Roadies Of Color United Welcome to The Roadies of Color United (R.O.C.U.) Touring Professionals International Network Website. Tue, 19 May 2020 21:58:49 +0000 en-US hourly 1 Roadies Of Color United 32 32 NOW IS THE TIME FOR CHANGE – NOT BUSINESS AS USUAL! Tue, 19 May 2020 21:58:46 +0000 Editorial This Is Tour Life It comes down to good leadership, not just in tough times but all times. Don’t waste this time, don’t waste this opportunity to make a better music touring industry and lead us into the future! -TTL By now the current state of affairs has become profusely clear… The music touring…

Editorial This Is Tour Life

It comes down to good leadership, not just in tough times but all times. Don’t waste this time, don’t waste this opportunity to make a better music touring industry and lead us into the future!


By now the current state of affairs has become profusely clear…

The music touring industry has come to a grinding halt with tons of speculation abounding. Panels and Zoom groups popping up, all wondering the same thing…when will it return? 

In light of all this speculation, how has the touring industry addressed its own sustainability and vulnerability issues while looking towards this uncertain future? Where is the necessary industry leadership we need going to come from? How is the industry planning on managing expectations with the current and future needs of crew personnel in these unprecedented times? How do we learn from this and how do we grow as an industry to address the issues and lessen any collateral suffering? How do we build more resilience for the future of everyone in this industry? Will it just be lamenting conversations of getting back to ’ business as usual’ or will it be seen as an opportunity for change by those willing to lead us into a brighter future? 

The numerous consequences and oversites that have been brought to light over the past couple of years are on full display now:

Now is the time to organize and prioritize the crew’s quality of life on the road.

To make a plan, create resources and develop systems. To build an infrastructure with easy access to those resources. Made readily available and standard for any touring organization. Now is the time to think about how to adapt a more comprehensive approach on how tours are managed and operated.  

We should be taking this moment to look at how the industry often conducts itself, unregulated and unencumbered by the standards and practices implemented by most major industries who have employees. We should not accept that this is just a byproduct of touring. We should look at this from a collective perspective rather than every man/woman for themselves. Personal responsibility is not the only answer here, there is a much bigger picture. Leadership holds a responsibility to the financial, mental and physical health of their crews. Undaunted crews who without question make tours happen at almost any cost, often ignoring their mental and physical wellbeing. What is the actual cost of such a mindset?

These are not difficult questions to address.

For most Non-Touring employees on a W2 payroll this is typically standard. In fact, most organizations with employees must address these issues. Not only for the individuals in their employment but for the health of the organization as a whole. Now is the time to organize, standardize and prioritize the crew’s health and wellness across the board. 

When the touring industry rolls back out, as it will, are we all just going to go back to business as usual? Will we address and collectively recognize the incredible lack of sustainability and vulnerability that seems to have been allowed to prevail and go practically unaddressed for decades? We can all work together to find answers to the questions we have ALL been asking. What we need now is not just words, but solutions. Solutions that are followed by Strong actions and Conscientious changes.

This moment in time should be transformative! We should start to focus less on putting bandaids on the current problems and more on finding solutions to the larger issues that have led us to the need of said bandaids. Solutions that bring out the best of our crews and create a more human centric and empathic industry. People being put first.

If you believe in making statements like -“live shows are not possible without the incredibly hard working crew members…” then don’t just provide a bandaid in the moment to get us by. Create and implement the solutions needed for us to thrive.

It comes down to good leadership, not just in tough times but all times. Don’t waste this time, don’t waste this opportunity to make a better music touring industry and lead us into the future!


?The crew are the backbone of the touring industry, the ones who always get the job done.

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GREATER EFFICIENCY: THE INNER WORKINGS OF COMPRESSION DRIVERS Tue, 19 May 2020 14:43:52 +0000 Posted by Keith Clark Compression drivers and the horns that comprise the horn loudspeaker system have been a part of the audio industry from the very beginning of product development in sound reinforcement systems. As is true for cone loudspeakers, most of the early development in horn loudspeakers began when sound was first put to…

Posted by Keith Clark

Compression drivers and the horns that comprise the horn loudspeaker system have been a part of the audio industry from the very beginning of product development in sound reinforcement systems.

As is true for cone loudspeakers, most of the early development in horn loudspeakers began when sound was first put to picture back in the 1930s when the first “talking films” were released.

Since that time, compression driver technology coupled with horn development advances have been in the areas of materials science allowing improvements in power handling capacity, lower distortion levels, and improvement of directional characteristics of the horn devices.

The chief difference in output when cone loudspeakers are compared with horn loudspeakers is the relative efficiency of the system.

Cone loudspeakers are known as direct radiators due to the fact that they are an electromechanical moving system that couples via the cone directly to the air around it. A great deal of power is needed to move that cone and thereby move the air around it, so it is not very efficient system.

Low efficiency in this case means that with every 100 watts of input power, a cone loudspeaker may only produce 2 or 3 watts of acoustical power output. In comparison, a horn loudspeaker with a midrange compression driver efficiency of 25 to 30 percent will require as little as 10 or 12 watts of power input to produce the same 2 or 3 watts of acoustical power output – a vast improvement in efficiency.

Details of a high-frequency compression driver are shown in Figure 1. The driver consists of a thin diaphragm which is placed about 0.02 inch (0.5 mm) from the phasing plug.

Figure 1: Details of a compression driver. Above/right we see a section view, and next to it, a rear view.

The voice coil at the edge of the diaphragm is immersed in a strong magnetic field. The spherical surface of the phasing plug has a series of annular (circular) slits that extend through the body of the driver to the driver’s exit.

The total area of the slits at the diaphragm side of the driver is approximately one-eighth to one-tenth of the area of the diaphragm itself. It is the area difference which creates the so-called loading factor of the driver, enabling the impedance of the moving system to be properly matched to the impedance of the throat of the horn.

The driver is optimized to produce very high pressures with wide bandwidth at its exit.

Diaphragm materials include aluminum, titanium, and beryllium for drivers with extended frequency response. Phenolic resin impregnated linen materials are used for those drivers intended for limited bandwidth, high power applications.

The phase plug also acts to equalize the path lengths from the surface of the diaphragm to the output of the driver.

In this function it promotes extended high-frequency response by minimizing destructive interferences at high frequencies.

The driver is attached to the horn (Figure 2), which provides a smooth transition from the small area at the throat to the large area at the mouth. It functions as a continuous acoustical transformation, providing an efficient impedance match with the free-air load seen at the mouth.

Essentially, the horn converts a high-pressure/low-volume-velocity relationship at the throat to a high-volume-velocity/low-pressure relationship at the mouth. Early horn designers always used an exponential profile in their horns, since that guaranteed the best overall loading.

Figure 2: Two making one, a compression driver and its companion exponential horn.

The cut-off frequency establishes the lower frequency limit of horn performance. However, in order to attain the desired degree of low frequency performance, the horn’s mouth must be of sufficient size.

A general rule is that the circumference of the mouth should be at least one wavelength at the cutoff frequency if good loading is to extend down to that frequency.

As an example, a horn designed with a cut-off frequency of 500 Hz should have a mouth circumference of about 2 feet. High-quality compression drivers fall into two general categories:

Diaphragm Diameter—————-Continuous Power Rating
1-inch to 2-inch small format———–25 watts to 50 watts
3-inch to 4-inch large format———–75 watts to 100 watts

These values are approximate and represent a norm in the industry, in general, for a given output level on a given horn, the larger the diameter of the diaphragm the lower the distortion will be. The small format drivers normally have a 1-inch (25-mm) exit diameter, the 3-inch (76-mm) drivers and the 4-inch (100-mm) drivers normally have 1.5-inch (38-mm) or 2-inch (50-mm) exit diameters.

In the real world of loudspeaker specification for professional activities, there is no substitute for actual measurements of drivers mounted on their intended horns. The standard today is to state the mid-band sensitivity of the horn-driver combination, with a power input of one watt and the measurement made at a distance of one meter.

This discussion is excerpted from JBL Audio Engineering For Sound Reinforcement by John Eargle and Chris Foreman. It is distributed by Hal Leonard Publishing.

A Bit More About Drivers…

The Western Electric we555 compression driver pictured below (left) looks fairly modern, no?

Believe it or not, however, this unit was introduced in 1928, and enjoyed a long life, finding primary use with cinema sound systems, which were in their infancy.

Often, the we555 was used with the Western Electric 15B horn pictured below (right), and with a low-frequency loudspeaker, was positioned behind the screen – the same as is done today.

Many think the sound quality of the we555 still hasn’t been topped. It initially had a maximum power handling specification of 5 watts, which went up a bit over the years as new versions were introduced. The diaphragm also underwent a number of changes.


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Coronavirus Might Kill The Music Industry. Maybe It Needed To Die Tue, 19 May 2020 14:34:45 +0000 BY WILLIAM RALSTON Venues, festivals and musicians face a precarious future, but could Covid-19 be a catalyst for reform in an industry that seriously undervalues its artists? At around eight o’clock on the evening of 12 March, Sir Simon Rattle stepped onstage at the Berliner Philharmoniker to an eery silence. It was his homecoming performance, with…


Venues, festivals and musicians face a precarious future, but could Covid-19 be a catalyst for reform in an industry that seriously undervalues its artists?

At around eight o’clock on the evening of 12 March, Sir Simon Rattle stepped onstage at the Berliner Philharmoniker to an eery silence. It was his homecoming performance, with the orchestra that he’d led as chief conductor for 16 years, before his return to London in 2018. The musicians clapped him to the podium, but the seats surrounding them on all sides were empty.

Rattle turned, gazed down the lens of a camera, and addressed a global audience of thousands who were watching at home, in lockdown. “Ladies and gentlemen, good evening, wherever you are.” Beneath his unkempt silver hair he looked a little bemused. “Let’s just confirm that this is very strange. I think many of us on stage will have had experience playing contemporary music concerts to what we could kindly call small but select audiences, but at least there was always somebody there to look at.”

coronavirus music industry

Stephan Rabold

coronavirus music industry

Stephan Rabold

The musicians behind him giggled, a touch awkwardly. “But we just felt we must send a signal, or a reminder if you like, that even in times of crisis, the arts and music are desperately important, and if our audience can’t come to us then we must reach our audience in any way we can. And frankly, if we’re all going to get used to living more separately than we have for a while, then we’re going to need music more than ever.”?

He turned, closed his eyes for a moment, then lifted his baton.

Remember gigs? Remember the unalloyed joy of standing shoulder-to-shoulder with screaming, sweating strangers? Or being doused in some liquid thrown from somewhere behind you, hoping it was beer? The terrible gigs where the band only played their new songs? The life-changing shows where they played the songs you love, and it felt like they were playing them for you? Do you remember the noise, the lights, and the ceremony of it all?

That’s all gone now, seemingly indefinitely. Covid-19 has killed what the anti-rave Criminal Justice and Public Order Act didn’t, what the elders in Footloose couldn’t. At the moment, the idea of breathing the same bodily fluid-filled air as hundreds of strangers is as appealing as licking a hospital doorknob. So, for now, we sit at home and listen to our favourite albums on Spotify, dig through old vinyl, tune in to streamed gigs and wonder whether a warm can of Carling might make it feel a little bit more like the real thing. 

“There was no eventuality that I ever imagined in which every live show in the world would be taken out simultaneously”

While we wait things out, the music is dying. And if we’re not careful, there may not be a live scene left when the pandemic is over. The music industry is used to headwinds, but the indiscriminate nature of Covid-19 switched the lights off overnight. No genre is safe, no ticket price or venue size protected from the fallout. “I like to plan for eventualities,” says Alex Hardee, a booking agent at global agency Paradigm, which numbers Ed Sheeran, My Chemical Romance and FKA Twigs among its hundreds of clients. “But there was no eventuality that I ever imagined in which every live show in the world would be taken out simultaneously.”

The global live music industry is worth some $30 billion every year. Or, rather, was. In a matter of weeks, Covid-19 shut down everything from pub gigs to festivals. And in doing so, it also made apparent the lopsided shape of the modern music industry, in which artists are paid to perform, but often barely anything for the music they record. One of the truisms of the streaming era has been that while Spotify might have gutted the income you make from records, it makes it easier for people to find your music. That grows your live audiences, which is where you make your money. Now, with live audiences at zero, that deal is looking increasingly unworkable.

What’s left is an ocean of musicians wanting but unable to work, and a surrounding infrastructure of labels, distributors, record shops, session players, music venues and tour managers grappling with a precarious situation that nothing could have prepared them for. The only thing that does seem clear is that whatever version of the music industry emerges, bloodied, from this pandemic, it will bear little resemblance to the one that came before.

