We know what our production costs are they’re relatively fixed. Mike Brown: It relates to your expenses, really – talent costs, production costs, and labor model. TempleLive vice president of operations Mike Brown outside the venue. Now, there were people in the room, but you were far under your regular capacity. And I think one of the elephants in the room here is that for some shows, selling 20 percent of the seats means there won’t be a show because you’re losing money. ![]() Michael Lawrence: Some of the guidance that we’re seeing here is reduced seating capacity – 20 or 30 percent of your regular seats. In 2014, the duo turned a hundred-year-old, 53,000-square-foot Masonic Temple building into a concert venue, with a strategy that prioritizes and streamlines the experience for the visiting artists and production staff, an approach that has left TempleLive well positioned to face the current production industry difficulties. Besides the reduced capacity (which at time of press had been expanded to 30 percent), the TempleLive website provided an overall modified operation protocol.Īfter the show, I followed up with Mike Brown, TempleLive vice president of operations, and Lance Dierker, the venue’s production manager and also audio, video and lighting integrator at Audio/Video Designs in Oklahoma, for a conversation about the present realities of operating a concert venue amidst the lockdown. The venue’s normal capacity of 1,100 was reduced to 20 percent, allowing 229 people to attend the performance by Bishop Gunn frontman Travis McCready. “So I went into the most ghetto, fucked-up place I could find and I’m barely coming out of it now.On Monday, May 18, TempleLive in Fort Smith, AR hosted what is being considered the first socially distanced concert in the United States in the wake of COVID-19. I was like, ‘I don’t want to do this shit ever again,'” he says. ![]() I’d been on it for three years and the doctor told me you gotta get off this, it’s bad for you.”ĭavis decided to go to extremes to make sure that he could kick the meds once and for all. I detoxed off that medication – it was an anti-depressant, the anxiety and stuff. My boy got diabetes and I had come off medication for my depression, and that fucked me up,” he says. They started writing, I think, in August, and I didn’t get into the studio until March, because I was going through all kinds of crazy shit. Those crazy days are long gone.”ĭavis tells us he had his own substance-abuse issues to get past, which heavily affected the writing of The Paradigm Shift. “And obviously the drugs – it’s no secret I was into the drugs, so crazy stuff, like having to finish our blow right before we got to the border because they were gonna come check to see if we had anything. “The last year I was in the band, we were gonna kick out the bass player, Fieldy, and this guy’s girlfriend couldn’t be on this side of the stage because there were fights with another wife in the band,” he says. Recalling previous European tours, he says there was a lot of tension and some stoner-movie escapades. We’re coming into the last stretch of this, and it’s been great,” he says. “If there was craziness still around, it would come out in Europe, ’cause Europe trips bring out stress, anxiety and stuff. He is confident that the reunited band can make things last long-term this time, because they’ve passed the Europe test on their current overseas tour. Nothing’s perfect, obviously, but for the most part, it’s just really awesome and positive.” “Everything changed with these guys – everything is more positive,” he says. Welch agrees that the band is in a far better place than when he departed in 2005. It was just fun being in the studio with his goofy ass again.” “To have our brother back was really good for morale. ![]() So I think it brought unity back between those two,” Davis says. “Originally, him and Munky, what was interesting about the band and what we did was that twin guitar thing. For frontman Jonathan Davis, having Head back as part of the family is welcome news.
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