In this fabulous article for Backstage, Darren Bazzoni had the pleasure to interview the wonderful Nikki Barden, Executive Booker for top U.K. promotors MLM Concerts Ltd, about what it’s like working for one of the busiest offices in the industry.

D – So Nikki, thank you for joining us for this interview. Would you mind telling us a bit about your role?
N – So my role is to liaise with the managers and programmers at various venues in order to book bands and shows under MLM Concerts into them.

D – So as I’m sure you know by now, the music industry’s pretty crazy, where literally anything can happen. Were you always wanting to become a part of it or did it just happen?
N – Definitely the last one! I used to work in the Stock Market, and I was out with some friends one night when I thought ‘I really don’t like this industry anymore’. Luckily, my family were really good friends with Mark and his family, and he offered me the role. 7 years later and here I am!

D – What is a day in the life of someone in your role?
N – It really depends. We normally get into the office at about 9 (if we haven’t had a late gig the night before) and have a meeting about what’s going on. I spend most of my day on the phone to various venues and bands. I also do routing, to make sure that bands don’t get stuck half way across the country from where they’re meant to be.

D – So, what would you say is the best part of your role is?
N – Oh definitely the people. Every day is different and you get to talk to new people all the time. Everyone is so different as well. Also, before this job I’d never left the U.K., in fact I’d never really left Surrey or London, so the role is so fresh, creative and fun that it doesn’t really feel like work.

D – On the subject of travel, what’s the most exotic location you’ve booked a gig in?
N – I think the furthest place we’ve ever booked has been China, but at the moment we’re really focussing on booking shows in Dubai, the Middle East and South Africa!

D – So Nikki, I notice you’re wearing a Nirvana T-Shirt, so I was curious. When you’re in the office, what sort of music do you like listening to?
N – So I like quite a range of music. It can go from The Beatles to Kodaline then to Nirvana. I won’t lie, I even have a soft spot for One Direction! I’m not a very big fan of rap, although I am a fan of Eminem.

…at the moment we’re really focussing on booking shows in Dubai, the Middle East and South Africa!

D – So for our final question, do you have a message for anyone who wants to get into this crazy industry of ours?
N – I think it’ll go against what most people say, but don’t get education for it, just go in and get experience. Experience and getting to know people is key. I’d also say just do anything that scares you. The the industry is just so bizarre that you’ll be scared by most things until you try it, so just give it a go.

Darren Bazzoni.

James has spent his young life dedicated to the world of theatre, particularly audio production. Even at such a young age, James is already a familiar face on the UK theatre show circuit. As you’ll hear, the industry is not for everybody, with unsociable hours and endless miles of travelling. But the rewards are plentiful and the hard work appreciated by everybody, not least the audiences. James spoke to us to reveal all about this wonderful industry.

T – So James, would you mind introducing yourself?
J – Hi, I’m James, a 26 year old sound engineer from Somerset. I specialize in front of house and stage technical work. I’ve worked The Carpenters Story, The Illegal Eagles, Jimi-The Story So Far and Classic Ibiza to name a few.

T – I’m curious, what’s a day like in the life of James?
J – Driving [laughs]! I feel I’m always driving, whether it be from home to a venue, from a hotel to a venue, from a venue back home or from a hotel back home. When we arrive at theatres, we unload the trucks and instantly set up all of my gear. This is to ensure that all the technology is working correctly ready for the soundcheck, where we check that everything is ok both musically and technologically.

“…I fell into the Orchestra pit whilst setting the stage. No one was hurt, but everyone gave me the nickname of Tumbles from the rest of the Tour”.

T – Lovely, so you say the hours aren’t great? Do you mind explaining?
J – Well we arrive at the theatre at around midday. Everything is unloaded and we set up the backline. A backline is everything from drums and guitars to bass guitars and amps. We then carry out a soundcheck at around 5pm. We test all the tech to make sure it works and then we run through a couple of songs. Around 7.30 it’s showtime, and the show comes in two halves. I have to make sure everything is running smoothly throughout, which involves total concentration, keeping eyes and ears peeled for any potential problems. The moment the last audience member leaves the auditorium, the crew have to strip the stage of everything (unless we have a run of dates at the same theatre, of course). This is usually done by about 11.30, of which we travel to the hotel (which can be anywhere up to an hour away) ready for the next day.

T – What sort of equipment do you deal with on a daily basis?
J – So the most important bit of kit at my disposal are in-ear monitors. They’re little earpod-looking things that mean the artist can hear what they and the rest of the band are doing. It helps so much.

T – Alright then, I’m sure our readers would love to hear the funniest moment in your career.
J – Oh dear… I suppose it would have to be when I was on an ABBA tribute show, whereby I fell into the Orchestra pit whilst setting the stage. No one was hurt, but everyone gave me the nickname of Tumbles from the rest of the Tour.

T – [Laughs] Tumbles, deary me, that’s funny in itself. Ok, so when people are watching this, it’s the 21st of February when we are carrying out this interview. Recently, the Government announced that they hope for us to return in Mid-May with restrictions and Mid-June without any restrictions. I was curious though, how has the Pandemic affected your work?
J – Well at the beginning of 2020 I went on tour to Denmark with the Illegal Eagles. When we got back it started to appear more in the news. We got to near the end of Feburary when most theatres closed their doors. My last theatre show was the 21st of February and I haven’t been back in one since. It’s sad really, because many self employed people haven’t received any assistance from the Government, but hopefully we’ll be back by April.

T – So on a slightly lighter note, what would you say the highlight of your career has been so far?
J – There’s probably been two. The first was my first gig with The Carpenter’s Story at the beautiful Cadagon Hall in London. The other was about 2 years ago, doing Monitoring work for the South Wales Symphonia Orchestra. I enjoyed that particularly because there was so much to do. There were 12 Orchestra members, a 7 person band and a Harpist.

T – So as you probably know, this industry is rather mad. What made you decide to do it, and how did you go about it?
J – Well my love of audio started at age 14 in Secondary School. We had a lovely Drama Teacher who tried to get the kids into Theatre Tech, and I took an instant liking to audio. I started working with some Theatre Tech companies alongside my College Course as some work experience, and 12 years later here I am!

T – A lovely story indeed, but what about those who want to carve their own story in this industry, what do you have to say to them?
J – Work hard at it. Working hard is so important, as is asking questions. Everyone in this industry is so friendly and everyone has something to teach. Don’t be afraid to ask questions, because there is no one who won’t answer.

Creative Team