crook stewart tour manager

The last four years have brought dramatic changes for Snarky Puppy.

After a decade of relentless touring and recording in all but complete obscurity, the Texas-bred/New York-based quasi-collective suddenly found itself held up by the press and public as one of the major figures in the jazz world. But as the category names for all five of the band’s Grammy® awards would indicate (Best R&B Performance in 2014, Best Contemporary Instrumental Album in 2016, 2017, 2021, and 2023), Snarky Puppy isn’t exactly a jazz band. It’s not a fusion band, and it’s definitely not a jam band. It’s probably best to take Nate Chinen of the New York Times’ advice, as stated in an online discussion about the group, to “take them for what they are, rather than judge them for what they’re not.”

Snarky Puppy is a collective of sorts with as many as 25 members in regular rotation. They each maintain busy schedules as sidemen (with such artists as Erykah Badu, Snoop Dogg, Kendrick Lamar, and D’Angelo), producers (for Kirk Franklin, David Crosby, and Salif Keïta), and solo artists (many of whom are on the band’s indy label, GroundUP Music). At its core, the band represents the convergence of both black and white American music culture with various accents from around the world. Japan, Argentina, Canada, the United Kingdom, and Puerto Rico all have representation in the group’s membership. But more than the cultural diversity of the individual players, the defining characteristic of Snarky Puppy’s music is the joy of performing together in the perpetual push to grow creatively.

The band was formed by bassist and primary composer Michael League in 2004, starting inconspicuously enough as a group of college friends at the University of North Texas’ Jazz Studies program. Three years later, a serendipitous intersection with the Dallas gospel and R&B community in Dallas transformed the music into something funkier, more direct, and more visceral. It was at this time that the group absorbed musicians like Robert “Sput” Searight (drums), Shaun Martin (keyboards), and Bobby Sparks (keyboards), and were heavily influenced by legendary keyboardist Bernard Wright (Miles Davis, Chaka Khan, Marcus Miller).

Michael League

Bass, composer, bandleader.

Michael League is a 5-time Grammy ® Award-winning, 5-time nominated producer and musician based out of Catalonia, Spain. He is the creator and bandleader of instrumental music ensemble Snarky Puppy and world music group Bokanté, founder of the record label and music curation source GroundUP Music, and artistic director of the GroundUP Music Festival.

Michael attended the University of North Texas' jazz studies program for 4 years, then moved to nearby Dallas for another 3 years, where he worked with some of the most influential figures in modern gospel, R&B, and soul music, and was mentored by legendary keyboardist Bernard Wright (Miles Davis, Chaka Khan) before moving to Brooklyn, New York, in 2009, where he spent 9 years, then relocated to his current home of Catalonia, Spain. As an instrumentalist and producer, he has worked with a diverse range of artists in pop (Laura Mvula, Lalah Hathaway, Joe Walsh, Michael McDonald, Rufus Wainwright), folk (David Crosby, Chris Thile), gospel (Kirk Franklin, Walter Hawkins, Marvin Sapp, Israel Houghton, Myron Butler), jazz (Terence Blanchard, Esperanza Spalding, Joshua Redman, Wayne Krantz, Chris Potter), electronic (Squarepusher, Daedelus, Tokimonsta), and world music (Salif Keïta, Eliades Ochoa of the Buena Vista Social Club, Fatoumata Diawara, Bassekou Kouyate, Susana Baca, Kardeş Türküler, Väsen).

As a sophomore in college, Michael formed the instrumental ensemble Snarky Puppy. As producer, primary composer and bandleader for the group over the last fifteen years, he has earned three Grammy awards and played over 1500 concerts on six continents. In 2016, he started the band Bokanté. Blending influence from blues, rock, Caribbean, and West African styles, the group includes an all-star cast of musicians from 5 different continents. Bokanté spent 2017 touring around the world in support of their debut album, Strange Circles. Their second album, What Heat, a collaboration with the Metropole Orkest under the baton of Jules Buckley, was released in fall of 2018 and nominated for “Best World Music Album” in the 2020 Grammy Awards.

GroundUP Music, formed in 2011, has expanded from independent record label (home to albums from David Crosby, Charlie Hunter, Becca Stevens, Cory Henry, Banda Magda, and many more) to live event curation, launching the annual GroundUP Music Festival in 2017 in Miami Beach, Florida. It has played host to artists like Béla Fleck, Esperanza Spalding, Andrew Bird, The Wood Brothers, Robert Glasper, Concha Buika, Terence Blanchard, Joshua Redman, Jacob Collier, Tank and the Bangas, Chris Thile, Knower, and Pedrito Martinez, among many others.

Michael is passionately committed to music education and outreach, having given clinics and masterclasses at over 200 schools around the world. In 2020, alongside GroundUP Music Festival Director Paul Lehr, Michael formed the GroundUP Music Foundation, which seeks to advance music education incentives throughout the world. He is active as a guest speaker in international music business panels and works regularly with non-profit organizations in an effort to better serve the community at large through the arts.

