18Who does what
The short version: The tour manager owns the money, the schedule and the people. Production, sound, lighting, video, lasers, rigging and effects crews sit under that umbrella, joined on show day by the venue's own staff. Some of those jobs - riggers, laser operators, pyro operators - need certificates or licenses; most are learned on the job.
Mozza weekendPhoto hosted by David J (sebilden) - open the originalThe roles with solid public definitions:
- Tour manager. Usually hired freelance per tour by the agent or artist manager. Builds the tour budget (crew pay, per diems, lodging, transport, equipment, visas, rehearsals, commissions), advances each show, settles the fee with the promoter after the show, pays per diems, prepares the next day's schedule and guest list, and handles passes435. A road manager handles one act's details; one person can do both jobs435.
- Front-of-house and monitor engineers. FOH runs the audience mix; monitors runs what performers hear436. At a DJ show, as noted above, much of the FOH job is managing level and protecting the system.
- System engineer. Arrives first, measures the room, assembles and tunes the PA, and walks the coverage during the show309.
- Lighting designer. Creates the look within the limits of visibility, safety and cost, and on small tours also programs and runs the desk221.
- Riggers. Hang the chain hoists that lift truss, LED walls and scenery from the building's structure. The head rigger often marks points on the floor and works out bridle lengths by trigonometry437. Certified in the US through ETCP (Arena and Theatre Rigger) and in the UK through the PLASA National Rigging Certificate437438.
- Laser operator. Must be "a trained, competent operator" in direct personal control who can see every beam path (or has a spotter), with emergency stops always within reach223.
- Pyro and flame operators. Licensed or certified under state and local rules; NFPA 1126's 2026 edition, per a published summary, requires "pyrotechnic professionals"334.
The rest are standard practitioner definitions that public sources do not formally pin down, so treat them as trade usage:
- Promoter - takes the financial risk on a show, rents or partners with the venue, pays the artist, and splits what is left.
- Agent - represents the artist and sells dates. The talent buyer works for the venue or promoter.
- Production manager - owns the technical advance, vendors, crew calls and production schedule.
- Stage manager - runs the stage and the changeovers on show day.
- Programmer and operator - build the lighting show file, then run it nightly.
- Backline tech - at an electronic dance music show, looks after the CDJs, mixer and any instruments.
- VJ and video director - the VJ performs the content; the video director runs cameras and IMAG.
- Up and down riggers - up riggers work at height; down riggers on the floor.
- Runner - errands and driving, often the first job in the trade.
Crew list
38 jobs, one show
Tap a role for what it actually does, who it answers to, and when it's busiest.
DJ or live actThe performer the show is built around.
Selects, sequences and blends tracks, or performs a live set from clips, stems and hardware. Specifies the booth gear on the technical rider and, for a timecoded show, supplies the playback that lights and video lock to.
- Answers to
- Artist manager (business); the stage manager on show day
- Busiest
- Changeover and set time
Artist managerRuns the artist's career and business.
Handles overall career strategy, often hires the tour manager, and with the business manager approves the tour budget.
- Answers to
- The artist
- Busiest
- Before the tour, when budgets and dates are set
Tour managerOwns a tour's money, schedule and people.
Builds the tour budget, advances every show, prepares the day sheet and guest list, handles passes, pays per diems and settles the fee with the promoter after the show. Often hired freelance per tour by the agent or artist manager.
- Answers to
- Artist manager and business manager
- Busiest
- Advance days, arrival, and settlement after the show
Road managerHandles one act's day-to-day details on the road.
Looks after a single act's logistics where a tour manager oversees the whole tour; on smaller tours one person does both jobs.
- Answers to
- Tour manager
- Busiest
- All day, from travel to load-out
Backline techLooks after the performer's gear.
At an electronic show, sets up and checks the CDJs, mixer, controllers and any instruments, confirms models and firmware, and keeps spares and backup USBs ready. Practitioner advice: arrive before doors to test.