Back in late February, Australian singer-songwriter Angie McMahon was preparing for a season of European summer shows. She had released her debut album, Salt, in July and was excited to perform it for her fans. It was set to be a landmark period in her young career, headlining across the UK for the first time, and the culmination of many years’ hard graft that had taken her from writing her first songs as an adolescent in her Melbourne bedroom to supporting Bon Jovi’s stadium tour as an 18-year-old. More recently, she’d opened for the likes of the Pixies and Mumford & Sons on the road. She’d earned her time at the top of the bill.

coronavirus music industry

Angie McMahonPaige Clark

Then the coronavirus began its spread and countries shut their borders. McMahon’s manager, Charlotte Abroms, realised the European summer season was in jeopardy. Even as she confirmed a booking at Latitude Festival in Suffolk, in late July, she wasn’t confident that the virus would pass quickly enough for it to happen. Soon after, promoters cancelled all dates across Australia and it was expected that Europe would follow. On 13 March, recognising the health risks and the financial implications of cancelling after booking flights, Abroms pulled all dates through June and emailed McMahon’s band with the disappointing news. Three dates, including Latitude, remain, but Abroms isn’t packing her suitcase anytime soon.

In the last two decades, touring has supplanted record sales as the way artists make a living. Streaming has upended the economics of an industry that was built on selling records and, 14 years after Spotify was founded, the numbers still don’t really add up. Streaming companies pay only a fraction of a penny per play and, depending on the specifics of the deal signed, most of that money – sometimes as much as 80 per cent – flows directly to the record labels, leaving artists with a slim slice of a modest pie. Physical sales, meanwhile, are in decline, and other means of income, like merchandise sales, are undependable. It’s a volume game and only the top artists generate enough streams to support themselves.

“It’s not until something like this happens that you realise how precarious your living is”

For an artist, money comes in cycles. When they’re writing and recording an album, their label advances them funds. When it’s released, there’s a spike in proceeds, much of which flows back to the label to pay back the advance. They go on tour and play festivals, which bring in more money, as well as sell a load of merch. Then the spotlight starts to fade and it’s back to the studio, with another advance, to start the process again.

At the time of writing, with a still-new-enough record, McMahon is averaging more than a million streams per month. Going by the publicly available numbers on its payment model, that would, if we assume the most generous figures, equate to thousands of pounds every month. Her label takes a chunk of this (her deal is much more generous than most) but, for now, McMahon sees nothing, because she’s still recouping her advance. In more normal times, live shows would be the only way for her to earn enough to eat.

Live music just isn’t the same without sticky air, overpriced lager, and a sound system that rattles your insides

Especially for mid-tier artists like McMahon, summer is when you make the bulk of your income. Warm weather means festivals, which can pay well and mean an artist can squeeze multiple gigs into a few days. They’re also vital for finding new fans, who might stumble across an act they’d otherwise never have heard, fall in love, then go buy a t-shirt and tickets to a tour. With all those shows gone, hundreds of thousands of artists are now wondering how they’ll pay their bills for the rest of the year.

coronavirus music industry

French DJ Thibaut Machet

The more niche the artist, the sharper the problem. For many DJs, for whom ‘touring’ is as simple as jumping on a plane with a bag of records, streaming or physical sales are so hard to make money off that recorded music is only really a marketing tool – make a hit and you get more bookings. Artists like Thibaut Machet, a French DJ based in Berlin, spend their lives flying from nightclub to nightclub, playing two or three shows across a weekend. Fees range from €500 to €1,500 (£430 to £1300) per performance, minus flights and booking fees, but with clubs around the world shuttered, that number has dropped to zero overnight. Machet has been forced to seek assistance from the German government. A grant covered a few months’ rent, but he doesn’t know when he’ll be earning again. “You have to put money to one side but it’s hard to save nowadays,” he says. “People think that we earn so much, but the reality isn’t like that for many DJs in my range.”

Much-loved UK DJ and writer Bill Brewster has turned to streaming in an attempt to fill the gap, seeking donations for sets played from his house. “It’s not until something like this happens that you realise how precarious your living is,” he says. Not being a soothsayer, last year he spent his savings on house renovations. With nothing in the bank, he’s fallen back on a £500 cheque from his mother.

coronavirus music industry

UK DJ and writer Bill BrewsterBELLA FENNING

As entertaining as it is to groove along to Brewster’s slick disco and house selections from the comfort of your own home, and smile as Mable, his beloved cockapoo, shuffles besides him, the experience can’t match seeing him – or anyone – play in-person. Live music just isn’t the same without sticky air, overpriced lager, and a sound system that rattles your insides.

Donations have provided a little welcome relief for Brewster, enough to cover weekly food expenses, but for bigger artists, the livestream has become an opportunity to connect with fans more intimately than they can from a stage in a stadium. John Legend’s dulcet tones are even more striking when up close, as are those of Chris Martin and James Bay. They’re also a means of reaching those normally locked out of traditional venues, whether that’s because of disability, location or financial limitations, which will open up new markets in the future. “The toughest thing for an artist is creating a new fan,” says Cory Riskin, global music agent at APA. “Traditionally we do it by playing festivals but we’ve seen that these virtual festivals are the best way of getting new fans quickly.”

Though there’s clearly never a good time for a global pandemic, coronavirus has arrived just as the music industry looked like it was finally adapting to the streaming era: 2019 was the fifth straight year of growth, and the three major labels alone – Universal, Sony and Warner – now generate nearly $800,000 per hour from music streaming services alone. But while the rich get richer, the independents suffer.

“We have an issue with so much music and art being essentially free and artists receiving a very small amount of money for work that they put all of their energy and ideas into,” says McMahon. “It feels like the value of the art has been disrespected by the companies who can make plenty of money and distribute a very small amount to the art creators. With the current lockdowns, it highlights the capitalist structures that we operate under and how artists, along with many other contributors to society, are taken advantage of.”

“The toughest thing for an artist is creating a new fan. Traditionally we do it by playing festivals but we’ve seen that these virtual festivals are the best way of getting new fans quickly”

Niko Seizov, an artist manager working in electronic music, believes a thinning of the herd is inevitable. “As their income disappears, a lot of the smaller artists will have to start looking for day jobs, which will stop them from putting enough time into creative pursuits,” he says. “This will harm the music industry because creative progress and revolution always starts from the bottom.”

Stanley Dodds, a violinist who joined Rattle on stage in March, supplements a basic salary from the Berliner Philharmoniker by working as a freelance conductor. He has seen his income fall “immediately and brutally.” He’s fortunate that the orchestra continues to pay him as the crisis unfolds, but most of his peers are freelancers with no safety net.

“This will harm the music industry because creative progress and revolution always starts from the bottom”

Covid-19 might catalyse reform for the benefit of those who do stick it out. Musicians have asked Spotify to triple payments to cover lost concert revenue, which would enlarge the pie, although it’s unlikely that any streaming platform will offer up significantly more on a long-term basis – Spotify was still barely profitable at the start of year, and rivals like Apple Music are basically loss-leaders, designed to get more users into their ecosystem (as Tim Cook put it in 2018, “we’re not [doing it] for the money.”)

It’s more feasible that the pandemic ignites a discussion about recording contracts. Though streaming services have reshaped the link between retailer and record label, the label-artist relationship has barely changed since the Seventies. Traditional recording deals pay artists on a royalty basis, around 15-20 per cent, with the rest kept to cover things like marketing, production costs and the label’s own profit needs. But as one executive puts it, in an era when the revenue from record royalties have collapsed, these are “antiquated,” and preclude many artists from generating real money from their recordings. Independent labels have been moving towards more transparent, bespoke artists deals for some time, and Covid-19 will “shake everyone up and show that we all need to look at them.”

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Shure Working With Musicians To Start Online Sound Challenge While Supporting MusiCares Foundation Tue, 19 May 2020 14:24:42 +0000 By PSW Staff Performances intended to serve as inspiration and bring attention to non-profit organization’s COVID-19 Relief Fund that’s also been bolstered with $100,000 donation from Shure. Shure is working with artists from a range of musical genres to re-create songs using household items and posting their performance on social media, part of an initiative that…

By PSW Staff

Performances intended to serve as inspiration and bring attention to non-profit organization’s COVID-19 Relief Fund that’s also been bolstered with $100,000 donation from Shure.

Shure is working with artists from a range of musical genres to re-create songs using household items and posting their performance on social media, part of an initiative that sees the company making a donation of $100,000 to the MusiCares Foundation.

MusiCares Foundation is a non-profit organization established in 1989 and incorporated in 1993 by the National Academy of Recording Arts and Sciences. Meant for musicians to have a place to turn in times of financial, personal, or medical crisis, its primary purpose is to focus the resources and attention of the music industry on human service issues which directly impact the health and welfare of the music community.

The donation from Shure comes in a time of need as just last week, MusiCares reported their COVID-19 Relief Fund is depleted and was forced to stop accepting new applications until more money is raised. (Find out more and donate to the foundation here.) The performances are intended to serve as inspiration to others to re-create their favorite songs by using items around the house, such as kitchen utensils, toys, books, furniture or other materials. 

Artists that Shure has recruited to help with the initial wave of performances include Jacob Collier and Scarypoolparty. Artists will post performances to their Instagram feed and will be shared across Shure social channels including Instagram, Facebook and Twitter. Collier kicked things off with his re-creation this past Tuesday, May 12. (View/listen to it here.)

“Music continues to be a central part of our lives and I think we’re all looking for ways to unlock creativity while we’re spending more time at home,” says Erik Vaveris, vice president of Global Marketing at Shure. “This is one way we can have fun while supporting a great cause.”

MusiCares Foundation

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Tour Tales | K.C. Jackson on Andre Harrell and Heavy D show memories, being fired onstage by Rick James, and more… Wed, 13 May 2020 18:30:08 +0000 By?Keith Nelson Jr “In the case of Andre Harrell, I had the privilege of working for Heavy D & The Boys on his first tour,” Jackson said. “He was instructional in grooming Hev…” Musicians are barely getting a slice of music industry revenue, largely eating off of live performances instead. For ’Tour Tales,’ we dig…

By?Keith Nelson Jr

“In the case of Andre Harrell, I had the privilege of working for Heavy D & The Boys on his first tour,” Jackson said. “He was instructional in grooming Hev…”

Musicians are barely getting a slice of music industry revenue, largely eating off of live performances instead. For ’Tour Tales,’ we dig into the rider requests, delayed shows, diligent preparation, and future of touring by talking with the multitude of people that move behind the scenes. Record executives, photographers, tour managers, artists, and more all break down what goes into touring and why it’s still so vital to the livelihood of your favorite artists. What happens on tour stays on ‘Tour Tales.’

Lance K.C. Jackson has been on tour since helping The Commodores out on their “Platinum Tour” from in 1978. Over the next 40-plus years, he’s taken treks with superstars like Chris Brown, Mary J. Blige, Rick James, Luther Vandross, and others who have forever left their mark on popular music.

“In the case of?Andre Harrell, I had the privilege of working for Heavy D & The Boys on his first tour. Andre would come to some of the major shows,” Jackson remembers. “He was instructional in grooming Hev. Andre had a bit of a challenge because Heavy D had a big heart and brought a lot of people he grew up with on the road with him to try to bring them up and share in his success.”?


11 artists we have today because of Andre Harrell and Uptown Records 

In this installment of “Tour Tales,” the Roadies of Color United co-founder discusses the current state of diversity in the touring industry, feuding with Rick James, and getting marital advice from Marvin Gaye.

As a guitar tech for Rick James on the “Garden of Love Tour” and the “Bustin Out Tour” in the 1980s, you had to make sure everything with the instruments were right before a show. Did you ever have any issues with that?

Something did happen that ended up costing me my job. It was actually my first firing and unfortunately; it happened in front of 20,000 people onstage during a show. He actually did it over the microphone. It was probably one of the most humiliating experiences I’ve ever had in my entire career. It stemmed back to an individual I worked with on the tour who didn’t like me. Everything onstage goes through a sound system that’s separate from what the audience listens to. Unbeknownst to me, the monitor engineer didn’t like me and when it was time to give Rick his guitar or bass during soundcheck, all of a sudden there would be issues. The sound would be intermittent. It would stop and start. Every time I would go over to check something, I wouldn’t touch everything, and everything would be OK. 

One day, I looked over to where this gentleman was operating the board and noticed that he was deliberately turning the channel to the bass off and on. I confronted him and he basically told me he was trying to get me fired. I said, “What if I tell Rick you’re doing this?” He said, “Go tell Rick. The worst thing that’ll happen to me is they’ll fire me and I’ll go on another tour. If I get you fired, how long will it take for you to get another tour?” So, I told him, “Well, how about if I rough you up” for lack of better words. Well, during the show, one of Rick’s wireless units stopped working and we had a backup cord system where you can plug a cord in, press a switch, and it’ll switch from the wireless system to the cord system. I did that, everything was fine, and Rick started to walk away.