Bill Laurance

Bill Laurance is a five-time Grammy Award winning pianist, composer and performer. He has worked professionally for 22 years, performing all over the world and an original member of Snarky Puppy. His nine albums, including the latest solo album Affinity, all hit the top of the UK and US iTunes Jazz charts. He has recently released his first duo album with Michael League Where You Wish You Were . Laurance was a 2018 participant of the Sundance Institute Film Music and Sound Design Lab, taking place at Skywalker Sound in California. His debut feature film score was for Un Traductor (2018), an independent drama by directing brothers Sebastián and Rodrigo Barriuso which was named as Cuba's official entry for the 92nd Academy Awards. Laurance also wrote several themes for Initials S.G. (2019), a film for which co-director and writer Rania Attieh won the 2019 Nora Ephron award at the 2019 Tribeca Film Festival. Laurance has also worked alongside Marcus Eaton as composer for the 2019 documentary David Crosby: Remember My Name, receiving multiple nominations including best music film at the 2020 Grammy awards. Beyond film, Laurance has writen a double cello concerto for the Metropole Orkest, premiered at the 2023 cello bienalle in Amsterdam and is featured as a co writter with artists such as David Crosby's Your own Ride (Here if listen, 2018) and Julian Lennon Gaia (Jude, 2020). Other collaborations include work with prestigious dance componies and coreographers, Alvin Ailey, Mathew Bourne, Hope Boykin and Northern Ballet Theatre, and has produced music for commercials for clients including Apple Mac, Sky Broadband, Nokia, Investec, Hewlett Packard, and Rigby & Peller. Laurance is a passionate educator and continues to give clinics and masterclasses at institutions all over the world and is a member of industrial advisory board at the university of Leeds, U.K. Collaborations include: David Crosby, Morcheeba, Salif Keita, Jacob Collier, Lalah Hathaway, Susana Baca, Laura Mvula, Musiq Soul Child, Chris Potter, Lionel Loueke, Carlos Malta, The WDR and The Metropole Orchestra. Laurance is a champion of cutting edge keyboard developments and is endorsed by: Yamaha Pianos, Yamaha Reface, Fender Rhodes, Expressiv E, Roli Seaboard, Dave Smith, Moog, Mellotron, Korg, Nord, MXR, Arp Odyssey, Sound Brenner and Native Instruments.

Bobby Sparks II

Corsicana, Texas born SPARKK CHILD, Bobby Sparks II, is a multi-talented Artist, Musician & Producer who boasts a long list of career accomplishments. Bobby has recorded with and travelled the world sharing stages with Prince, Tower of Power, Herbie Hancock, Ray Charles, Nelly Furtado, Marcus Miller, Kirk Franklin, St. Vincent and a host of other notable artists and celebrities. Bobby is an original member of Snarky Puppy, a 10-time Grammy Award winner and his influence on music and personalities is far reaching.

Justin Stanton

Trumpet, keyboards.

From Tennessee to Texas to New York to Lisbon, 5 times Grammy Award-winning Justin Stanton has allowed the infinite opportunities found in the world of music to lead him across the globe. As a trumpet player, keyboardist, composer, and producer, Justin has developed a reputation as a multi-faceted musician who can serve an essential role to whichever artist he is contributing, both onstage and in the studio. Justin attended the prestigious University of North Texas, where he performed for two years in the One O'Clock Lab Band, recording three albums as well as performing at major festivals throughout Europe. While at North Texas, Justin joined Snarky Puppy and has appeared on the majority of their numerous studio and live recordings since 2007. In addition to Snarky Puppy, Justin maintains an active schedule performing, recording, and writing with a variety of original artists and groups, including his newest project with Becca Stevens, Gisela João, Louis Cato, and Michael League entitled Mirrors. Recorded over two weeks in Portugal amidst the many challenges presented during the pandemic, each person co-wrote a song with one another, yielding ten songs that are personal to the respective pair of songwriters yet are all unified through the collaborative co-production and recording process. ​ Justin appears on recordings with artists as diverse as David Crosby, Donald Fagen, Harry Shearer/Derek Smalls, Larry Carlton, Randy Brecker, Robert Glasper, Trombone Shorty, Kirk Franklin, Laura Mvula, and Salif Keita. He has also shared the stage with Joe Walsh, Michael McDonald, Toto, Derek Trucks, Terence Blanchard, Chris Potter, Eric Harland, and Fatoumata Diawara, to name a few. Justin resides in Lisbon, Portugal, and is in constant demand for his ability as a multi-instrumentalist, knowledge of synthesis and sound design, familiarity with a broad spectrum of musical realms, and abundant creative energy. Other solo releases from Justin include Secret Place, his genre-sweeping debut record of all-original material, and his exploration into Flor Peeters's 35 Miniatures for Organ on a host of classic synthesizers.

