Concert touring
In this sector we’ve come back to offering 20th-century service in the 21st century.
Barry Whittaker, managing director of Tzell Travel Group
Then there is the management of the band and the talent on top of this. It can create all sorts of complex logistical issues (see box on Guns n’ Roses, below right). “Having staff that are unfazed by extreme pressure and can manage constant changes is a necessity,” explains McCann. Tour managers demand that
agents have exceptional knowledge and a deep personal understanding of this sector that’s backed up by an outstanding track record of solid travel booking experience over many years. “The relationship with the client is much more complex than in other sectors – it’s integrated into the organisation. You become part of the tour,” says Barry Whittaker, managing director of Tzell Travel Group.
The specialist TMC also needs to be an accomplished negotiator with airlines, hotels and ground transport as well as other suppliers, be analytical and commercially astute – because relationships can be tested to the limit. Travel arrangements are often turned upside down at very short notice, which can be a challenge. “It’s all about finding good suppliers who will bend and break the rules for us. If they empower us with our music clients, we will, in turn, remember that when it comes to the next booking,” says Locke. Many long-standing specialists in this field have built up a tried and tested network of travel suppliers who understand the nature of the music business.
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“They know what we need and, because they have this understanding, they are willing to think outside the box and offer us flexibility on ticketing for touring groups,” says McCann. And as another travel manager states: “If I cancel a booking for The Black Eyed Peas today, I will be booking for Adele tomorrow, the travel industry is aware of that.” Such is the revolving nature of business in this sector – agents who focus on entertainment don’t forget who’s done them big favours in the past.
ROCK’N’ROLL CONFIDENTIAL Confidentiality is of paramount importance to many clients in this sector, and they need to have confidence in discretion across the supply chain, and know that the whereabouts of stars and their staff will not be revealed. This is especially true in the age of instant social media when a picture of a celebrity can be up on Twitter and Facebook in seconds. Working with trusted partners and good hotels that deal with live acts is crucial. “We have some non-disclosure agreements [NDAs] in place with particularly high-profile people. We always treat their travel with discretion and do not openly discuss specifics, either generally within the office, or outside,” explains Altour’s Parkinson. Frontline staff at hotels, in vehicles and at airports have the most impact on a music tour since they are interacting, with the band, the A-listers and the crew all the time. In many cases, TMCs go ahead of the tour to give these people a thorough briefing before they interact with the band. Excess baggage can also be an issue. “For instance, equipment can result in each passenger taking 100 kilos of excess baggage,” says Angela Singh, programme manager at Carlson Wagonlit Travel.
MANAGING EXPECTATIONS One issue that raises its head time and again is airlines. Music tours specifically need flexibility. Carriers have now narrowed the window on how long agents can hold seats to 24 hours, and are not budging when it comes to fixed fares, penalties for changes and how long a booking can be held. It’s a continual bugbear in a sector that needs as much flexibility as travel suppliers can offer, especially since bands can make snap decisions on when they want to fly. “There’s no flexibility in the system. I guess
the airlines don’t need to be flexible anymore due to demand. We’ve had to communicate this to our clients. It’s a constant education and re-education on this front,” explains Gianquitto. Since there are many variables that are beyond the control of TMCs, managing the music client’s expectations is incredibly important, especially in an industry that knows no limits. Having a constant dialogue with the tour managers is vital. “It may sound like a cliché, but it is important in a business where nothing is unreasonable. Managing expectations is a key part of our job,” says The Tour Division’s Locke. Yet with all the headaches, the hassles, the early morning calls and the late-night changes, everyone I speak to says it is an extremely rewarding business to be part of, knowing that a good music tour must involve a great travel experience – and that’s down to those who manage business travel. ■
John Gianquitto, chairman and CEO of The Appointment Group, talks about the challenges of managing travel for bands such as Guns n’ Roses...
“FIRST OFF, you have three groups of people you need to organise, including the A-listers or VIPs, the band and then the crew. Each party travels independently and stays in different hotels. They each have specific needs and we must manage the expectations for each group. “For the talent, it’s all about managing private jet operators, limousines, particular hotel needs and the quirks of the artistes. One musician wanted a blacked-out room, others need particular
food – this group are the most demanding. We facilitate whatever they want and nothing is too ridiculous. “The crew like to be
close to the venue with good facilities, easy access to the venue with bus transport, 24-hour room service and a late bar that’s open after the gig so they can relax. The band, meanwhile, tends to prefer being in a centralised place, within a city hotel rather than out near the venue, which can sometimes be in the middle of nowhere. “We deal with the
band manager direct and we always try to keep to budgets – the moment they change, costs go up or new bookings are needed, and we are straight on the phone to the band manager.”
SEPTEMBER/OCTOBER 2012
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