That cord was about a 25-foot cable and as he’s walking away, the bass player Oscar Austin stepped on the cable. Rick was moving sort of fast. I saw what was going on, I ran over to Oscar, had the cord in one hand and I was tapping Oscar’s ankle with the other end. But, the cable ran out and it sort of yanked Rick because he was moving so fast. When he turned around, all he saw was me with the cable in my hand. He blew up. He said, “K.C. get your motherf**king ass off my motherf**king stage now” over the microphone. I left the stage perplexed about what I would do now. The road manager for Cameo, who was the opening act on that tour, came over and said, “I saw exactly what happened. How would you like to be on the stage tomorrow? Larry Blackmon is authorizing me to hire you to work for Cameo.” I got hired after that firing and got to continue on that tour with Cameo. 


Rick James accused of raping a minor in 1979

K.C. Jackson

It had to be weird to see Rick James every day after he fired you. 

[It] got intense and to the point where I wasn’t allowed in the venue when Rick would go onstage. He was a little upset that it went down like that. It was at least five years since he and I came to terms, spoke, and sort of made up. 

You also worked on Marvin Gaye’s final tour, “The Midnight Love Tour.” What was that like?

I actually turned that tour down when it was offered to me because I was trying to get out of the business in 1983. The person I turned it down to called me and said, “You didn’t even ask who it was. It’s Marvin Gaye. He’s making a comeback and he specifically asked for you.” I had to sit down and take a breather. They told me when I got the job that it would be a once-in-a-lifetime opportunity and he died almost a year to the date that I got that gig. He also was the person who talked to me and my wife into getting married. We got married on December 30, 1983. 

How’d he do that?

He met my fiancee at a hotel we were staying at. I had a problem at a room, so I went to check on a room that we were going to check into. Meanwhile, he passed through the lobby while my wife was there waiting for me. He stopped, spoke with her for a few minutes. A little later that evening, he called me to his room, and we had a big in-depth conversation about my relationship. He was under the impression I was married already. I had lived with my fiancee for seven years, but weren’t married at the time. He made me promise him that I would marry her, and I kept my promise.

K.C. Jackson’s original copy of Marvin Gaye’s Midnight Love Tour schedule (1983)

What was the strangest rider you’ve ever seen?

When I worked for R. Kelly, he would have a bed put into his dressing room. He was very specific about the type of sheets and linen that would go on the bed. Every show that we did, they would put a king-sized bed in a dressing room. 

Would it always fit?

They would make it fit. Also, when I worked for Luther Vandross, he wanted all the air conditioner vents in the area where he’d be to be covered up. There couldn’t be any air conditioning. It could be 100 degrees outside and when you went in his dressing room, it was going to feel like a sauna. That was one of his conditions to sing. Another thing he would do that was specific to his rider was all the toilet seats that he was going to use had to be replaced with new toilet seats. 


Mary J. Blige pens touching open letter to Andre Harrell

In the 1990s, you worked on Mary J. Blige’s “The Mary Show Tour.” That’s prime Mary. What involvement did she have in the stage show?

She had quite a bit of involvement in the stage show. The tour was appropriately named “The Mary Show” because it was about her. It was a talent-driven show. There weren’t a lot of bells and whistles. It was mostly about her and her ability to sing. I gave her heads up about time to hit the stage, made her aware of the time onstage if it looked like we were going to go over, and she was somewhat approachable. 

K.C. Jackson backstage at Chris Brown One Hell Of A Night Tour in Miami, Florida at American Airlines Arena on September 3rd, 2015

You also worked with Chris Brown from 2015-2017 as head prop master. What was your day-to-day like on the road with him? 

The set we carried had dressing and changing rooms that were integrated into the set, so my routine with my assistant was building those quick changes into the set. We had a rolling stage that would be built at one end of the arena while lights are prepped at the other end. Once the full thing was built, it would roll across the floor underneath the lighting rig. 

What did you notice about his rehearsals? 

He was pretty meticulous with the choreography. He had a lot of input into that. I sort of appreciated that to a certain degree. 

You also worked on his first headlining tour in 2006. What difference did you notice?

One of the things that surprised me was that he remembered me. He actually stopped one day, spoke with me, and welcomed me back to the camp. He had matured. One of the things I noticed was he was approachable, but the management in place made it where you didn’t just go over and talk to Chris. If you needed to communicate with Chris, you had to talk to someone who would talk to Chris, and then he would get back to you. He might acknowledge you and speak with you in passing, but it wasn’t appropriate to go and have a conversation and chop it up with Chris.


REVOLT mourns the loss of our Vice Chairman Andre Harrell

With your long history in the music industry, have you ever crossed paths with Little Richard or Andre Harrell, both of whom passed this weekend?

For Little Richard, he lived in the Hyatt on Sunset Blvd in West L.A. through the 70s and 80s. Times that we would stay at that hotel, it was very common to run into him at the bar or in passing at the hotel. In the case of Andre Harrell, I had the privilege of working for Heavy D & The Boys on his first tour. Andre would come to some of the major shows. He was instructional in grooming Hev. Andre had a bit of a challenge because Heavy D had a big heart, and brought a lot of people he grew up with on the road with him to try to bring them up and share in his success. It was a bit of a challenge because one of those guys wasn’t disciplined like that. For me, it was awkward because I was in my mid-30s and the next oldest person wasn’t even 20 years old then. So, I was experiencing a generational gap there. There were these wild guys that were on the tour. Every day there was always something different. There were days we had police at the hotel. Hev would work with these guys. 

Heavy D (upper left) with Andre Harrell (upper right) and Glen “G-Wiz” Parrish (bottom right)

What is the biggest change you’ve seen in the touring industry over the last 40+ years?

There’s more diversity. For a long time, there was this mentality that black people couldn’t do rock and roll or country. For the longest time, being able to work on the other side was a challenge. So, being able to work with New Kids On The Block, Jack Wagner,?Justin Bieber, and?those types of acts, is a statement that there have been some major changes in the industry in regards to diversity. We’re not there yet completely. But, it’s a major step because it’s night and day between when you work in that environment as opposed to?R&B.

This original article can be read here

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On The Tech Tip… Crossing The Line: Don’t Overlook Point Source Approaches Mon, 11 May 2020 15:40:49 +0000 By Bruce Main Considering whether point source loudspeakers might be right for the toolbox as well as the particular needs of certain applications. It wasn’t too many years ago that most shows were supported with trapezoidal point-source loudspeakers that were either horn loaded or front loaded. There were numerous touring companies providing proprietary loudspeaker systems,…

By Bruce Main

Considering whether point source loudspeakers might be right for the toolbox as well as the particular needs of certain applications.

It wasn’t too many years ago that most shows were supported with trapezoidal point-source loudspeakers that were either horn loaded or front loaded.

There were numerous touring companies providing proprietary loudspeaker systems, some well engineered and some not so well. Rigging was often an afterthought, and many systems were ground stacked. Companies sprang up that did nothing but design and build aftermarket flying hardware to support both proprietary and manufacturer loudspeakers.

Depending on the combination of rigging and loudspeakers, the desired coverage might or might not be attained; we might or might not be able to get the exact coverage we were looking for, but because of the nature of point-source, a high level of precision was not required.

Point and shoot was the order of the day. Eventually most of the manufacturers caught on and started producing fairly capable touring systems with rigging hardware included.

Then came the line array craze.

Line arrays only work properly with precise aiming and rigging. All of the components must be vertically stacked and spaced within about one-quarter of a wavelength at the frequency of interest to couple and produce the desired “cylindrical” wave front. The splay between cabinets in the vertical domain has a large effect on how the array behaves. Point and shoot will not work.

The potential to create unwanted lobes and nulls in the coverage pattern requires a fairly sophisticated modeling program to predict the array behavior accurately. Some systems offer amplitude and frequency shading options.

They also require rigging hardware that is precisely adjustable in single or even fractional degrees. Inclinometers and lasers have become part of the rigging toolkit.

Out Of Reach

Except for the very largest touring companies the engineering resources to create “home brewed” line array systems are simply not available.

The CNC machines necessary to do complex wood and metal work are not in the inventories of most sound companies. Computer programming and software creation are not in most of our skill sets.

There are some prediction software “shell” programs that will accept data from a “one-off” loudspeaker, but the designer must also have the facilities and equipment to provide accurate and complete testing data not to mention paying a licensing fee to the software company. That puts line array development out of reach for most of us.

In many ways this is not a bad thing. From a provider point of view, a variety of quality solutions are available. As front of house mixers, most of us are familiar with many of the commercially produced systems out there, and this makes show advance much more predictable. Rigging is certainly safer. (And the loudspeaker manufacturers like it too!)

But maybe the pendulum has swung too far in the line array direction. Most of the major manufacturers offer many more line array products than large concert-level point-source devices. Few seem to be spending R&D dollars to develop new point source loudspeaker systems capable of doing major show reinforcement.

The bigger touring providers and many regional reinforcement companies have line arrays as their primary systems. Even riders for clubs and small theater shows list line arrays as their preferred equipment. Yet while line arrays are very effective tools for certain applications they’re not a “one size fits all” solution by any means.Read MoreNew Tweed Recording Facility In Georgia Outfitted With Danley Loudspeakers

The Upside

First, let’s look at what they do well. Line arrays are by far the best solution for festivals and other large-scale outdoor events.

We can hang extremely long arrays in most cases and this pushes the coverage back to a distance where we may not even need delay towers, except for the very largest crowds.

Skipping delay towers means that we don’t have to run power and line level signal through or around the main crowd area to reach the scaffolding. We don’t need to set delays and recheck and realign them as the temperature changes through the day and night.

Typically, there is enough trim height so that bass arrays can also be long enough to behave in true line array fashion down to a very low frequency. Vertical dispersion can be controlled to minimize community noise issues.

Line arrays also work quite well in large arenas or “concrete boxes” with poor acoustics. The audience areas can be covered well using the precise aiming and pattern control capabilities of the array to minimize interaction with the room.

“Don’t excite the beast!” as a friend of mine puts it. Even rooms with ridiculous reverb signatures can be made usable with a properly implemented line array.

Line arrays also provide advantages for speech-only reinforcement. Political events, comedians and corporate presentations make up a steady chunk for many sound companies.

Line arrays don’t have to be very long to provide good performance through the speech range. A 200 Hz wavelength is only about 5 feet long, and since this is as low as most human speech fundamentals go (usually a little lower for men, a little higher for women), there’s no need to hang a long array to get the benefits of longer throw and less room interaction.

Complicating Factors

Now let’s review some of the limitations that make line arrays a less desirable choice for certain events.

The physics of how they work has been very well documented in other places, so I won’t reiterate it here. But the key to their behavior lies in the interaction between the adjacent boxes in the array. This means that in order to get even SPL coverage at any given frequency, the array must be very carefully splayed. This cannot be done by the seat of the pants.

To get optimum results in any venue we must break out the laptop and do a model of the space and the hang to avoid hot spots and dead zones. Line array manufacturers all supply variants of this software. Figure 1 shows an example.

Figure 1: Typical line array modeling program

The disadvantage here is that we must model every room if we’re using a line array. Point and shoot absolutely will not work. The hang also has to follow the prediction model faithfully in both location and angle. This can be time consuming, and time is usually not our friend on show days.

Line arrays and ground stacking do not generally play well together. It’s difficult or even impossible to achieve the desired angles and coverage with a fixed base at a fixed height. With arrays stacked on a stage, there is a strong tendency to have most of the energy passing over the heads of the audience.

Further, if there’s a flat back wall or a balcony face, the problem is even worse. The fact that we only lose 3 dB per doubling of distance, instead of 6 dB, means that we’re hitting these boundaries much harder than a point source would—and the slap back can be surprisingly nasty. (These issues also apply to a lesser extent to rooms with low ceilings.)Read MoreElectro-Voice and Dynacord Key To System Upgrade At The Royal Institute Of British Architects

No Free Lunch

Line arrays do a very good job of creating equal SPL from the front to the rear of an audience area. But there is NFLIA (No Free Lunch In Audio). They do a much poorer job of creating equal frequency response at different distances.

Because of the complex relationships that make up a line array, their behavior is very frequency dependent. Factors including cabinet splay, driver spacing, angle to the listener, array length versus frequency, and horizontal spacing of the components all cause frequency response variations in the listening area.

Different parts of the array cease to exhibit line array behavior and revert to point source behavior at different distances. If you don’t like the way it sounds where you are, try moving 20 feet forward or backward!

In the area close to and directly below an array, there are even more frequency anomalies than farther away. Because the listeners are at a severe vertical angle perpendicular to the array, driver spacing becomes problematic. It creates nulls and lobes below (and above) the array.