Shaun Martin

Artist, producer, songwriter, performer and multiple GRAMMY® Award winner, Shaun Martin is carving his space in the annals of musical history. Shaun is widely known for his work with Kirk Franklin, and Snarky Puppy, while leaving his creative stamp on projects with musical legends Chaka Khan, Erykah Badu, Fred Hammond, Yolanda Adams, Kim Burrell, Tasha Page Lockhart and God’s Property just to name a few. Most recently, Shaun unveiled his genius to us all in his first solo projects - Seven Summers, Focus, and Three-O ft Mike Mitchell and Matthew Ramsey. Having written, arranged, produced and played the keyboards on all albums, alongside musicians and vocalists from his hometown, Dallas, Texas - we meet the musical genius of Shaun Martin. Shaun’s prodigious gifting noticed and nurtured at an early age led him to begin playing the drums and piano at four years old and his mother placing him under the tutelage of Carolyn Campbell, who taught him to read and write music. At age five he was already playing the piano and organ at church. Later, he learned to play trumpet, trombone, tuba, French horn and flute. As a music major at the University of North Texas, he joined fellow student musicians to add his special brand of creativity to Snarky Puppy, an award-winning, chart-topping jazz fusion band - committed to music performance and education. In an effort to give back to the community that shaped the very depth, dimension, and dynamics of his sensational sound, Shaun plans to one day create a fine arts academy and after-school program for urban students who have little access to music education and training. Shaun is currently working with various artists and music producers on a plethora of projects, and is the owner of Shaun Martin Music, LLC (formerly Shunwun Music) - all while living his creativity. He is married to Monica Wilson Martin and they have one son, Harlem.

Bob Lanzetti

Bob Lanzetti is a Brooklyn, NY based professional guitarist, composer, producer, and educator. He has performed and recorded with many artists throughout the NYC area as well as played in over 40 countries with the multi GRAMMY Award Winning jazz/funk collective, Snarky Puppy.

Originally from New Jersey, Bob moved to Denton, TX in 2000 to study jazz guitar at the University of North Texas. In addition to his studies he was fortunate enough to get involved in the thriving R&B and Gospel music scene in the DFW area as well as meet the musicians who would go on to form the core of Snarky Puppy.

As a member of Snarky Puppy Bob has had the opportunity to contribute as a writer, arranger, and guitarist, playing on every recorded release and performing all over the world. The Pups have earned five GRAMMY Awards to date. Best R&B Performance in 2014 (“Something” featuring Lalah Hathaway), and Best Contemporary Instrumental Album in 2016, 2017, 2021, and 2023 (Sylva with Metropole Orkest, Culcha Vulcha, Live at the Royal Albert Hall, and Empire Central, respectively).

Since 2006 Bob has been residing in Brooklyn, NY. There he has become an in-demand session guitarist sharing the stage and recording with many artists including Tommy Sims, Jerry Granelli, Robben Ford, Bokanté, Michelle Willis, Becca Stevens, Cory Henry, Ghost-Note (Robert “Sput” Searight/Nate Werth), Lucy Woodward, Musiq Soulchild, Bilal, Banda Magda, Underground System, and many more.

As a composer/artist Bob writes, records, produces, and performs his own original compositions with his quartet. His debut record, Whose Feet are These That are Walking, was released, to positive reviews, in September 2017. In 2020 Bob had the opportunity to compose an original score for the 1922 silent film, Nosferatu: A Symphony of Horror, for Alamo Drafthouse’s annual film festival, Fantastic Fest.

As an educator Bob teaches music and guitar out of his Brooklyn studio, has given clinics around the world, and has worked in outreach programs through Carnegie Hall for underprivileged teens to write, record, and perform their own original music.

Bob uses Fodera Guitars, Taylor Guitars, Supro amps, DʼAddario strings and accessories, J. Rockett Audio Design Pedals, MXR Effects, and Fralin Blues Special pickups

