the technical company should be able to show before the festival the changeover plan, and not just determine on the day of the event how to change the bands.

Truck logistics and delivery schedule

A large festival requires planning not only for the transport of equipment but also the order of its entry, unloading, and assembly. With many trucks, a poorly arranged schedule can block the entire production area.

It is necessary to establish:

• entry times,
• the order of deliveries,
• unloading locations,
• technical parking,
• paths for carts and forklifts,
• assembly order.

Not all systems can be installed in parallel.

For example:

1. the stage structure is being created,
2. the rigging is being prepared,
3. the PA and lights are being hung,
4. the multimedia is being installed,
5. the stage infrastructure is being built,
6. the patch and configuration are starting.

If the truck with the equipment needed at the beginning of the process arrives after the gear that can only be installed many hours later, production will be waiting.

It is therefore worth checking if the company is preparing a real timeline for load-in and considers collaboration with other suppliers.

Power supply and energy distribution

The festival's power supply must be designed as a separate infrastructure system. It is not enough to establish that there is a connection or generator on site.

It is necessary to determine the demand of individual departments:

• audio,
• lighting,
• LED,
• video,
• backline,
• technical catering,
• additional infrastructure.

Next, the distribution to specific zones should be designed.

It is particularly important to distinguish receivers of completely different nature and to manage loads properly.

For a large-scale production, the following may be needed:

• main distribution boards,
• separate stages,
• separate circuits,
• generators,
• backup solutions for critical infrastructure.

The technical company does not have to be the sole provider of the entire power supply, but should be able to define its requirements and collaborate with the person responsible for energy distribution.

The lack of such coordination can lead to significantly more serious consequences than a single device failure.

Rigging, structures, and documentation

Rigging at the festival should be treated as a separate process involving design, equipment selection, installation, system lifting, monitoring during the event, and subsequent de-rigging.

In practice, at least the following stages need to be separated:

• planning,
• selection of structures and equipment,
• installation,
• lifting,
• work during the show,
• lowering systems,
• de-rigging.

The following can be suspended from the structure:

• PA,
• lighting,
• screens,
• elements of the scenery.

Each of these systems affects the loads and geometry of the structure.

The documentation should clearly specify:

• suspended elements,
• their positions,
• weights,
• suspension points,
• responsibility of individual contractors.

Rigging cannot be treated as an additional service added after the selection of equipment.

If the structure does not provide adequate points, it may be necessary to change the PA or lighting design.

Therefore, the company's ability to collaborate with the construction team and prepare documentation is more important than the mere availability of a large number of rigging elements.

Staff and division of responsibilities

At a large festival, the scopes of responsibility must be clear. Too many people "doing everything" leads to a situation where it is unclear who makes decisions when a problem arises.

On one large stage, the following may work, among others:

• system engineer,
• FOH operator,
• monitor engineer,
• RF tech,
• stage manager,
• stage techs,
• patch tech,
• PA techs,
• lighting techs,
• video operators.

In addition, there is production management coordinating a larger part of the event.

This does not mean that every function must always be a separate entity. Their separation depends on the scale.

It is more important to determine:

• who leads the stage,
• who is responsible for PA,
• who is responsible for monitors,
• who is responsible for RF,
• who makes decisions during changeover.

When choosing a company, it is worth asking for a diagram of responsibilities or at least a description of key functions.

The number of technicians alone does not indicate good organization. What matters is whether each critical function has an assigned responsible person.

Production communication and intercom

At a large festival, efficient communication is part of technical infrastructure. Yelling across the stage or using only personal phones is not enough with many teams and short shifts.

The communication system can connect:

• stage management,
• FOH,
• MON,
• lighting,
• video,
• production,
• backstage.

The intercom allows for quick transmission of information about:

• stage readiness,
• cue changes,
• delays,
• technical problems,
• concert start,
• emergency situations.

Not every crew member needs to be in one common conversation.

A well-designed communication system should consider groups and priorities so that critical information does not get lost among unnecessary conversations.

With multiple stages, communication should also clearly separate local stage teams from the main production management.

This is particularly important when a change on one stage affects the actions of other festival departments.

Redundancy of critical systems

Redundancy means preparing a backup solution for elements whose failure could stop the concert or significantly hinder further execution.

This does not mean the necessity of duplicating everything.

First, it is necessary to determine which points are critical.

This may concern:

• the console,
• network infrastructure,
• main signal paths,
• system processor,
• lead microphone,
• communication,
• power control.

For example, a few spare XLR cables can be replaced in no time. The failure of a single device through which the entire PA signal passes can be much more serious.

Therefore, the backup strategy should stem from an analysis of single points of failure.

It is worth asking the contractor:

"What in this system is a critical point and what will happen if this element stops working?"

The answer provides much more information than a general assurance that the equipment is high quality.

Emergency plan and weather conditions

At an outdoor festival, the weather is part of the planning process. It cannot be treated as an unpredictable problem that we will only address when it starts to rain.

Procedures regarding must be established in advance:

• rain,
• strong wind,
• storm,
• high temperature,
• event interruption.

The scope of responsibility must be clear.

Those responsible for:

• structures,
• the stage,
• production,
• the organizer,
• safety

should know who makes individual decisions.

Technical equipment must be secured appropriately to conditions and installation methods.

The emergency plan should also cover situations unrelated to weather, e.g.:

• system failure,
• transport delay,
• absence of an artist,
• extension of the previous concert,
• the change of the schedule.

The technical company does not manage the entire safety of the mass event, but within its scope, it should have procedures that allow for quick and unambiguous responses to problems.

What should the festival offer look like?

The festival offer should present not only a list of equipment and prices but also the structure of execution. For a large production, the organizer must know exactly what they are getting and what areas the contractor is responsible for.

The offer should specify, among other things:

• the scope of stages,
• PA systems,
• FOH,
• MON,
• microphones and RF,
• lighting,
• multimedia,
• personnel,
• transport,
• assembly days,
• rehearsals,
• performance days,
• dismantling.

It is good if they are separated:

• equipment,
• personnel,
• logistics,
• additional services.

The assumptions are also important.

If the offer assumes:

• three days of the festival,
• two assembly days,
• specified working hours,
• a specific number of stages,

it should be recorded.

This way, a later change in the program can be translated into a specific change in scope.

In a large production, a price without a clearly described structure is hard to assess.

Two companies may present a similar final value, but one includes full advance, additional changeover crew and spares, while the other does not.

When preparing the festival, one can submit to technical analysis the festival plan and artist riders., in order to determine the actual scope of stages, PA, FOH/MON, crews, and infrastructure.

Summary

Choosing a technical company for a large festival requires an assessment of the entire production process, not just the equipment. The contractor should be able to manage multiple stages, riders, changeovers, transportation, power, rigging, personnel, and communication, while also preparing redundancy and emergency procedures.

The most important factor is experience at a similar scale and a clear division of responsibilities. Each stage and every critical system should have people responsible for them, and the actions of multiple teams must be connected by a common schedule.

For a large festival, good execution starts many weeks before the first concert. The best contractor is not the company that just has enough equipment, but one that can turn a large number of requirements into one feasible and controlled production plan.

Frequently Asked Questions