In a festival situation the audience is generally kept away from the front of the stage, but in a theater situation the front rows are the expensive seats. Look at what is happening in Figure 2. The black line is the amplitude at 2 kHz. Remember that these peaks and nulls will propagate off the ends of the array at all frequencies above a certain cut off, but they will change location and amplitude.

Figure 2: Line array response at 2000 Hz.

Aspects To Consider

Point source boxes have limitations as well, but they also have some benefits. We can ground stack effectively and get reasonable coverage without resorting to a laptop.

A well-designed horn-loaded box can give excellent pattern control in both the horizontal and vertical planes. Although their SPL coverage drops more, their frequency response tends to be more uniform with distance.

System scalability is another advantage. Point source systems are more effectively broken up into multiple smaller systems.

We can use just the number of boxes required for coverage in a given venue rather than have the array size be governed by the physics of frequency versus pattern control. Low ceilings and reflective rear walls are less of a problem.

Please don’t get the wrong idea—I’m not suggesting that everyone pile up their line arrays in the parking lot and put a match to them. They’re a great tool. Ever hear the old story about a roadie using a certain microphone to pound nails into the drum riser? Sure, the nails got pounded, but maybe a hammer would have been a better choice of tool.

For companies looking to add to their loudspeaker inventories, I’m merely saying that rather than reflexively adding line array cabinets, it’s probably a good idea to first take a hard look at the type of venues they’re supporting and consider whether a point source direction might be a better addition to the tool box. Horses for courses.

Read This original article here

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The Tech Flex: Innovation Leading The Way To A Reopened Concert Business Mon, 11 May 2020 15:24:23 +0000 By: Ryan Borba Audentes fortuna iuvat. The Latin proverb reads “Fortune Favors The Bold,” at least depending on the translation, and the concert business is no different from others in that regard. Adaptation, innovation and implementation are the name of the game and have seen this industry weather actual storms, economic crises and human tragedy.  It’s…

By: Ryan Borba

Audentes fortuna iuvat. The Latin proverb reads “Fortune Favors The Bold,” at least depending on the translation, and the concert business is no different from others in that regard. Adaptation, innovation and implementation are the name of the game and have seen this industry weather actual storms, economic crises and human tragedy.  
It’s that ingenuity that will surely factor in overcoming the current shutdown of the live entertainment business brought on by the coronavirus pandemic.“We pivoted and put our focus on creating a solution that would help multiple different industries, first of all the essential ones to continue operating without being shut down by the different governmental entities, and then to start bringing the economy back,” says Crowdblink President Jeff Jessamine, whose event management platform is rolling out the “Crowdblink Protect” product that can be used by event organizers, business owners and work sites to pre-screen patrons or staff, with customizable questions and temperature checks. The product is primarily deployed via mobile phone.
With Crowdblink’s bread-and-butter being ticketing services, access control, verified identity, contactless payments and engagement at major outdoor events (and a majority stake acquired by RFID pioneer Intellitix in January) Jessamine said it quickly became apparent the company’s intelligence could be used to help multiple industries adapt to the COVID-19 shutdowns.  

Now, Crowdblink Protect is being used at the LAX construction site and being rolled out across their hundreds of sites across North America.?
“There’s not going to be a switch that turns the industry back on to just return and go back to the old ways,” he adds. “Even when these restrictions are lifted or relaxed for gatherings or the events industry, each company is going to have to implement health and safety operating procedures to mitigate the risks of spreading COVID, because it’s a known and recognized hazard.”
?Jessamine says the company is actively in discussions with “a globally dominant” concert promoter/venue operator to implement Crowdblink Protect.Another experienced player in this field is event medical services company CrowdRx, which offers? consulting and comprehensive screening, testing and contact tracing solutions for COVID-19, and works with venues and local governments to establish policies and protocols.?
To get through the current crisis, the industry has banded together like never before, with groups like the National Independent Venue Alliance quickly organizing and with more than 1,000 member venues on board to lobby congress, while industry leaders like Bandit Lites founder Michael Strickland work around the clock with local governments and the medical community to assess the situation and do what it takes to get back to work.
Tobias Schwarz / AFPContactless scanning and pre-screening are already becoming a reality as the industry adapts to the coronavirus.Some cities and states are already attempting to open back up and, while details are somewhat murky, some locales such as Branson, Mo., have un-banned even large events and gatherings. TempleLive in Fort Smith, Ark., is preparing to host a socially distanced concert next week with Bishop Gunn frontman Travis McCready playing to an 80% reduced audience of 229, with tickets sold in seating groups or “fan pods,” perhaps a blueprint for a socially distanced concert comeback. However, as local officials and government leaders are not event organizers or concert promoters, the onus will be on the industry to devise new tech and implement measures to ensure the safety of ticketholders, crew and artists, as well as the general public as the world grapples with the highly contagious virus.
“What the industry needs to do is be cautious and self-regulate,” Jessamine adds, noting that industries like construction deal with regular occupational hazards and have long-established protocol to mitigate those risks. “Event industry professionals are strategic and decisive and need to use those skills in determining the path forward. Those who ignore this and think that’s not as critical will cease to exist.”
As governments attempt to slow the spread of COVID-19, tracing apps have become part of the conversation, such as in Australia where more than 3 million people have reportedly downloaded COVIDSafe. Utah has endorsed one called Healthy Together, developed by a social media startup.?As privacy concerns ramp up, with apps able to pinpoint retail businesses or restaurants visited by users, tech giants Apple and Google have been working to create tracing apps with more anonymous tracking data and are pitching those to public health agencies for a rollout that could begin as early as this month.?
Maybe more “Matrix” than “1984” on the science-fiction scale is the new “Micrashell” hazard suit being introduced as a possible way of safely attending concerts, resembling a type of space suit akin to body armor worn by first-person shooter space rangers blasting evil aliens from your favorite video games. The Micrashell is an air-tight top suit and helmet made of cut-resistant fabric made for easy disinfecting and complete with battery systems. The product is being designed by Production Club, with the idea to pitch to venues and concert promoters as a potential offering to ticketholders.
As new standards of operating concerts and other events take shape, others are getting creative to work within the current environment, such as electronic artist and YouTube star Marc Rebillet, who is planning the first drive-in concert tour in multiple cities and states starting in June.?
While one-off drive-in concerts have taken place in Europe and surely will elsewhere, Rebillet’s hard-ticket drawing power, with help from United Talent Agency, has led to what appears to be as close to an actual in-car concert as possible. The ticket price is like a real concert, too, starting at $90 plus fees for a two-person, one-car showing.
While details aren’t fully public yet, the Rebillet concerts will remain compliant with individual state social distancing regulations, allowing fans to enjoy the show from the safety of their own vehicles, but while still providing elements of a typical concert experience, also allowing fans to purchase artist merchandise, food, and more.
There’s also new high-tech disinfectant methods, such as walk-through contraptions being used at events as patrons enter.
AsiaWorld-Expo, a convention center and concert hall in Hong Kong next to the city’s airport, is testing a walk-through disinfection device in the main entrance lobby. Branded as CleanTech, the three-in-one device combines multiple technologies to kill more than 99 percent of viruses and 100 percent of bacteria in 12 seconds, according to product information.?
The device was installed in March at the convention center, which has been operating as normal with no disruption in service, said spokesperson Tracy Lau. Patrons must pass an automated temperature check before a door opens to enter the machine, and they are sprayed with a disinfectant mist before exiting the device.
“It looks like a giant Febreze machine,” said Brandon Lucas, a principal with Carbonhouse, a developer of websites and mobile applications for venues. His clients include AsiaWorld-Expo, whose website features a video on CleanTech as part of its new preventive measures policy.
?The spray is safe, according to AsiaWorld-Expo officials. The machine is produced by BioEm Air Sanitizing Technology. The Hong Kong firm uses a purifying liquid made of mostly plant-based extracts, which was researched and tested by three local universities. AsiaWorld-Expo partnered with BioEm to showcase the unit at the convention center.? Feedback has been positive from both internal staff and customers visiting the facility and its restaurants, as reported in?VenuesNow.
While some of the new strategies being announced or implemented may seem far-fetched, straight out of a sci-fi movie, or just plain obstructive, Jessamine notes that things can get a lot worse if event organizers don’t take the necessary steps to ensure a safe reopening.
“If this doesn’t get done properly, the comeback, the round two of restrictions will be devastating beyond the devastation already suffered,” Crowdblink’s Jessamine adds, noting the human life at stake as well as the business implications. “Small business is the backbone of the event industry and they have been hurt the most. Our solutions will help the event industry at large get back to business, which will bring back small businesses.”?

Read this original article here.

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The Event Safety Alliance Reopening Guide Mon, 11 May 2020 15:13:55 +0000 Edited by Steven A. Adelman For Event Professionals During the COVID-19 Pandemic DOWNLOAD THE EVENT SAFETY ALLIANCE REOPENING GUIDE HOW TO USE THIS REOPENING GUIDE The Event Safety Alliance Reopening Guide is a collective work by event industry professionals to help our peers who are planning to reopen during the coronavirus disease (COVID-19) pandemic. This document contains…

Edited by Steven A. Adelman

For Event Professionals During the COVID-19 Pandemic



The Event Safety Alliance Reopening Guide is a collective work by event industry professionals to help our peers who are planning to reopen during the coronavirus disease (COVID-19) pandemic. This document contains no “best practices” that apply everywhere – coronavirus creates different challenges depending on countless factors, including the size of the event, its geographic location, the physical space, and the anticipated attendees, to name just a few. Instead, in the order one would plan an event, we have identified reasonably foreseeable health risks and suggested options to mitigate them.

Because this is intended to be used by event professionals, we have tried to strike a balance between a simple checklist and an exhaustive consideration of all options. Our goal is to provide enough information so each user can make reasonable choices under their own circumstances.

Some of this guidance is scalable, meaning it can be applied equally to events of any size. Where we had to choose, we focused on the circumstances of smaller, local events that we anticipate will reopen first. Consequently, this Reopening Guide emphasizes things people can do rather than things they can buy, since money is likely to be especially tight for smaller events and venues that have been closed and may only partially reopen. Our intention is to follow this initial release with guidance more applicable to tours and larger events, which face additional challenges that will keep them closed longer.

In the text, people are referred to as either “patrons” or “workers.” A patron is anyone who pays or presents a credential to attend an event – they can be required to follow health and safety procedures as a condition of entry and attendance. A worker is a paid professional or volunteer providing services – they can be required by their supervisor to follow health and safety procedures as a condition of work.

There is no guarantee of an illness-free event even if you follow everything in thisReopening Guide. It is indisputable, however, that planning, training, and implementing reasonable health and safety measures are the best ways to protect live events and the people who create them, while also inspiring patrons to return to the places where we make magic happen.

As municipal officials begin to allow small groups of people to gather in public even while the fight against COVID-19 continues, there is a tremendous need for guidance how small events and venues can reopen as safely as possible under these incredibly challenging circumstances.  In response, the Event Safety Alliance today released The Event Safety Alliance Reopening Guide.  

ESA Reopening Guide.png

The Reopening Guide addresses health and sanitary issues that event and venue professionals need to consider in order to protect both patrons and workers.  Since there is still insufficient testing, no contact tracing, and no vaccine against COVID-19, this guidance is particularly detailed.  The first edition is tailored to be especially useful for event professionals reopening the smallest events with the fewest resources available to mitigate their risks, since in every municipal reopening plan these will be allowed to reopen first.   ESA Podcast #17 – Event Safety Alliance Reopening GuideEvent Safety Alliance 


“As a matter of common law, everyone has a duty to behave reasonably under their own circumstances.  Consequently, there is no such thing as ‘best’ practices.  There are only practices that are reasonable for this venue, this event, this crowd, this time and place, during this pandemic.  Because few operational bright lines would make sense, The Event Safety Alliance Reopening Guide is designed to help event professionals think through their own circumstances.  In the order than one plans an event, the Reopening Guide looks closely at the health and safety risks involved in reopening public spaces, then proposes risk mitigation measures that are likely to be reasonable under the circumstances of the smaller events and venues that will reopen first.”    

Note: Submitting this form will add you to the ESA’s email distribution list. Your contact information will be used exclusively for the distribution of safety-related information and guidance, and will not be sold or provided to third parties for any purpose without your direct permission.

The Event Safety Alliance Reopening Guide is the product of contributions from more than 300 professionals from all facets of the live event industry, from the smallest to largest producers and the many businesses that work to support them.   As it says on the cover, “Please share this Guide – We all want to reopen safely.” 