Mark Lettieri

Mark Lettieri is a five-time GRAMMY Award-winning guitarist, composer, producer, and instructor based in Fort Worth, TX. He creates acclaimed guitar-based instrumental music, and is a member of leading instrumental bands Snarky Puppy and The Fearless Flyers. As a session musician proficient in a multitude of styles, he has recorded and performed in virtually every genre of popular music with both independent and major-label artists. Playing in the vibrant Dallas-Fort Worth Metroplex gospel and R&B scene led Lettieri to join Snarky Puppy in 2008, after first appearing on the album Bring Us The Bright. He contributes as a writer, arranger, session player, and touring member, working on the majority of the band’s recorded output, as well as participating in numerous international tours. Lettieri has released seven albums as a leader: Knows (2011), Futurefun (2013), Spark and Echo (2016) Deep: The Baritone Sessions in (2019), Things of That Nature (2019), Deep: The Baritone Sessions, Vol. 2 (2021), and Fly Through It (EP, 2022). Deep: The Baritone Sessions, Vol. 2 earned a GRAMMY nomination for Best Contemporary Instrumental Album, giving Lettieri his first nomination as a solo artist. He tours this material internationally with his quartet, the Mark Lettieri Group. In 2018, Lettieri helped form The Fearless Flyers, with Cory Wong, Nate Smith, and Joe Dart. The Vulfpeck-adjacent quartet has four releases to date: The Fearless Flyers (2018), The Fearless Flyers II (2019), Tailwinds (2020), Live at Madison Square Garden (2021), and The Fearless Flyers III (2022). As a sideman, Lettieri has performed and/or recorded with a myriad of artists including Erykah Badu, David Crosby, Kirk Franklin, The Jacksons, Fred Hammond, Tori Kelly, 50 Cent, Ledisi, Tamela Mann, Lecrae, Lupe Fiasco, Keyshia Cole, Xzibit, Anthony Evans, Phillip Phillips, Nelly, Chrisette Michele, Myron Butler, and even alongside comedians Dave Chappelle and Harry Shearer. In addition to his recording and performing career, Lettieri is involved with the development and demonstration of various musical equipment with a number of brands. In recent years, he has teamed up with Paul Reed Smith Guitars to create his signature model Fiore electric guitar, the MeLody overdrive pedal with J. Rockett Audio Designs, and the NewWave chorus pedal with Jackson Audio. Lettieri has also collaborated with Apple, Inc. to create a package of downloadable guitar loops for the digital audio workstations Logic Pro and Garageband. As an instructor, Lettieri has released online guitar instructional courses through outlets such as JamPlay, Brett Papa, Guitareo, and Soundslice, as well as print lessons available from Premier Guitar Magazine. On a personal note, Lettieri was born in the San Francisco Bay Area, and came to Texas via Texas Christian University (TCU). An avid lover of food, travel, and doing his best to keep an active lifestyle, he resides with his wife, daughter, three cats, and a hamster.

Chris McQueen

Chris McQueen has been playing, writing, and recording music since 1994. Along with Henry Hey he co-leads the explorative, groove-oriented instrumental band Forq, which has released four albums, and he has an acoustic guitar duo project with Matt Read that released its debut Western Theatre and is preparing a second album. He is an original and current member of 5-time Grammy winning band Snarky Puppy and Grammy-nominated world music group Bokanté, as well as a frequent member of Banda Magda. He has performed with Lucy Woodward, Lizz Wright, Nikka Costa, Myron Butler & Levi, and Alejandro Escovedo. He has been featured in several rock musicals, including David Bowie’s Lazarus at New York Theater Workshop (featuring Michael C. Hall) and The Rocky Horror Show at The Dallas Theater Center. Chris grew up in Austin, TX and started playing guitar and recording songs on a 4-track Tascam around age 10. At 13 he joined RedHeaded Stepchild, a western swing kid band, and started gigging around Austin and learning how to solo from bandmate and guitar prodigy Will Knaak. This interest in improvisation led to a fascination with jazz; he joined and composed for the Westlake High School jazz band, and attended the University of North Texas to study with Fred Hamilton. In 2005-2006 he played in the One O’Clock Lab Band and wrote the piece “Foe Destroyer”, which was recorded for the band's Lab 2006 album. Chris remained in the Dallas area for four years after college, co-leading the rock band Oso Closo with singer/songwriter Adrian Hulet, and studying music with Bernard Wright and other members of the Dallas R&B/jazz/Gospel scene. Oso Closo performed on stage in The Who’s Tommy at the Dallas Theater Center and released two albums. After Oso Closo broke up, Chris and fellow band member Danny Garcia joined with singer/songwriter Cade Sadler to form the rock band Foe Destroyer. Foe Destroyer created an eponymous album, toured for several years, and performed on stage in Dallas and NYC in the musical Fly By Night. In recent years Chris has expanded beyond guitar playing to focus on music arranging, mobile app building and video editing. He writes frequently for string quartet, big band, and horn/string sections. He co-arranged a piece on the Grammy-winning album Sylva by Snarky Puppy with the Metropole Orchestra. He has transcribed and engraved sheet music for Snarky Puppy, Bill Laurance, and his own groups, and he created arrangements and MainStage sounds for the musical Bunkerville. He has created two iPhone apps: Guitar Note Atlas, which helps guitar players visualize the guitar neck, and Set App for creating and sharing set lists. And he has edited and directed music videos for Forq and the Read/McQueen guitar duo. Chris lives in Austin, TX with his wife Erin and their twin baby girls.