- Answers to
- Production manager or tour manager
- Busiest
- Setup, line check and every changeover
Booking agentSells the artist's dates.
Represents the artist to promoters and venues, negotiates fees and deal terms, and often hires the tour manager.
- Answers to
- The artist and artist manager
- Busiest
- Months before the show
PromoterTakes the financial risk on the show.
Rents or partners with the venue, pays the artist, markets the show and keeps or splits what is left after costs. Meets the tour manager at the end of the night for settlement.
- Answers to
- Their own company or investors
- Busiest
- On sale, doors and settlement
Talent buyerBooks artists for a venue or promoter.
The agent's counterpart on the buying side: chooses acts, makes offers and builds the line-up.
- Answers to
- Promoter or venue owner
- Busiest
- Months before the show
Production managerOwns the technical side of the show.
Runs the technical advance, hires vendors, sets crew calls and writes the production schedule. Coordinates sound, light and backline rental with the tour manager.
- Answers to
- Tour manager (on tour) or promoter (for a festival)
- Busiest
- Advance and load-in
Stage managerRuns the stage on show day.
Keeps acts, crew and equipment moving on and off stage to time, and runs the changeovers that beginners routinely underestimate.
- Answers to
- Production manager
- Busiest
- Changeovers and show time
RunnerErrands and driving.
Fetches, delivers and drives for the production and artists. Often the first job in the trade.
- Answers to
- Production manager or production coordinator
- Busiest
- All day
FOH engineerRuns the audience mix.
Mixes the sound the crowd hears from the front-of-house position. At a DJ-only show there is often little to mix, so the job is mainly guarding the system limiter and overall level.
- Answers to
- Production manager
- Busiest
- Soundcheck and show
Monitor engineerRuns what performers hear on stage.
Mixes wedges or in-ear monitors for performers. At a DJ show the booth monitors fed from the mixer are effectively the DJ's monitor mix.
- Answers to
- Production manager
- Busiest
- Line check, soundcheck and show
System techBuilds and tunes the PA.
Arrives first, measures the room, assembles and tunes the sound system, and walks the coverage zones during the show.
- Answers to
- FOH engineer or production manager
- Busiest
- Early load-in and tuning, then the show
Lighting designerCreates the lighting look.
Designs the rig and the looks within the limits of visibility, safety and cost. On smaller tours also programs and runs the console.
- Answers to
- Production manager and the artist's creative team
- Busiest
- Pre-production and programming
Lighting programmerBuilds the show file.
Turns the design into console data: palettes, cues and timecode. Often works in previs before the rig exists.
- Answers to
- Lighting designer
- Busiest
- Pre-production and focus
Lighting operatorRuns the lights each night.
Plays back a timecoded show or busks the lights live to an unscripted DJ set. Electronic shows sometimes add a lighting director who adapts the design to each festival's house rig.
- Answers to
- Lighting designer
- Busiest
- Show time
Laser operatorRuns the lasers, in direct control.
A trained, competent operator who can see every beam path or has a spotter, with emergency stops always in reach. In the US works under the show's FDA variance conditions.
- Answers to
- Laser safety officer or production manager
- Busiest
- Setup, alignment and show
Laser safety officerSets the controls that keep lasers safe.
Evaluates laser hazards, sets beam limits and controls, and needs a working grasp of MPE and the law. There is no single US federal certification; some countries require a certified LSO.
- Answers to
- Production manager and the variance holder
- Busiest
- Setup and alignment checks before doors
VJPerforms the visuals live.
Mixes and triggers video content to the music, usually in Resolume or TouchDesigner, or runs a timecoded media server show.
- Answers to
- Video director or production manager
- Busiest
- Show time
Video directorRuns cameras and IMAG.
Directs the camera crew and cuts live shots of the performer to the screens and, if there is one, the livestream.
- Answers to
- Production manager
- Busiest
- Show time
Head riggerPlans and leads the rigging.