Submit Questions and Feedback for Future Revisions

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A State-by-State Resource Guide for Music Professionals Who Need Help During Coronavirus Crisis (Updating) Tue, 05 May 2020 18:28:05 +0000 by Billboard Staff The coronavirus pandemic has left countless members of the music community facing an uncertain future, as festivals and tours are canceled, studio sessions are called off and business travel is restricted. To help music professionals and their loved ones navigate the crisis, Billboard has compiled a list of resources at both the national and state…

by Billboard Staff

The coronavirus pandemic has left countless members of the music community facing an uncertain future, as festivals and tours are canceled, studio sessions are called off and business travel is restricted. To help music professionals and their loved ones navigate the crisis, Billboard has compiled a list of resources at both the national and state levels, including more than four dozen relief funds.

Note: While we have also included general resources that may be especially useful during this time, an asterisk indicates that the resource is coronavirus-specific. This is a living article, which will be updated regularly.

Notice something missing? Send additional resources for inclusion to



The Actors Fund
The Actors Fund offers a variety of services for entertainment workers, including those in the music industry. Services include emergency financial assistance, affordable housing, health care and insurance counseling, senior care and secondary career development.

American Association of Independent Music
A2IM is surveying indie music companies about how the coronavirus pandemic is disrupting their businesses. The results will inform the organization’s discussions with the New York Mayor’s Office of Media and Entertainment, as well as its investigations of federal assistance programs.

American Federation of Musicians
The AFM is calling on Congress to provide immediate economic relief on behalf of musicians and other working people in the midst of the crisis, including expanded unemployment benefits and a moratorium on evictions, foreclosures and utility shut-offs. The organization has a resource page providing more information. Additionally, disabled AFM members can apply for financial aid through its longstanding Petrillo Memorial Fund.

American Guild of Musical Artists Relief Fund
Any AGMA member in good standing is invited to apply for financial assistance under the AGMA Relief Fund, which has temporarily doubled the amount of assistance available to those in need during the coronavirus pandemic.

Americans for the Arts Coronavirus Survey
This five-minute survey was created to collection information on the financial and human impacts of the pandemic on arts and cultural organizations.READ MOREHere Are All the Live Streams & Virtual Concerts to Watch During Coronavirus Crisis (Updating)

Artist Relief
A coalition of national arts grantmakers (including Academy of American Poets, Artadia, Creative Capital, Foundation for Contemporary Arts, MAP Fund, National YoungArts Foundation and United States Artists) launched this $10 million relief fund, which will provide $5,000 grants to artists facing “dire financial emergencies” due to the pandemic. The coalition has also joined forces with Americans for the Arts to co-launch an impact survey to better identify the needs of artists and creative workers.

Artist Relief Project
Anyone pursuing the arts as a career (any discipline, any level of experience) can request financial support from the Artist Relief Project, which will provide applicants on a first-come, first-serve basis with a one-time emergency stipend of $200 and free resources and support to pursue alternative economic opportunities. The Artist Relief Project is an initiative by Artly World Nonprofit.  It is a registered nonprofit based in Austin, with the mission to empower children, families and communities through creative arts initiatives and opportunities.

Artist Relief Tree*
Anyone who is an artist can request funds from the Artist Relief Tree, which plans to fulfill every request with a flat $250 on a first-come-first-serve basis.The fund is currently not accepting new requests until it can secure more funding, but if you would like to be informed if and when the opportunity becomes available again, click here.

ASCAP Music Unites Us*
Performance-rights organization ASCAP has launched a site to help its songwriter, composer and music publisher members stay connected and financially stable during this uncertain time. It includes information on how to receive ASCAP royalties through direct deposit, an online works registration application, access to free mental health services for ASCAP members and more.

Audio Assemble*
Music education hub Audio Assemble has put together a list of online remote opportunities for U.S.-based musicians during the COVID-19 outbreak, including both short-term and long-term job opportunities. It is also raising money for its first live streaming music festival, PLUGGED IN, set for April 8-10. Musicians can apply for paid opportunities to perform during the livestream here.

Backline was established to connect music industry professionals and their families with mental health and wellness providers. In the wake of the coronavirus pandemic, the organization has established a virtual support groupthat plans to meet regularly via the Zoom app.

Blues Foundation*
The Blues Foundation launched an emergency relief fund for full-time blues musicians whose revenue streams have been severely diminished by the pandemic. Find out how to request funding here. Meanwhile, the foundation’s longstanding HART Fund also helps underinsured or uninsured blues musicians and their families in financial need due to a range of health concerns.

Convertkit Creator Fund*
What began as a $50,000 fund for active creators experiencing financial hardship due to COVID-19 has now reached $154,000 in funding. The fund covers up to $500 per creator to help cover medical, childcare, housing or grocery needs. As of March 18, the fund has received more than 6,000 applications, and the website notes, “Our current fund will be exhausted well before we can get to everyone.”

COVID-19 Music Production Response Group*
A Facebook group meant as an “open forum for constructive debate about the effects of COVID-19 on music production industry professionals,” according to administrators. Its nearly 4,000 members (as of March 18) are sharing news updates, suggested actions, job opportunities and other resources.

COVID-19 Mutual Aid Fund for LGBTQI+ BIPOC Folks (GoFundMe)*
This more than $70,000 fund prioritizes LGBTQI+, non-binary, gender fluid and gender non-conforming people of color whose livelihoods have been affected by the coronavirus pandemic. The first round of funding closed on March 17, but organizers say they plan to continue to raise funds through mid-April.READ MORERecording Academy Urges Congress to Support Music Community Amid Coronavirus Pandemic

Crew Nation*
Live Nation has donated an initial $5 million to launch this global relief fund for live music crews, and will match the next $5 million in donations as well. Check back here for the funding application to come.

Equal Sound Corona Relief Fund*
Equal Sound, an organization that strives to break down traditional genre boundaries through events and advocacy, is inviting musicians who have lost income due to the pandemic to apply for funds. Applicants must provide proof they had a confirmed concert cancelled over the coronavirus to receive the money.

Facebook Small Business Grants Program*
In response to the pandemic, Facebook is offering $100 million in cash grants and ad credits for up to 30,000 eligible small businesses around the world, including music and live events businesses. More details to come (you can sign up for updates here). Facebook also has a new Business Resource Hub to help small businesses prepare for and manage disruptions like COVID-19.

Fannie Mae COVID-19 Mortgage Relief*
In addition to foreclosure and eviction relief offered by the federal CARES Act, the government-sponsored loan servicer is offering mortgage relief for homeowners who have experienced job loss, income reduction or sickness due to COVID-19. Options include payment relief through forbearance, late fee relief, repayment plans and permanent loan modifications to maintain or reduce monthly payments. Fannie Mae’s Disaster Response Network also offers both homeowners and renters help with the broader financial challenges posed by the coronavirus by providing access to HUD-approved housing counselors who can create personalized action plans, offer financial coaching and budgeting and more.

Foundation for Contemporary Arts*
The New York-based foundation has created a temporary fund for experimental artists of all disciplines who have been adversely impacted by the pandemic. It is disbursing one-time $1,000 grants to artists who have had performances canceled or postponed. Apply here.

Freddie Mac COVID-19 Mortgage Relief*
The government-sponsored loan servicer is offering a variety of mortgage relief options during the pandemic, including forbearance, waiving penalty and late fee assessments, halting all foreclosures and evictions living in Freddie Mac-owned homes until at least May 17, 2020 and offering loan modifications to maintain or lower payments.

Freelance Coop Emergency Fund*
The Freelance Coop, which connects creative freelancers with business resources, created an emergency fund for freelancers adversely affected by the pandemic. Examples of funding usage are unexpected childcare costs due to school closures, client cancellations, and medical expenses due to the virus itself. As of March 18, the fund had $35,279 in requests and $5,299.69 raised, and is continuing to call for donations to keep up with demand.

Freelancers Relief Fund*
The Freelancers Union has set up a relief fund for freelance workers through its nonprofit subsidiary Working Today. The fund, which is accepting donations now, will provide grants of up to $1,000 per household to freelancers experiencing economic hardship as a result of the pandemic. Applications open on April 2.

Gospel Music Trust Fund
Individuals working in the gospel music field can submit a request for financial assistance to the Gospel Music Trust Fund, which grants funding in the event “of an emergency or major catastrophe, terminal or severe illness,” according to their website. Special Enrollment
Though no emergency special enrollment period has officially been instituted by the federal health insurance exchange due to the coronavirus outbreak, uninsured people are being invited to inquire about their eligibility for a special enrollment in light of the virus.

Independent Venue Week*
Non-profit organization Independent Venue Week has compiled a list of indie music venues that have launched GoFundMe and other fundraising campaigns to stay afloat during the nation-wide closures.

International Bluegrass Music Association’s BlueGrass Trust Fund
Current or former bluegrass music professionals can apply here for financial grants and loans, which are generally between $500 and $5,000. The association has also created a coronavirus-specific resource page.

Jazz Foundation of America Musicians’ Emergency Fund
This fund offers financial support, housing assistance and pro bono medical care for musicians who have made a living playing blues, jazz and roots music.

Larrosa Music Group Financing Program*
Larrosa Music Group has set up a special financing program for music professionals affected by the pandemic. The maximum term is one year for a maximum amount of $20,000, with interest rates ranging from 7.5 to 10 percent. The program is open to session and live musicians; anyone who collects royalties through PROs or distribution companies; and agencies, producers, record labels and publishers who manage musicians and can provide proof of cancellations of shows, recordings or other remunerated activity as well as verify income of at least $2,500 in the last 12 months. Applications are open until May 1. (Note that the web page is in Spanish but can be translated.)

League of American Orchestras
America’s only national service organization devoted solely to orchestras, the League has set up a landing page of resources to assist affected orchestra workers during the pandemic, including advocacy campaigns, fundraising resources, a discussion group and more.*
The “peer-to-peer wealth distribution” service is a tool for salaried workers to donate funds across a database of freelancers, service industry and gig economy workers who are impacted by coronavirus health and safety restrictions.

Missed Tour*
Artists and bands who have been displaced from touring due to the pandemic can list their merchandise on this site to help offset lost revenue — with zero charges or fees. Apply to be added to the site here.READ MOREIn Seattle, America’s Coronavirus Ground Zero, Music Venues Face Uncertain Future & ‘Massive Debt’

The Recording Academy and its charitable foundation MusiCares have committed $2 million in total to a COVID-19 Relief Fund, established to assist those in the music community who have been affected by the pandemic. People can donate and apply for assistance by navigating to the fund’s official web page.

Music Health Alliance
The Nashville-based Music Health Alliance provides healthcare support services to uninsured members of the music industry.

Musicians Foundation
The New York-based nonprofit established a new emergency grant program in response to the pandemic, offering all eligible applicants up to $200 each. After receiving an “immense volume of applications,” the foundation placed a temporary hold on all applications on March 13. Check this page for updates.

Music Maker Relief Foundation
The foundation, which provides ongoing support to American artists 55 and older who live in chronic poverty, also gives out emergency grants to artists in crisis. It is now soliciting donations to ensure the stability of vulnerable elderly musicians during the pandemic.

Music workers in need of financial help during the crisis can apply for assistance at this volunteer-run website, which was set up to facilitate peer-to-peer giving. Applications are reviewed and posted within 24 hours, and 100% of all donations go directly to the affected person. Musicians are also urged to list their virtual concerts on the site.

New Music Solidarity Fund*
This artist-led initiative is granting emergency funding to freelance musicians “working in new creative, experimental or improvised music” who have been adversely impacted by the coronavirus crisis. The fund has already raised more than $130,000 and beginning on March 31, eligible artists may apply for grants of up to $500.

NOMAD Fundraiser for the Touring Crew (GoFundMe)*
Touring manager Frank Fanelli is aiming to raise $20,000 for touring crew members and roadies who have lost income due to gig cancellations and postponements. Donations close at the end of March.

Patreon What the Fund Grant Program
The crowd-funding platform has set up a grant program to benefit select artists who have been impacted by the coronavirus. Patreon itself kickstarted the fund by donating $10,000 and is currently accepting contributions. Grant recipients will be chosen by a board of fellow creators.

Pinetop Perkins Foundation’s Assistance League
PAL provides financial assistance to elderly musicians for medical and living expenses. Preference is given to blues artists, though musicians in other genres may be eligible depending on available funds.

PLUS1 Covid-19 Relief Fund*
In response to the devastating COVID-19 outbreak, PLUS1 has launched a PLUS1 COVID-19 Relief Fund to coordinate our efforts to support those in our community most at risk from the pandemic. PLUS1 is working with leading non-profit organizations and several local organizations around the country to provide immediate assistance to musicians and music industry workers for medical expenses, lodging, clothing, food and other vital living expenses to those impacted due to sickness or loss of work.

Recording Academy CARES Act Helpline*
The organization is working with legal firm Greenberg Traurig to offer private consultation for artists and other music industry professionals who have questions about the CARES Act. Submit questions through the form here, but be aware that the academy is prioritizing questions submitted by current members. It will answer more general questions in a weekly webinar series on Facebook, Twitter and Instagram.