Mike "Maz" Maher

Mike ‘Maz’ Maher is a trumpeter, singer, songwriter and educator. He has been a dedicated member of Snarky Puppy since the band’s inception and has written four songs for the group (Skate U, Sleeper, While We're Young, and Pineapple). As a freelance trumpeter and singer he has performed/recorded with the likes of Soulive, Diane Birch, Laila Biali, Lucy Woodward, Banda Magda, Myron Butler & Levi, Andrew Rose Gregory (of the Gregory brothers), George Porter Jr., Becca Stevens, Michelle Willis, and many others. In 2009 Mike started his own group, and since then has released three recordings (Maz in 2012, Idealist in 2016, and Maz Flips the Script in 2018) and toured the U.S. and abroad as well as regularly playing in New York City. In addition to writing songs for his own group, Mike has written for, or co-written with various artists including Alina Engibaryan (lyrics for We Are, Pulse of the Day, The New You, Little Girl, and There Is a Place from her album We Are, 2018), Justin Stanton (lyrics and melodies for his song Automatic Attraction on the album Secret Place, 2019), and Jordan Peters (lyrics for Étude for Humanity from his album Dreams, 2021). He also frequently records trumpet and vocals from his home studio for many artists and commercial projects. Mike has been a dedicated teacher for many years, fulfilling guest artist engagements with Berklee College of Music, the Amsterdam Conservatory, and high schools all around the U.S. In 2017 Mike began his training in the Alexander Technique at the Balance Arts Center in New York City. He has already begun teaching private lessons in the Alexander Technique both online and in person and will be a AmSAT certified teacher very soon. He has found the technique to be an incredible tool in improving the connection and use of mind and body, and his training in A.T. finds its way into all aspects of his teaching and performance.

Jay Jennings

Jay Jennings has been a member of Snarky Puppy since 2004. Before meeting his Snarky family at the University of North Texas, Jay grew up in the small town of Grapevine, TX. He was lucky to have a piano in the house growing up, which he considers his introduction to music education. Jennings started playing the trumpet at age 11, and by 15 he was already playing professionally. In high school he was selected to the Texas All-State Jazz Ensemble both sophomore and senior years and was selected for the High School Grammy Jazz Ensemble, which performed at the 44th Annual Grammy Awards in Los Angeles, CA. Jennings auditioned as a college freshman and was selected for a jazz soloist chair in the world renowned One O'clock Lab Band at UNT. When he was 22 he joined the Dallas based, symphonic rock band The Polyphonic Spree. He recorded and toured with them until moving to Brooklyn, NY in 2009. Jennings eventually began touring with capital records artist Eli "Paperboy" Reed in 2010 and over his career has backed up some of the world's finest artists such as Aretha Franklin, Michael McDonald, David Crosby, David Bowie, Lalah Hathaway, Frankie Valli and the Four Seasons, Lee Fields, Bobby Rush, Harry Shearer (Spinal Tap), The O'Jays, Jimmy Buffet, James Taylor, Jon Bon Jovi, Billy Joel, The Four Tops, and many more. Currently, Jay is touring with country music star Toby Keith and is currently living in Los Angeles, CA.  He continues to record and tour with the Grammy Award winning band, Snarky Puppy.

Upon his move to Los Angeles in February of 2017, Jennings began composing for his own band, The YAYennings Quartet.  This marks the beginning of Jay’s solo career as a band leader.  The bebop driven quartet began during the Snarky Puppy recording session for Culcha Vulcha in 2016.  Jennings and fellow Snarky Puppy band mate, Bob Reynolds(tenor), spent much of the session’s “off time” jamming in a room with a grand piano playing duets.  After realizing they share a similar interest in early 1950’s west coast bebop, Jay started composing for his own band.  Jay called upon his west coast UNT alumni Jose Perez (Pancho Sanchez, Bokanté) on drums and Ross Schodek (Pancho Sanchez) on bass to be the back bone in the “chordless” quartet.  The YAYennings Quartet album “Scott Ave” will be released in February of 2019.  Jay Jennings is a member of the Yamaha artist family and proudly plays Yamaha trumpets.

Chris Bullock

Tenor saxophone, flute, clarinet.