Marks rigging points on the floor, works out bridle lengths by trigonometry, and leads the riggers who hang hoists, truss, LED walls and scenery. Certified in the US through ETCP and in the UK through the PLASA National Rigging Certificate.
- Answers to
- Production manager; works with the house rigger
- Busiest
- First thing at load-in, and again at load-out
Pyro and SFX operatorFires the pyro, flame, CO2 and confetti.
Licensed or certified under state and local rules and working under a local permit, with a separate arm channel and an emergency stop in sight of every device. NFPA 1126's 2026 edition requires pyrotechnic professionals.
- Answers to
- Production manager and the local fire authority
- Busiest
- Setup, test fires and show
Production electricianDistributes and checks show power.
Connects generators or shore power to the distros, runs feeder to each stage and checks circuits before anything switches on. Three-phase hookups are a licensed-electrician job; ETCP certifies entertainment electricians and portable power technicians.
- Answers to
- Production manager
- Busiest
- Early load-in, then on call
House riggerGuards the building's structure.
Approves the tour's rigging plot against the building's point load limits and oversees what is hung from the roof.
- Answers to
- Venue production manager
- Busiest
- Load-in and load-out
Local stagehandsThe venue's or city's crew.
Unload, carry, build and strike. Most US stagehands work through IATSE locals, which each negotiate their own contracts.
- Answers to
- Their crew chief and the production manager
- Busiest
- Load-in and load-out
Safety and security leadOwns crowd safety and security on site.
Plans crowd capacity, density and egress, and coordinates security, police and medical. At Astroworld a separate firm oversaw safety and security alongside promoter and police staff, a structure that shows how many parties share the job.
- Answers to
- Promoter and festival operations director
- Busiest
- Doors and peak crowd
Crowd managerWatches and manages crowd movement.
Trained staff who monitor crowd conditions and move people safely. NFPA's Life Safety Code began requiring them in nightclubs after The Station fire.
- Answers to
- Safety and security lead
- Busiest
- Doors, peak and egress
Fire watchA person acting as the smoke detector.
Posted when a venue isolates its smoke detectors so haze will not set them off, with no other duties, and ensures detectors are re-enabled and tested at the end.
- Answers to
- Venue fire safety manager
- Busiest
- Whenever detectors are isolated
Harm reduction teamKeeps people who use drugs safer.
Provides drug information, free water, earplugs and, where licensed, drug checking. DanceSafe has worked on site at US festivals, and The Loop received the UK's first Home Office license in 2024.
- Answers to
- Promoter, with medical and local authorities
- Busiest
- Doors through close
Show directorCalls the big moments live.
On a live-operated show, calls the big moments and coordinates lighting, video, lasers, effects and automation over comms. On Swedish House Mafia's 2022 Paradise Again tour the show director triggered automation cues manually from Resolume.
- Answers to
- Production manager
- Busiest
- Rehearsals and every show
Timecode and playback operatorRuns the clock a timecoded show follows.
Plays the show audio that carries SMPTE timecode and keeps a backup timecode path and audio interface ready, so lighting, video, lasers and effects chase the same clock. On electronic shows this work is usually shared among department programmers; "playback engineer" did not appear in any electronic production profile this guide found.
- Answers to
- Production manager or show director
- Busiest
- Programming sessions and every show
Drone show remote pilotFlies the swarm under aviation rules.
Plans and flies a drone show under FAA Part 107 waivers in the US, where one pilot normally may fly only one aircraft, or under a Civil Aviation Authority Specific-category authorization in the UK. Manages airspace, crowd overflight, wind and the risk of falling aircraft.
- Answers to
- Production manager, within the aviation authority's approval conditions
- Busiest
- About 90 days ahead for a US waiver decision, then show night
Sign language interpreterInterprets performances for Deaf audiences.
Interprets lyrics and spoken content for Deaf and hard-of-hearing fans. At big US festivals interpreters are usually booked on request and study past setlists and artist interviews; instrumental DJ sets often go uninterpreted.
