Tour Management Quotes

My thing is, when you put a bunch of rules on a tour, you have to hire three more people to enforce all the rules. So, with me, I want everyone to feel comfortable. It's a lot of little moving parts out here, and little hiccups will come. At the end of the day, the show's going to go on, and I want everybody to truly enjoy it.

It is easy for me to go play a rock show, I have been doing that all my life and I love that.

I loved the 'Free Spirit' tour and the guys who helped create the magic: Pete Bullick, Rich Newman, Ian Rowley and Gerard 'G' Louis.

If you want to appeal to everyone, you can't do a world tour and expect black people to show up at every date - when you're in Australia, when you're in Dubai, when you're in Indonesia.

If you're doing 70 gigs in a tour, there's a lot of responsibility. People need a big night out, and you're providing it.

As soon as you start making a record, things start getting lined up: the promotion, possibly even a tour.

In all the years that I've been doing this, I've never launched a tour and launched an album at basically the same time. Doing one of those things is enough!

It's very hard to tour.

When I'm working, I'll often be upgraded to a suite though I don't ask for preferential treatment. I'll be there with a tour manager, my band and various promotions people and the hotel will offer to upgrade one of us; luckily, it's usually me.

It's important to learn to say no. With tours and all of that stuff, there are so many aspects that go into it, it's easy to have so many people around you saying, 'Oh yes, yes, you can afford this, you can afford this,' and then all of the sudden you've spent $20 million on your stage, and you're like, 'Where's my money?'

A lot of bands, they take a lot of planning to do a live record. They have to hire a crew, and they have to have a recording truck and all this equipment, and they record every single show.

You can't cancel my stand-up tours. It's impossible. There's too many separate bosses. There is no 'bosses.'

You can't get a good crew and a good sound system, and a good light system if you do a small tour. If you want the best, those guys want a commitment of about 4 to 6 months. And I'd want the best people and the best stuff.

I'm not one for Sudoku or crosswords - the thing that fires my little brain is doing tour budgets.

My tour manager, I met him at Boot Barn. He was selling me a pair of boots... and he said, 'I moved to Nashville to be a tour manager, and I need work right now,' and I said, 'Man, I don't even have a tour manager. So you can tour-manage me.'

Once you've been on tour six, seven years, you get an idea of what works and what doesn't work universally. There will be some crowds that we just can't play a song, but we've got 90% of a show that we know is going to be a hit with the Lupe Fiasco fan. I think the catering has already been done.

I go to a lot of rap shows and sometimes take what they do from a performer's aspect, how they interact with the crowd. I always have a DJ with me on the road, as well as some dancers.

I didn't tour Europe, because I didn't have any label support.

When we can figure out a way to really tour and make a profit, then we'll do it again.

I want to write my own music, and I want to tour.

I've worked with a band, and it's nice to have someone to travel around with, but I didn't like it as well on stage.

My first show, in England, was called 'Soldier, Soldier.'

I'd like to tour, but again, to tour my music now would take a bigger band.

So I've had lots of different bands over the years who have stayed with me for certain tours.

When you put a tour together you really just think about who you'd like on your bill, who would make sense and who you would want to live with basically for a couple months and be around with and work with.