Chris Bullock is a New York City based saxophonist, multi-instrumentalist, and composer. He's had a distinguished career performing with a plethora of artists across all musical styles, most notably being a long-time member and composer of the genre-bending ensemble Snarky Puppy. With the Pup’s, he has been awarded five Grammys and frequently travels performing at the major concert halls and music festivals around the world. Chris's musical journey started as a child when he discovered the Beach Boys, hip-hop, four track cassette recorders and instruments such as the clarinet and electric guitar - all of which continue to inform his musical voice even today. In 2018 he released his debut solo album Boomtown: a hybrid of improvisation, jazz, chamber music, electronic music and hip hop production elements. With his Boomtown band he has toured across the US and Canada bringing a groovy, synth heavy ensemble that includes some of the musical leaders of his generation. Over his career Chris has collaborated on numerous projects and performances with artists like David Crosby, Michael McDonald, Lalah Hathaway, The Los Angeles Philharmonic, Charlie Hunter, Chris Thile, Robertinho Silva, Metropole Orkest, Phish, & Soulive. He was recently commissioned to write and record his first film score for Aelita – a vintage, silent, early sci-fi film, that was released as an album. Education has also been an important part of his professional life: teaching masterclasses at universities, colleges, and high schools globally. He holds music degrees from East Carolina University and Michigan State University plus studied at the University of North Texas. He currently endorses Yamaha Saxophones & Boston Sax Shop reeds & accessories.

Bob Reynolds

Bob Reynolds is a saxophonist, composer, educator, and 3-time Grammy-winning member of Snarky Puppy. Several of his 11 solo albums have made Billboard’s Top 10 Jazz charts. His original music showcases a melodic improvisational style, tuneful songwriting, and, as the LA Times put it, “hip-swiveling” grooves. Often recognized for his work with Snarky and John Mayer, he’s been a featured soloist with Grammy-winning instrumentalists Larry Carlton, Jeff Lorber, and Chris Botti. He's worked with a wide array of pop artists including Michael Bublé, The 1975, Idina Menzel, Josh Groban, USHER, and others. Born in Morristown, New Jersey, Reynolds grew up in Jacksonville, Florida, where he started playing saxophone at age 13. Although he listened to a range of music as a kid, by his late teens he was a dedicated jazz student. After high school, he honed his skills at Boston's Berklee College of Music, mentored by George Garzone, Hal Crook, and others. A pioneer in online music education, Bob founded his innovative Virtual Studio in 2010. Since then he's coached thousands of musicians in over 30 countries. Bob lives in Los Angeles with his wife and two children. He shares insights on balancing a music career with raising a family to over 90,000 subscribers on his YouTube channel. http://bobreynoldsmusic.com

Violinist Zach Brock is a sought-after soloist, educator, and sideman, as well as a multi Grammy Award-winning member of the band Snarky Puppy. Born to a musical family in Lexington, KY, he began studying violin at the age of four and performing publicly by the age of six. Zach’s improvisational skills were honed in the rich Chicago jazz scene while studying classical violin at Northwestern University. He released his debut album, Zach Brock & The Coffee Achievers, in 2003. Two years and two records later he was invited to perform at Carnegie Hall by trumpeter and composer Dave Douglas. Zach joined the band of legendary bassist Stanley Clarke in 2007 and that same year he and his wife, filmmaker Erin Harper, relocated to Brooklyn. From 2010 to 2012 Zach led a chord-less trio of violin, bass and drums called The Magic Number and since 2012 he has released three albums on Criss Cross Jazz, as well as two co-led projects with renowned pianist Phil Markowitz. In 2017 Zach formed a new “chord-less” trio with Matt Ulery and Jon Deitemyer. Their collective 2019 album Wonderment garnered rave reviews and inclusion in the “Best of 2019” lists by Downbeat and Jazziz Magazines. Zach is most widely recognized through his fifteen years of touring and recording with the genre-bending supergroup Snarky Puppy. He first recorded with them in 2008 on Bring Us The Bright and has appeared on seven subsequent recordings that include the 2017 Grammy Award-winning album Culcha Vulcha, 2019’s Immigrance, the 2021 Grammy Award-winning Live At The Royal Albert Hall, and the 2023 Grammy-award winning album Empire Central (to which he contributed the song “Honiara”). A passionate educator, Zach has coached hundreds of musicians through the workshops of Jamey Aebersold and Mike Block, masterclasses at the Sibelius Academy in Helsinki and Carnegie Hall in New York, and as a five-year “Artist In Residence” at Temple University in Philadelphia. 

Zach remains a perennial coffee fanatic and skateboard enthusiast, and currently lives with his wife and daughters in the NYC area. His eleventh solo album, the Grammy-nominated Dirty Mindz, was released in June 2022 on GroundUP Records.

As the undeniable secret weapon of Snarky Puppy, Nate Werth is both rooted in tradition and constantly innovating in the percussion world. His creative approach to sonic possibilities and rhythmic interplay has been integral to the sound of the group, and has earned the respect and support of percussion big-wigs like LP founder Martin Cohen. Performing and recording credits include Myron Butler & Levi, The Lee Boys, Jovino Santos Neto, Michael Spiro, Eric Krasno's Chapter 2, and many more. Having studied Indian, African, and Latin American traditions extensively abroad, Nate brings a unique sound palette to every musical environment. He currently lives in Los Angeles, CA

Marcelo Woloski

Percussion/drums.