- Answers to
- Accessibility coordinator or promoter
- Busiest
- Preparation in the weeks before, then the requested sets
Accessibility coordinatorMakes sure disabled guests can get in, see and get help.
Runs access arrangements such as viewing platforms, companion wristbands, accessible entrances and shuttles, and interpreter requests, and keeps ticketing within the law: in the US, accessible seats at the same price and through the same channels as other seats; in Great Britain, reasonable adjustments under the Equality Act.
- Answers to
- Promoter or festival operations
- Busiest
- From on-sale through show day
Welfare and peer-support workerLooks after people having a hard time.
Supports attendees who are distressed, unwell or having a difficult psychedelic experience, separately from security. The Zendo Project works by principles such as "Sitting, Not Guiding"; Boom's Kosmicare is staffed by psychologists, psychiatrists, nurses and volunteers next to the medical services. No reputable source sets staffing levels.
- Answers to
- Welfare or medical lead
- Busiest
- Doors through close
Sustainability leadMeasures and cuts a show's footprint.
Meters power so generators are sized to the real load, plans fuel such as HVO and battery systems, works on haulage, catering and waste, and reports the footprint including audience and artist travel, usually the biggest slices. Most festival green figures are self-reported, so clear reporting matters as much as the cuts.
- Answers to
- Production manager and promoter
- Busiest
- Planning, show days and post-event reporting
Mental health first aiderTrained first responder for people in crisis.
Staff trained in Mental Health First Aid, as at Music Support's Festival Safe Hubs, backstage spaces at UK festivals. Surveys of touring professionals report substantially higher rates of depression, anxiety and suicide risk than in the general population.
- Answers to
- Production office or welfare lead
- Busiest
- Show days, backstage
Most US stagehands work through IATSE, founded in 1893, which counts more than 168,000 members in more than 360 independent locals that each negotiate their own contracts439. IATSE sits on the ETCP certification council438. How much festival and club work is union versus non-union varies widely, and we found no reliable figure.
One more role deserves naming because its absence keeps showing up in disaster reports: the person with clear authority to stop the show. See the safety section.
A note on scale. Electronic dance music tours often carry less audio than rock tours but much more light, video and laser, so the crew skews toward those departments (our observation). Costs have risen sharply since the pandemic, but public numbers are mostly anecdotes from rock acts: Megadeth's Dave Mustaine put his tour's cost at about $45,000 a day "just to sit still"440, and Shinedown's Brent Smith said trucks and buses alone were "six times more expensive" than in 2019441. Billboard Canada's sources said food, lodging and transport had "as much as doubled"442. An accounting firm's advice is that the number of trucks and buses drives "nearly every major expense category"443.
Sources for this section
13 of the guide's 555 sources. Numbers match the full reference list.
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Wikipedia: Lighting designer - en.wikipedia.org ↩↩
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ILDA: Laser Light Show Safety Overview v7 (PDF) - ilda.com ↩↩↩↩↩↩↩↩↩↩
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ProSoundWeb: Jim Yakabuski on System Engineers (2025) - prosoundweb.com ↩↩
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NFPA 1126-2026 Listing (reseller summary) - fire-police-ems.com ↩↩↩
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Musicians Institute: Plan a Live Concert - Show Advance, Stage Plots and Load-In - mi.edu ↩↩↩↩↩↩↩
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ESTA: Entertainment Technician Certification Program (ETCP) - etcp.esta.org ↩↩
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Blabbermouth: Dave Mustaine on the Cost of Touring (2023) - blabbermouth.net ↩
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Blabbermouth: Shinedown's Brent Smith on Post-Pandemic Touring (2024) - blabbermouth.net ↩
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Billboard Canada: Higher Costs Will Impact Acts, Venues and Promoters (2023) - ca.billboard.com ↩
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MGO CPA: Making a Music Tour More Profitable (2026) - mgocpa.com ↩