Guitarology #14

Guitarology #14

Opening or Playing Support

At one time or another most of us will find ourselves with the job of opening for a better-known artist. This is always an interesting situation. Now, some may think it's all the same. You're just going on before someone else. Some may think it's an opportunity to blow off a headliner and gain glory by taking out a Top Gun. Some may think it's a drag, because they believe they should be headlining. Having been in the position of both opening and headlining I can tell you, none of these is correct. In Britain the job is called, "playing support". I like this phrase because it describes in one shot what one's role actually should be in this often misunderstood situation, and it is often misunderstood. So let's get a couple of things straight from the git. If you're in the position of opening for a major act, the suit and tie guys and the Stars crew will tell you what to do and simply won't allow anything else. We are looking here at a typical two-act situation in some place smaller than Madison Square Garden. The headliner is usually the better-known act and probably has paid a fair amount of dues to get there. Sometimes it's not a matter of stature, but simply programming that places you first or second. In any event, respect for your fellow artist is the minimum starting point, closely followed by common sense.

Load in, set up, and sound check. Last on should be first to set up and sound check. Conversely, first on sound checks last. Nonetheless, if the headliner is someone of stature or a personal favorite it's a good idea to arrive about the same time as they're setting up backline. It's an opportunity to see what sort of set ups they use, how they do it, and perhaps learn something. It's also good for meeting folks and getting comfortable with the environment. The reasons for sound checking in reverse order are simple. First of all, the headliner typically has a contractual guarantee of X amount of time for sound check. Support gets whatever is left over before doors open. Secondly, and not understanding this causes great big headaches, in smaller setting and where time is critical the support act commonly sets up in front of the headliner's backline. To state the obvious, this allows for a minimum of movement to the headliners set up and the shortest possible time between acts. Now this means, of course, that Support has less space and this can be tricky, but you've probably dealt with tighter situations so deal with it professionally. Very important, never touch anything belonging to the headliner. If it is really vital to move something, talk to the other players or their roadies. Usually they will be happy to shift things a little if it makes sense to do so. Often I still won't touch something even if I'm told its okay. I don't want the responsibility. Murphy's Law says something hideously valuable that's been hanging on by one thread of a screw for weeks will fall off the moment I reach out. Stay out of the headliner's dressing room unless invited. Whatever has been provided for them in the way of food and drink is their property. If you are invited, treat it like it's their house. For the few hours they occupy it, it is.

Performance Be ready! Start on time! Finish on time! It's extraordinary how important this is. Besides being a fundamental in any job, there are whole chains of schedules from trade union regulations to airline flights that can be very expensive indeed if disrupted. Promoters in particular do not abide or forget tardiness. Give it your best, which you should do naturally in all circumstances, but remember it's highly unlikely the crowd will ever like you better than the Star. The Star is the one they paid their money to see. The Star is the one they're waiting to hear. The Star is the reason they are there and for that matter the reason you are there. That's why they call it "Support." It is, however, a golden opportunity to make your own impression on an audience who possibly wouldn't have heard or known of you before. You may not blow off the Star, but you can certainly make an impression and win fans in your own right. Thus "buy ons" to major tours. A practice I really think stinks by the way, but hey, that's show business. Another little tip, mention the Star in a positive way during your set. Always gets the audience on your side and very often is noticed by promoters and management as well. Get off ! Once you've performed your killer set, timed to perfection, and convinced legions that you're almost as good as Big Time Rock and Roller, get off. Get off quick. If you don't have an army of road crew and must shift gear yourself, jump into a different shirt, black is the best, so you look more roadie than player. Anything that can be done off stage, cables, flight cases, etc., should be done off stage. Drummers in particular can save a lot of time by simply removing the kit in sections and breaking down out of sight. Try to take any glasses, cups, and pieces of gaffer or other garbage off with you. Be cooperative with the oncoming crew.

Something different As I mentioned earlier, there are times when the situation is simply playing on the same show with another act of equal stature. Most of the aforementioned still applies out of artistic courtesy and common sense. There are still other circumstances. For example, an increasingly common occurrence at corporate parties is a "tape act" performing between sets of a covers party band. Often "real musicians" in party bands take a snobbish attitude to tape acts to the point of being uncooperative and unprofessional. Common bits of nonsense: Refusing to temporarily move pedals, mike stands, etc to make room for the other artist to perform. Not accommodating the other artists� soundman with electricity or space. Wandering on stage during the other artist's performance to fish around in cases. To any you may encounter who may be inclined to think this is all okay because they're "real" musicians and "tape acts" are not, I have two words.... Dixie Chicks. At one time they made their living performing with a backing tape. So did I for that matter.

Exceptions to every rule. Regarding my comment about the difficulty in seeing off a Headliner, here is a classic exception. The Who once played support to Herman's Hermits at the Santa Monica Civic Auditorium. The Los Angles Times commented, "Following The Who is like trying to follow World War III and the Second Coming."

� 2006 Steve Power

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