Representing South-America in the Snarky Puppy family, multi-Grammy winning percussionist Marcelo Woloski has been a member of the band since 2011. With an impressive body of work, Marcelo has contributed three original compositions to the group, namely Palermo, Bardis, and Portal, which have been widely acclaimed. Hailing from Buenos Aires, Argentina, Marcelo was born into a family of musicians, which exposed him to a diverse range of musical genres from an early age. He began playing drums at the age of three and later transitioned from playing in local rock bands to mastering jazz and Latin American Music, under the tutelage of renowned mentors such as Facundo Guevara, Mario Gusso, and Sergio Krakovsky, among others. In his twenties, Marcelo moved to Boston to pursue his studies at Berklee College of Music, where he honed his compositional and percussion skills, under the guidance of the legendary Jamey Haddad. Later, he relocated to New York City to pursue his passion for music, where he became a significant player in the vibrant music scene. It was then that he also started composing his own music, combining the influences of his childhood with the sounds of the city in his debut solo album Mundo Por Conocer, released in 2018. Marcelo's great musicality and unique voice, coupled with his innovative approach to every instrument and genre he plays, have earned him a reputation as a standout performer. He has received numerous awards and accolades, including the Most Creative Percussionist award in 2020 by Sala Musik and Percussionist of the Year 2017 by Bateristica Magazine, in addition to several Grammy and Latin Grammy awards. In 2017, the City Legislature declared him a Distinguished Personality of the culture of the City of Buenos Aires. Marcelo has collaborated with a diverse array of artists such as Ruben Blades, Susana Baca, Edmar Castaneda, Paquito D´Rivera, Banda Magda, Becca Stevens, Salif Keita, Alfredo Rodriguez, and Marta Gomez. He has also had the privilege of sharing the stage with an impressive roster of talented musicians, including Jacob Collier, Laura Mvula, Lalah Hathaway, Hamilton De Holanda, Carlos Malta, and Roberta Sá, among others. Woloski's latest musical endeavor includes co-founding and co-producing Quiet Colors with Polish singer-pianist Joanna Kucharczyk. A musical project that blends two distinct cultures and styles. Together, they create a unique blend of music that showcases Marcelo's rich landscapes of layered percussion and Joanna's soulful singing, accompanied by her delicate piano playing. Marcelo is endorsed by Latin Percussion, Evans, Vic Firth, Woodpack, Cincinnati Washboards, Requena, SM Percussion, Cosmos Maracas, Woodpack and DEM'sticks. To learn more about Marcelo Woloski, please visit his website at www.marcelowoloski.com

Keita Ogawa

www.keitaogawa.com

Hailing originally from Nagasaki, Japan, Keita Ogawa is a multi Grammy nominated and Grammy Award winning percussionist and drummer.   His versatility and style make him one of the most sought after in New York City.

Keita started his music career on drums at the age of 15. After performing regularly in Tokyo for several years, he decided to pursue his musical studies overseas. He was accepted into the prestigious Berklee College of Music in fall of 2005, where he studied with legendary musicians and educators Manuel “Egui” Castrillo, Jamey Haddad, Tito De Gracia, David Rosado, and Mark Walker. Seeking full immersion into the world of Brazilian percussion,

Keita relocated to Rio de Janeiro for 3 months and studied with the some of the country's most respected musicians - Jorginho do Pandeiro, Celsinho Silva, Kiko Freitas, and Marcio Bahia among others. 

Since his arrival in America, Keita has worked with some of  the biggest names in modern music including Yo-Yo-Ma, Cécile McLorin Salvant,  Assad Brothers, Maria Schneider Jazz Orchestra, Clarice Assad, Jaques Morelenbaum,  Osvaldo Golijov, Les Nubians, Charlie Hunter, the Boston Symphony Orchestra,  Chicago Symphony Orchestra and more.

In 2017 He became the Ambassador of Tourism of his Hometown, Sasebo, Nagasaki, Japan who presented him in 2022 with a Civic Honor Award.   In addition to being a member of Snarky Puppy, he also plays with Bokanté and Banda Magda.

He is endorsed by Canopus Drum, Meinl Percussion, Meinl Cymbal, Vic Firth, Evans Drumhead, Cooperman Company, Dem Sticks, Parka Percussion and Decora 43.   Keita can play virtually any percussion instrument and musical style with fluency and unparalleled musicality. Keita's passion for crossing musical borders and uniting differences in cultures is a rare talent, which he exhibits with a smile and an open heart.