Record Union Wellness Starter Pack
In coordination with industry experts, the digital music distributor created this “toolbox for wellbeing” for overwhelmed music professionals. Thought not specific to the coronavirus, the Wellness Starter Pack includes guides to mindfulness, nutrition, positivity, sleep and exercise that can help lower stress, anxiety and depression levels during the shutdown.

SAG-AFTRA COVID-19 Disaster Fund*
SAG-AFTRA members who are in an emergency financial crisis related to coronavirus may request assistance to cover basic expenses like rent, mortgage, utilities and medical bills. To apply to the fund, members must have paid their dues through October 2019.

Small Business Administration Economic Injury Disaster Loan Program
The Small Business Administration has designated COVID-19 as a qualifying event for economic injury disaster loans. However, you must be located in a “declared disaster area” to apply for assistance. Check if your state qualifies here.READ MOREHere’s How Celebs Are Helping Out During the Coronavirus Pandemic

Small Business Administration Paycheck Protection Program*
Established by the recently-passed CARES Act relief package, this $349 billion loan program through the Small Business Administration (SBA) offers loans to small businesses so they can continue paying their workers. Loans are also eligible for sole proprietors, independent contractors and self-employed individuals.

Online music course hub Soundfly has put together a free Guide to Learning Things Effectively Online for musicians in quarantine who want to continue learning or practicing skills virtually.

SoundGirls Coronavirus Relief Fund*
SoundGirls, an organization which supports women working in professional audio and music production, is offering $100 gift cards to live event production workers who have been put out of work due to the pandemic.

Sound Royalties*
In light of the crisis, music finance firm Sound Royalties is allocating $20 million to offer a no-cost royalty advance funding option through May 16. Songwriters, performing artists, producers and other creators with royalty income can apply for cash advances on a one-year repayment schedule, cost-free.

Sweet Relief COVID-19 Fund*
Sweet Relief has established a donor-directed fund to be used specifically for musicians and music industry workers affected by the coronavirus. Funds will go towards medical expenses, lodging, clothing, food and other vital living expenses for those who get sick or lose work due to the pandemic.

Tour Support*
Tour Support, a mental health nonprofit for the live music industry, is offering independent touring contractors whose tours have been postponed or cancelled one month of free online therapy through Better Help (apply here). In addition, Shading the Limelight is offering the Tour Support community two free weeks of emotional wellness coaching (email for an appointment). Check the Tour Support Twitter for more updates to come.

Viral Music — Because Kindness is Contagious*
Independent musicians are invited to use this more than 21,000-member Facebook support group to connect with music fans. “Use this joint to post links to your merch store, online shows, Patreon, or online music lessons,” organizers write. “If you’ve had a gig cancelled, post the city and your Venmo/PayPal — many of us would love to pass along our ticket refunds to you.”

Winston House Creative Community Fund*
This site pairs people in the music industry in need of financial help with people who wish to donate money through Venmo or Paypal. So far, it has made more than 5,000 matches. Apply to get paired with a donor here.

Working Wardrobe “Rebuilding Careers” Video Workshops
Orange County, California career development nonprofit Working Wardrobe has launched Rebuilding Careers, a series of free video workshops that will help people hone their skills so they can be “workforce ready” during the pandemic. Held every Tuesday and Thursday, the workshops will cover a range of career development topics, including job search strategies, resume-writing, job interview techniques, tips on creating a personal brand, professional networking instruction and more. Register for a workshop here.


Alabama Department of Labor
Alabama residents can submit an application for unemployment benefits here.


Alaska Department of Labor and Workforce Development
Alaska residents can submit an application for unemployment benefits here.


Arizona Department of Economic Security
Arizona residents can submit an application for unemployment benefits here.

Tucson Musicians COVID19 Relief (GoFundMe)*
With a $25,000 goal, this local fund is focusing on individual artists only (not bands, groups or organizations).


Arkansas Division of Workforce Services
Arkansas residents can submit an application for unemployment benefits here.


AFM Local 47 COVID-19 Emergency Relief Fund*
AFM Local 47’s executive board established this relief fund for Los Angeles-based members who have lost revenue due to coronavirus-related work stoppages from an employer with a contract or collective bargaining agreement with the union. Members may submit an application for up to two service sets lost, in the amount of $75 per service set, for a maximum of $150. Local 47 also has a preexisting, non-COVID-19 relief fund for members suffering from illness or injury or who are unable to afford basic necessities like food or rent. The maximum grant from that fund is $500, with exceptions made in cases of a catastrophic event or illness.

California Employment Development Department
California residents can submit an application for unemployment benefits here.

Covered California Special Enrollment
California’s health insurance exchange is allowing uninsured people to apply for coverage outside the open enrollment period due to the pandemic. All eligible individuals can sign up for coverage with a private insurer or Medi-Cal through June 30.

California Jazz Foundation
This foundation offers financial assistance and emergency medical referrals to California-based jazz artists.

City of Los Angeles Department of Cultural Affairs COVID-19 Arts Emergency Relief Fund*
This program offers emergency relief grants to Los Angeles-based dance, music and theatre artists, as well as small ensembles, who have had public performances, shows or concerts cancelled. Events must have been scheduled to take place at a venue within the City of Los Angeles, open to the general public, publicly advertised and slated for anytime between March 16 and May 16, 2020. If postponed rather than cancelled, events must also have been delayed until after August 30, 2020. Solo artists are eligible for up to $400 and ensembles up to $1,200; applications will be accepted until approximately 450 applications are received or until May 1, 2020, whichever comes first. Round One is not open to artists who were scheduled to perform pieces within a festival or at a private function, or who teach private solo or group lessons. More information is available here.

Jewish Free Loan Association*
The association is offering no-fee and interest-free loans to residents of Los Angeles or Ventura County who are affected by the crisis. The loans cover lost wages, childcare costs due to cancelled school, funds lost due to cancelled travel plans and more.

LA Mayor’s Economic Relief Package*
Los Angeles Mayor Eric Garcetti announced an $11 million economic relief package for small businesses impacted by COVID-19. Small businesses anchored in the city of Los Angeles can apply for no-fee microloans of $5,000–$20,000 that may be used to cover working capital. The program will offer relaxed underwriting with no credit score minimum, a generous allowance to meet debt service and a 100% loan-to-value ratio. Small businesses can apply here.

Los Angeles Live Music Community Fund (GoFundMe)*
Music consulting firm Electronic Creatives launched this fund to raise money for Los Angeles-based artists, musicians, audio/playback engineers, techs, tour managers, production managers and others in the touring industry. Apply for a portion of the funds raised here.

Los Angeles Regional Food Bank
Need food? Visit the L.A. Regional Food Bank’s pantry locator here. The organization says it is continuing — and stepping up — operations during the crisis, and you can check for updates and more information here.

Music Fund of Los Angeles Coronavirus Emergency Relief Fund*
Los Angeles-based members of the AFM who have lost revenue due to work stoppages in light of coronavirus may submit an application for up to two service sets lost, in the amount of $75 per service set, for a maximum total of $150.

Opera San José Artists and Musicians Relief Fund*
The opera company has set up an emergency cash reserve to support the “musicians, singers, carpenters, stitchers, designers and other hourly company members” that make its productions possible.

Project Angel Food
This organization prepares and delivers healthy meals to people in Los Angeles County impacted by serious illness, including COVID-19. If you or a loved one is ill, call the Project Angel Food client services hotline at (323) 856-1810 to begin the registration process.READ MOREArenas Look to Aid Hourly Workers In Midst of Closures Due to Coronavirus


Colorado Artist Relief Fund*
This fund is providing grants of up to $1,000 to individual Colorado artists whose incomes are adversely affected by the cancellation of events, classes, performances and other creative work. On April 8, the fund temporarily froze applications due to overwhelming response, but organizers say it will re-open shortly.

Colorado Department of Labor and Employment
Colorado residents can submit an application for unemployment benefits here.

Connect for Health Colorado Special Enrollment
Coloradans who are either uninsured or at risk of losing their insurance can apply for health coverage with the state’s exchange during an emergency special enrollment period between March 20 and April 3.

The NoCO Music Relief Fund*
Northern Colorado musicians and individuals who work in contemporary popular music, including the self-employed and sole proprietors, are eligible for up to $1,000 in emergency relief grants through this fund, which is managed by the Bohemian Foundation.


Access Health CT Special Enrollment
Qualified uninsured Connecticut residents can apply for health coverage on the state exchange during an emergency special enrollment period until April 2.

Connecticut Department of Labor
Connecticut residents can submit an application for unemployment benefits here.

New Haven Creative Sector Relief Fund*
This fund, a partnership between the City of New Haven’s Department of Cultural Affairs and the Arts Council of Greater New Haven, distributes immediate financial assistance to low-income creatives (of all disciplines, including music) and arts institutions adversely affected by the pandemic. Applications are reviewed weekly, with one-time grants of up to $1,000 distributed immediately via Paypal or check.


Delaware Department of Labor
Delaware residents can submit an application for unemployment benefits here.


Florida Department of Economic Opportunity
Florida residents can submit an application for unemployment benefits here.


Atlanta Musicians’ Emergency Relief Fund (AMERF)*
In addition to its longstanding initiative offering financial assistance to Atlanta musicians in need, the organization is donating grocery gift cards to qualifying music professionals amid the coronavirus crisis. If you are home-based in the vicinity of Atlanta and have experienced financial hardship due to the lack of paying gigs, contact AMERF for help here.

Thanks to a $100,000 donation from Quality Control Music, Goodr — a company that helps restaurants donate surplus food to people in need — is providing free grocery deliveries to up to 1,000 Atlanta families in need during this critical time. Families in the Metro Atlanta Area with children and seniors are encouraged to submit a request for for delivery here.

Garrie Vereen Memorial Emergency Relief Fund

Set up by the musician-focused suicide prevention organization Nu?i’s Space in Athens, Georgia and named after Widespread Panic’s late equipment manager, this fund has been reestablished to support the local entertainment industry during the pandemic.

Georgia Department of Labor
Georgia residents can submit an application for unemployment benefits here.


Hawaii Department of Labor and Industrial Relations
Hawaii residents can submit an application for unemployment benefits here.


COVID Cultural Commissioning (CCC) Fund*
This collaborative partnership between Treefort Music Fest, the Velma V. Morrison Center for the Performing Arts and the Boise City Department of Arts & History is a one-time award program that will provide $1,000 in funding for a to-be-determined number of artists to create “individual works exploring, documenting and/or reflecting on personal experiences of the COVID-19 pandemic and its impact on our community.”

Idaho Department of Labor
Idaho residents can submit an application for unemployment benefits here.

Treefort Live Music Relief Fund*
Boise’s Treefort Music Fest has established a relief fund for those working in Treasure Valley’s live music scene. To qualify, applicants must have been a resident of the greater Boise area for at least two years, be able to furnish proof of work lost due to COVID-19 and provide proof of past gigs, among other criteria. Disbursements will be made on a weekly basis depending on funds received.


Chicago Artists Relief Fund (GoFundMe)*
An independent group of artists in the Chicago area is more than halfway to its goal of raising $50,000 for local artists impacted by the crisis (including not just musicians but painters, dancers, actors and more). Due to overwhelming response, applications have been temporarily suspended; check the application page for updates.

Chicago Blues Revival
Chicago Blues Revival has set up a website called Pay the Musicians with links to live performances by some of the city’s great blues players and their PayPal IDs so fans can donate money they might have spent going to a concert directly to musicians. Fans can also donate directly to Chicago Blue Revival, which will distribute the funds to all the musicians evenly.

Illinois Department of Employment Security
Illinois residents can submit an application for unemployment benefits here.


Arts Council of Indianapolis* The Indy Arts & Culture COVID-19 Emergency Relief Fund was created for individuals working in the arts sector and impacted by the current public health crisis. Primary concern is for the health and well being of individuals: specifically independent artists and staff working for small-to-midsize nonprofit arts and cultural organizations. This fund will provide rapid response $500 grants to help bridge the severe lost wages that make many in our creative community vulnerable. Arts Council of Indianapolis has raised $275,000 for a new fund. Head here for more information.

Fort Wayne Bar Aid (GoFundMe)*
Between March 26 and April 5, Fort Wayne musicians will livestream sets at venues across the city to raise money for servers and bartenders at those venues, who have been put out of work due to the pandemic. Learn how to join the effort here, and check the event Facebook page for updates.

HI-FI and MOKB Presents Staff Fundraiser (GoFundMe)* Individuals can support the staff of Indiana’s HI-FI venue and concert promoter MOKB Presents via this GoFundMe page. Note that because the fundraiser isn’t benefitting a nonprofit organization, donations won’t qualify as tax-deductible.

Indiana Department of Workforce Development
Illinois residents can submit an application for unemployment benefits here.

Indiana Music Industry Relief Fund*
This fund from Bloomington nonprofit MidWay Music Speaks was set up specifically for women-identifying and non-binary musicians, music industry professionals, and non-profit music organizations based in the state of Indiana that are affected by loss of work, cancellations, and loss of revenue due to COVID-19. Apply for funds here.

Indy Chamber Rapid Response Hub
The Indy Chamber Rapid Response Hub is connecting small businesses with resources on how to weather the economic impacts, from direct SBA lending to advise on legal, business operations, government and more questions.

Indy Service Workers List
Local entrepreneur and founder of Boardable and Musical Family Tree, Jeb Banner, created this Indy Service Workers List so people could directly “tip” service workers, many of whom are also musicians and artists. The service workers provide their place of work, position and Venmo information so others can send money directly to them.


Iowa Workforce Development
Illinois residents can submit an application for unemployment benefits here.


Kansas Department of Labor
Illinois residents can submit an application for unemployment benefits here.


Kentucky Career Center
Kentucky residents can submit an application for unemployment benefits here.


Culture Aid NOLA
The New Orleans nonprofit is providing meals to workers in the entertainment and hospitality industries who have been affected by the pandemic. Due to overwhelming demand, the organization has paused signups for the program until it can “come up with a plan to get food to more people.” Check this pagefor updates.

Louisiana Workforce Commission
Louisiana residents can submit an application for unemployment benefits here.

Meals for Musicians & Service Industry at the Howlin’ Wolf*
This New Orleans-based program is offering food vouchers to affected musicians and service workers. Premade meals will be available for curbside pickup every Monday, Wednesday and Friday from noon to 2 p.m. at the Howlin’ Wolf Den. Those interested can email for more information.

New Orleans Business Alliance Fund for Gig Economy Workers*
The New Orleans Business Alliance has committed $100,000 to initiate a relief fund for gig economy workers impacted by the pandemic, with a goal of increasing the fund’s assets to at least $500,000 by soliciting the help of business leaders, philanthropists and other New Orleanians.

Second Harvest Food Bank Drive Up Food Pantry*
South Louisiana’s Second Harvest Food Bank and New Orleans City Council member Kristin Gisleson Palmer will be providing a free drive-up food pantry for gig economy workers, hospitality workers and seniors affected by the coronavirus at a variety of locations around New Orleans through March 27. You can find a full schedule here.


Maine Department of Labor
Maine residents can submit an application for unemployment benefits here.


Maryland Department of Labor
Maryland residents can submit an application for unemployment benefits here.

Maryland Health Connection Special Enrollment
The state’s health insurance exchange has instituted an emergency special enrollment period for uninsured residents through April 15.READ MOREFrom Drive-In Concerts to Livestream Raves, Artists Band Together to Keep Music Alive Amid Coronavirus

Massachusetts (Boston):

Boston Artist Relief Fund*
In partnership with the Boston Center for the Arts, the City of Boston has established an artist relief fund that will award grants of $500 and $1,000 to individual artists living in Boston whose “creative practices and incomes” are being negatively affected by the pandemic. Priority will be given to lower-income artists as well as those who have not received funds from city-led grants during the current fiscal year.

Boston Music Maker Relief Fund*
The Record Co. has established a fund to provide financial relief to music makers living in Boston who have lost revenue due to gig cancellations over the coronavirus. Grants of up to $200 will be made available to applicants who meet the criteria.

Boston Singers’ Resource COVID-19 Emergency Relief*
The career services nonprofit is offering one-time grants of up to $500 for New England-based classical singers who have lost income due to coronavirus-related cancellations. The deadline for the first round of grants is April 1.

Massachusetts Department of Unemployment Assistance
Massachusetts residents can submit an application for unemployment benefits here.

Massachusetts Health Connector Special Enrollment
Massachusetts’ state health insurance exchange is offering extended enrollment for uninsured resident through April 25 due to the coronavirus pandemic.

Music Streams Calendar
This site provides a calendar of livestreams in the Massachusetts and New England area, plus links to merch sites and virtual tip jars. Email to be added.

Passim Emergency Artist Relief Fund*
Cambridge folk music venue and nonprofit Club Passim is offering grants of up to $500 for artists who have played a gig at Passim or taught in its School of Music sometime in the past 10 years. Artists who receive funding will also be asked to participate in the nonprofit’s ongoing, virtual Keep Your Distance Fest.


Michigan Department of Labor and Economic Opportunity
Michigan residents can submit an application for unemployment benefits here.

Michigan Music Alliance Artist Relief Fund*
Applications open March 20 for this fund, which will support Michigan-based musical artists who have lost income due to coronavirus-related gig cancellations. People can either donate directly or buy T-shirts and beanies, with proceeds from the sales going directly toward the fund. Musicians suffering from severe financial impact and immediate need will be prioritized.


Minnesota Unemployment Insurance
Minnesota residents can submit an application for unemployment benefits here.

MNSure Special Enrollment for Health Insurance
Minnesota’s health insurance exchange has opened up a special enrollment period for uninsured residents through April 21.

Springboard for the Arts Personal Emergency Relief Fund
Nonprofit Springboard for the Arts has committed an additional $10,000 to its emergency fund, and expanded guidelines to include lost income due to coronavirus-related gig cancellations. Artists based in Minnesota can request up to $500 to compensate for canceled work that was scheduled and lost. The organization’s homepage also links to several resources, including a guide to principles for ethical event cancellation.

Twin Cities Music Community Trust’s Entertainment Industry Relief Fund*
This fund is for local, individual industry workers and musicians in need of financial assistance due to the crisis. Apply here.


Mississippi Department of Employment Security
Mississippi residents can submit an application for unemployment benefits here.


Missouri Department of Labor and Industrial Relations
Missouri residents can submit an application for unemployment benefits here.

St. Louis Music and Arts Fund (GoFundMe)*
Created by Native Sound Recording’s Ben Majchrzak, this fund has been set up to help artists who have lost income due to the pandemic with rent, food and other expenses. Each applicant who meets the guidelines is eligible for up to $250.READ MOREThis Nonprofit Is Taking Unused Food From Events Canceled Due to Coronavirus & Giving It to Those in Need


Montana Department of Labor and Industry
Montana residents can submit an application for unemployment benefits here.


Nebraska Department of Labor
Nebraska residents can submit an application for unemployment benefits here.


Nevada Department of Employment, Training and Rehabilitation
Nevada residents can submit an application for unemployment benefits here.

Nevada Health Link
Nevada’s health insurance exchange is offering a limited special enrollment period through April 15 for uninsured residents.

New Hampshire:

New Hampshire Employment Security
New Hampshire residents can submit an application for unemployment benefits here.

New Jersey:

New Jersey Department of Labor and Workforce Development
New Jersey residents can submit an application for unemployment benefits here.

New Mexico:

New Mexico Department of Workforce Solutions
New Mexico residents can submit an application for unemployment benefits here.

New Mexico Musicians Relief Fund Amid COVID-19 (GoFundMe)*
Freelance classical musician and music educator Thomas Goodrich organized this fund, with a goal of raising $30,000 to help New Mexico musicians who have been financially impacted by coronavirus-related cancellations. Priority will be given to artists of color, LGBTQ and non-binary artists, and disabled artists. Apply here.

New York:

AFM Local 802 Musicians Emergency Relief Fund
The Local 802 Musicians’ Emergency Relief Fund, administered by the Musicians’ Assistance Program, has earmarked a “significant portion” of its cash reserves to assist freelance members who have had engagements filed under a local union agreement cancelled due to the coronavirus. The fund will distribute a flat fee of $150 to those who are approved for relief.

Lost My Gig NYC*
This site keeps a running list of NYC freelancers working in the events industry who are in need of financial assistance due to the crisis, allowing people to donate directly to those individuals through their Venmo, CashApp and Paypal accounts. Apply to have your name added to the list here.

Louis Armstrong Emergency Fund for Jazz Musicians 
The Louis Armstrong Educational Foundation launched a $1 million relief fund to support freelance jazz musicians living in the New York City area during the pandemic. The fund will offer one-time grants of $1,000 to jazz vocalists and instrumentalists who work regularly in the city’s five boroughs. Musicians meeting the criteria can apply here.

NY State of Health Special Enrollment
The state’s health insurance exchange has opened up an emergency special enrollment period for uninsured residents through April 15.

NYC Low-Income Artist/Freelancer Relief Fund (GoFundMe)*
As of March 18, this fund has raised more than $36,000 for NYC-based low-income, BIPOC, trans, gender noncomforming, nonbinary and queer artists and freelancers whose livelihoods are being effected by the pandemic. In order to meet demand, the fund has temporarily paused applications for funding. Those who have already applied will be informed about fund distribution by March 20.

New York Foundation for the Arts Rauschenberg Emergency Grants
The New York Foundation for the Arts and Robert Rauschenberg Foundation are teaming up to provide emergency medical grants for artists who need help paying for healthcare amid the crisis. The grants, expected to be rolled out in late May or early June, will offer artists of all disciplines up to $5,000 of assistance for medical emergencies. Apply here.READ MOREWith Coachella & Coronavirus 1-2 Punch, Indio’s Local Economy Faces Hard Road Ahead

New York Mayor’s Office of Media and Entertainment
The MOME website offers information and services including a survey for nightlife workers, freelancers and businesses impacted by COVID-19; a link to Small Business Services, which is offering assistance and guidance for local businesses; and information for public meetings and gatherings.

New York State Department of Labor
New York residents can submit an application for unemployment benefits here.

North Carolina:

Durham Artist Relief Fund*
Durham-based artists, arts presenters and arts venues in need of funds due to coronavirus-related cancellations can apply here for financial assistance, with priority given to to BIPOC artists, transgender and nonbinary artists and disabled artists.

Music Anywhere CLT*
Charlotte musicians can participate in this virtual concert series simply by creating a Facebook event for their show and adding @MusicEverywhereCLT as a co-host. Music Everywhere CLT, an economic initiative supporting the Charlotte live music industry, is promoting all participants in the series through its online calendar and Facebook page (above). It recommends that artists link to merch stores and list their Venmo accounts on their livestreams to create a virtual tip jar.

NC Artists Relief Fund*
This fund is a collaboration between Artspace, PineCone, United Arts Council and VAE Raleigh to support creative individuals in North Carolina who have been financially impacted by gig cancellations due to the pandemic. Apply for funds here.

North Carolina Department of Commerce
North Carolina residents can submit an application for unemployment benefits here.

Mecklenburg Creatives Resiliency Fund 
The Mecklenburg Creatives Resiliency Fund helps creative practitioners in Mecklenburg County recover from personal emergencies by helping pay an unanticipated, emergency expense or by augmenting lost income due to the cancellation of a specific, scheduled gig or opportunity due to Coronavirus/COVID-19 precautionary measures. ASC will provide flat $500 awards to applicants meeting the fund criteria including for medical expenses related to COVID-19 testing or care, unanticipated childcare or dependent adult care expenses caused by disruption of community services and/or lost income due to the cancellation of a specific scheduled gig, exhibit, sale or similar opportunity due to COVID-19 precautionary measures.

North Dakota:

North Dakota Job Service
North Dakota residents can submit an application for unemployment benefits here.


Columbus Artists Relief Fund (GoFundMe)*
The Columbus Artists Relief Fund GoFundMe campaign is raising money to help offset the financial impact felt by Columbus artists through lost work. This is open to individual artists in central Ohio. Priority will be given to artists who are black, indigenous or people of color, transgender or nonbinary or disabled, but the goal is to try to help as many artists with need in the greater Columbus-area as possible.

COVID-19 Ohio Individual and Arts Organization Surveys
Ohio Citizens for the Arts has created surveys for both individuals and arts organizations in the state to inform strategies for alleviating the impact of the pandemic on the arts community. The organization has also set up an action center that allows individuals to participate in advocacy campaigns pertaining to relief for the state’s arts and creative sector.

Greater Columbus Arts Council*
The organization has turned its longstanding Support for Professional Artists fund into a COVID-19 relief fund, and is offering grants of up to $1,000 each to professional, working artists residing in Franklin County who have sustained a loss of income due to the crisis. View grant guidelines here and apply here.

Ohio Department of Job and Family Services
Ohio residents can submit an application for unemployment benefits here.


Oklahoma Employment Security Commission
Oklahoma residents can submit an application for unemployment benefits here.

Red Dirt Relief Fund*
The Red Dirt Relief Fund has offered financial assistance to Oklahoma music professionals in times of need since 2012. It has pledged $50,000 to a new coronavirus relief fund, offering one-time emergency grants of up to $250 on a first-come, first-served basis. Apply for a grant here.


COVID-19 Oregon Musicians Relief Fund (GoFundMe)*
This fund organized by the Jeremy Wilson Foundation is raising $25,000 to go toward medical expenses, lodging, food and other vital living expenses for musicians based in Oregon and Clark County, Washington, impacted by sickness or loss of work due to the pandemic. Once funds are secured, the foundation will share information on how to apply for assistance.

Oregon Employment Department
Oregon residents can submit an application for unemployment benefits here.
Though there is no coronavirus-specific special enrollment period being offered for Oregon’s federally-run health insurance marketplace, the state has reached an agreement with a number of health insurance companies to waive co-payments, co-insurance and deductibles for individuals who need COVID-19 testing.

Portland Area Artist Emergency Relief Fund*
This fund is for freelance/independent artists of all disciplines residing in the Portland tri-county area, and aims to assist those who are facing “guaranteed lost income” between March 18 and June 10 due to cancelled events and gigs.As of March 30, the fund has temporarily put a pause on new applications until it can gather ample resources for the next round of requests. 


Greater Pittsburgh Art Council Emergency Fund For Artists*
The Greater Pittsburgh Art Council is expanding its emergency fund to provide grants of up to $500 to local artists experiencing loss of income due to the coronavirus outbreak.READ MORECoronavirus’ Impact on the Music Biz: Watch Daily Updates Live From Billboard

Pennsylvania Office of Unemployment Compensation
Pennsylvania residents can submit an application for unemployment benefits here.

PGH Artist Emergency Fund (GoFundMe)*
This fund has surpassed its goal of raising $15,000 to help local artists affected by gig cancellations pay their rent, buy groceries and other essentials. Apply for funding here.

Rhode Island:

HealthSource Rhode Island
The state’s health insurance exchange has opened up an emergency special enrollment period for uninsured residents through April 19 due to coronavirus concerns.

Newport Festivals Musician Relief Fund*
This relief fund is open to past and present performers of the Newport Folk and Jazz Festivals, as well as artists in the Rhode Island community. It was launchedby the nonprofit that sustains both festivals, the Newport Festivals Foundation.

Rhode Island Department of Labor and Training
Rhode Island residents can submit an application for unemployment benefits here.

South Carolina:

South Carolina Department of Employment and Workforce
South Carolina residents can submit an application for unemployment benefits here.

South Dakota:

South Dakota Department of Labor and Regulation
South Dakota residents can submit an application for unemployment benefits here.


Grand Ole Opry Trust Fund
Since its inception in 1965, this fund set up by the iconic Nashville concert hall has distributed more than $2 million to members of the country music industry to cover medical bills, living expenses, rent or mortgage payments and more in times of crisis. Applications are open to any individuals who are or have been employed full-time in a facet of the music industry (including performers, songwriters, publishers, radio session musicians and others).

Nashville Musicians AFM Local 257
Members of the Nashville chapter of the American Federation of Musicians (AFM) have access to its Local 257 Emergency Relief Fund for financial assistance, as well as access to group health insurance through Sound Healthcare.

Nashville Mayor John Cooper’s COVID-19 Response Fund*
The more than $1 million fund, housed by United Way of Greater Nashville and chaired by former Senator Dr. Bill Frist, will deploy resources to community-based organizations. Funding decisions will be made by an advisory committee including former Sony Music Nashville CEO Joe Galante.

Music Export Memphis*
Music Export Memphis has started a COVID-19 Emergency relief fund for local musicians who have lost income because of cancellations due to the coronavirus pandemic. To qualify, those applying must be a musician who lives in Memphis and can provide some proof of lost income from COVID-19. To learn more or donate head here.

Tennessee Department of Labor and Workforce Development Tennessee residents can submit an application for unemployment benefits here.


Austin Community Foundation’s Stand With Austin Fund* Established in partnership with the Entrepreneurs Foundation, the fund was set up to support nonprofits assisting vulnerable individuals and small businesses affected by SXSW’s cancellation.

Austin Texas Musicians
The musician advocacy nonprofit formed by local artist Nakia Reynoso is working to secure relief funds and resources for musicians. In the meantime, it has created a continually-updated resource list.

Banding Together ATX (GoFundMe)*
This fund was set up by the Red River Cultural District alliance specifically to support those in the Austin live music community who have been economically impacted by the cancellation of South By Southwest. That includes venues, artists, hospitality workers and others who rely on annual income from SXSW to make ends meet — those who fall under that category, may apply for funds here.READ MOREIn Austin, No SXSW Means Layoffs, Lost Wages, Missed Opportunities Amid Coronavirus Fears

Dallas Artist Relief Fund
Creating Our Future is a group of artists and arts advocates in Dallas who are raising money to support artists and freelancers who are taking financial hits as a result of closures and lost income from COVID-19. The GoFundMe campaign has set a goal of $5,000 to raise funds to provide emergency and preventative resources to those at financial risk. The support is aimed at helping support for low-income, BIPOC, trans/GNC/NB/Queer artists who can apply here.

Housing Opportunities For Musicians And Entertainers
HOME provides financial housing assistance for needy aging musicians in Austin with grant assistance and other support, including referrals to additional available resources.

I Lost My Gig*
Designed to benefit Austin locals who lost work due to SXSW’s cancellation, I Lost My Gig is currently soliciting donations. As of Sunday (March 15), it had already received over 750 submissions representing over $4.2 million in lost income.

Health Alliance for Austin Musicians
HAAM provides access to affordable healthcare for low-income musicians living in Austin.

SIMS Foundation
Locals struggling to mentally and emotionally cope with the impact of COVID-19 may contact the SIMS Foundation, which provides access to mental health and substance use recovery services for Central Texas musicians, music industry professionals and their dependent family members.

Small Business Administration Economic Injury Disaster Loan Program
This centralized guide was created for small businesses and nonprofits in Texas who have been impacted by the coronavirus pandemic and are looking to apply for SBA loans. Those who have suffered “substantial economic injury” from COVID-19 may be eligible for economic injury disaster loans of up to $2 million.

Texas Music Office
Though the office isn’t offering benefits itself, it can help music workers affected by the pandemic apply for the state’s disaster unemployment assistance, which extends unemployment benefits to those who don’t traditionally qualify.

Texas Workforce Commission
Texas residents can submit an application for unemployment benefits here.

Workforce Solutions Capital Area
WFS, the nonprofit governing body for the regional workforce, is offering layoff support both for businesses and workers in light of the coronavirus outbreak.


Utah Workforce Services
Utah residents can submit an application for unemployment benefits here.


Vermont Department of Labor
Vermont residents can submit an application for unemployment benefits here.

Vermont Health Connect Special Enrollment
The state’s health insurance exchange is taking a number of actions during the coronavirus crisis, including temporarily waiving financial verifications for those seeking to enroll, extending coverage periods until after the emergency ends, suspending some terminations of insurance and opening up a special one-month enrollment period for uninsured residents.


Virginia Employment Commission
Virginia residents can submit an application for unemployment benefits here.

Washington, D.C.:

DC Health Link Special Enrollment
Uninsured residents of the capital can now apply for coverage on the D.C. health insurance exchange, which opened up a special enrollment period due to the pandemic.

Mutual Aid Project*
The D.C.-based arts platform and network is assisting black and non-white trans and gender expansive artists by offering a “voluntary exchange of services and resources.” With musicians and other artists continuing to lose gigs during the pandemic, the organization is building an artist directory to showcase the work of those affected. Once the directory is complete, the organization will extend a “call to action” to the larger community for support.

Washington D.C. Department of Employment Services
Washington D.C. residents can submit an application for unemployment benefits here.


4Culture Cultural Relief Fund*
This fund is offering one-time grants of up to $2,000 for artists of all disciplines living in King County, Wash., who have been adversely affected by the pandemic. The application for the first round of funding opens April 1 and closes May 15.

Seattle Foundation’s COVID-19 Response Fund*
Hosted by the Seattle Foundation, the COVID-19 Response Fund provides flexible resources to organizations working with communities that have been “disproportionately impacted” by the coronavirus pandemic. The fund, which as of March 18 had already raised over $12 million, will award one-time operating grants to those organizations to help affected populations, including gig economy workers.

Seattle Artists Relief Fund (GoFundMe)*
Seattle-based author and artist Ijeoma Oluo and others organized this fundraiser, which helps those who have been financially impacted by cancellations due to COVID-19. Priority is given to BIPOC artists, transgender and nonbinary artists and disabled artists. Apply for funds here.

Seattle Mayor Jenny Durkan’s Arts Stabilization Fund* In addition to donating $50,000 to the Seattle Artists Relief Fund and another $50,000 to the Artist Trust COVID-19 Artist Relief Fund, the city’s mayor has launched a $1 million Arts Stabilization Fund to help mitigate revenue losses due to the moratorium on events and public gatherings.

Seattle Music Teachers Fund (GoFundMe)*
Seattle-based music teachers are eligible to receive money from this fund (which has a goal of $5,000) to help with lost income due to canceled lessons and other non-performance music work. Apply for funds here.

Seattle Musicians Access to Sustainable Healthcare
SMASH helps connect Seattle musicians to healthcare, dental services and health education.

Spokane Artists & Creatives Fund*
This fund is for individual artists of all disciplines living in Spokane, Washington. Priority will be given to artists of color, transgender and nonbinary, and disabled artists.

Musicians’ Association of Seattle Emergency Relief Fund
Members of AFM’s Seattle chapter who have experienced a period of “uninvited financial hardship” can apply for financial assistance by contacting the chapter’s secretary/treasurer Warren Johnson at

Washington Employment Security Department
Washington residents can submit an application for unemployment benefits here.

Washington Health Plan Finder Special Enrollment
In response to the pandemic, Washington’s health insurance exchange is now offering an emergency special enrollment period through April 8 for qualified uninsured residents.

West Virginia:

Workforce West Virginia
West Virginia residents can submit an application for unemployment benefits here.


Ambient Inks Chippewa Valley Artist Relief Fund (GoFundMe)*
Ambient Inks, a Wisconsin-based company for consciously-sourced merch, is raising money for performing and visual Chippewa Valley artists who have lost revenue due to the coronavirus crisis. Priority will be given to BIPOC artists, transgender and nonbinary artists, and disabled artists. Apply for a grant of up to $500 here.

Wisconsin Department of Workforce Development
Wisconsin residents can submit an application for unemployment benefits here.


Wyoming Department of Workforce Services
Wyoming residents can submit an application for unemployment benefits here.

Read this original article and more like it here

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European Cities Launch Drive-In Concert Series With Great Success [Video] Fri, 01 May 2020 21:51:29 +0000 By Tom Shackleford Concerts, live events, and any other type of mass gathering are on complete hiatus for the foreseeable future due to COVID-19 here in North America. Over in Scandinavia, however, where some national governments are handling the global pandemic slightly different than others, the coastal city of Aarhus in Denmark has found a loophole in…

By Tom Shackleford

Concerts, live events, and any other type of mass gathering are on complete hiatus for the foreseeable future due to COVID-19 here in North America. Over in Scandinavia, however, where some national governments are handling the global pandemic slightly different than others, the coastal city of Aarhus in Denmark has found a loophole in ban on live entertainment: They’ve successfully launched a new concert series where fans drive up to the venue and remain safely isolated in their automobiles similar to the experience of a drive-in movie.

According to a new report shared by?Forbes?earlier this week, up to 500 music fans in Aarhus were able to drive their way to a makeshift venue/stage which was quickly built since the start of the pandemic to enjoy the first of many planned concerts with the new viewing format. Fans arrived at the venue in their cars (where they remained) and tuned their radios to the specific FM frequency on which the live audio being performed on the stage in front of them is broadcast.

500 tickets to the first performance from Danish singer-songwriter Mads Langer reportedly sold out in minutes. Fans were also able to engage with Langer using the popular Zoom video-conferencing platform. Attendees used their car horns in place of applause and cheering following the performance of each song, and some fans were even spotted listening in on the performance from the lawn area outside the venue’s fenced perimeter, where they looked to be spaced out enough to abide by the city’s social distancing laws.

“There are only positive messages from our people on the spot,” local police chief?Christian Friis?said of the live music event, which is quite the anomaly in the current state of the world. “It has been controlled. People have behaved the way they should, and all the cars were out of place within half an hour … There are many people, but most keep a good distance from one another. We’ve been around with patrols, reminding people to keep their distance, even in a queue”

Scroll down to check out video footage of Langer’s performance with the first of many planned shows at the Aarhus drive-up venue.

Mads Langer – Aarhus Drive-In Concert

The Danish aren’t the only ones trying out this temporary live events model, as concert promoters in Lithuania also?recently launched?a similar drive-in set up to host public performances. According to reports, a series branded as “Drive In Live” organized by?ShowArt?at the?Palūknio Airfield?(roughly 30 miles from Lithuania’s capital city of Vilnius) began last weekend and has already featured performances from high-profile European musicians. Only two people are permitted in each car–unless they are from the same family–and no one is allowed to step outside.

Read this original article here.

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