Jamison Ross

Jamison Ross is a GRAMMY-nominated Soul artist whose music emanates from the intersection of R&B, gospel, and blues supported by modern production – contemporary Soul. Jamison’s most recent project, “JAMO” is his first Affective Music release and is influenced by some of history’s greatest Soul singers, including Marvin Gaye, Rance Allen, and Al Green. A native of Jacksonville, FL, Jamison honed his talent studying at Douglas Anderson School of the Arts, before attending Florida State University and then on to the University of New Orleans, where he earned a Master of Music. Shortly after graduating, Jamison released his debut album, Jamison (2015), earning his first GRAMMY nomination. In 2019, Jamison and business partner, David S. Hargrett founded Affective Music, a Soul music-focused record label and management company dedicated to defining the sound of Soul for this era. Later that year, the label released Mykal Kilgore’s debut single, Let Me Go, produced by Jamison, earning his second GRAMMY nomination. Jamison won his first Grammy Award in February 2023 as a member of the Fusion Super Band, “Snarky Puppy”. Ross Joined the Multi award winning ensemble in 2016, recording and touring regularly, with documentation on “Snarky Puppy Live in Rio”, “Family Dinner Volume 2”, as well as “Immigrance”. Jamison’s unique ability to marry smooth vocal melodies with soulful production is sure to take audiences on a listening experience like never before. In the current state of music, Jamison Ross is a refreshing treat to true music lovers.

Larnell Lewis

LARNELL LEWIS is a GRAMMY Award winning musician, composer, producer, and educator. A Toronto native, Larnell has quickly established himself as one of the most diverse and in-demand drummers currently on the music scene. Along with his long-standing position behind the drums in Snarky Puppy , Larnell has led many highly successful groups of his own and toured the globe with some of the most well known names in music, including Etienne Charles, Gregory Porter, Benny Golson, Lalah Hathaway, John Scofield, Pat Metheny, Lisa Fisher, Kurt Elling, Gary Burton, and more .

Larnell’s immense talent, fierce creativity, and continually evolving musical style is what has kept him at the top of the list as a musical collaborator for artists across the globe. In June 2018, Larnell released his highly anticipated debut album “ In The Moment ,” which featured ten original compositions in a variety of musical styles. His vast talents not just as a musician but as a producer also landed him the opportunity to act as Musical Director for a performance during the Toronto International Film Festival ’s premiere of the critically-acclaimed documentary of Quincy Jones , “ QUINCY ”, (directed by Rashida Jones & Al Hicks), where he led performances from the likes of Yebba Smith, Mark Ronson, and Chaka Khan.

Among his many accolades, including the 2004 Oscar Peterson Award for Outstanding Achievement in Music (Humber College), Larnell was named as the fourth recipient of the Toronto Arts Foundation’s “ Emerging Jazz Award ” (2017), which is a $10,000 cash prize intended to support the creation of a project that features original compositions from each recipient.

Larnell’s talents can be seen worldwide via his various social media platforms, which have a combined total of over 100,000 followers. His reach to fans and musicians of all generations is proof that he not only possesses undeniable talent, but a spirit unlike any other that excites, inspires, and encourages music fans of all ages to further explore their musical tastes and the follow him on the road he has paved for himself.

Larnell Lewis is endorsed by Yamaha Drums , Zildjian , Promark , Evans , D’Addario , and Latin Percussion .

www.larnelllewismusic.com

Follow @LarnellLewisMusic on FB / IN / YT & @Larnell_Lewis on Twitter

Jason "JT" Thomas

JT is a 5-time Grammy Award winning drummer hailing from Weatherford Tx. Known for his ability to authentically adapt to whatever genre/style of music he’s put in. An original member of the late great Roy Hargrove’s RH Factor, JT has also been highly sought after by artists such as Fred Hammond, CeCe Winans, Marcus Miller, Mark Lettieri, FORQ, & Phillip Phillips to name a few. His high level of preparation for each artist he works with, along with being a consummate professional on and off stage, is what continues to keep him very busy all year round. JT is proudly endorsed/sponsored by Yamaha Drums, Meinl Cymbals, Low Boy Beaters, Big Fat Snare Drum, Vic Firth, Evans Drumheads, and MatTea Inc.

Michael Harrison

Sound engineer.

Native of Scotland, Mike initially met Snarky Puppy during their inaugural UK/European tour whilst performing at the popular venue Stereo.   Prior to this, Mike spent a number of years working with various production companies and engineering at numerous UK festivals, events & venues. Early touring included many activities with groups on the Scottish traditional music circuit; and subsequently touring with popular Scottish artists such as Kassidy & Emeli Sande.   In addition to his work with Snarky Puppy, recent years have seen Mike working extensively with a diverse variety of artists & musical lineups including Bill Laurance Group, Forq, Cory Henry & The Funk Apostles, KNOWER, Bokanté, and Elipsis on tours across Europe, Australasia, Africa & the Americas; and numerous collaborative productions between Snarky/Bokanté & the Metropole Orkest in the Netherlands. 

When not touring he also runs his own company, E H Sound Ltd, from Glasgow. Whilst his business partner John focuses on his love of Theatre Sound & dramatic productions, Mike continues to work with current Glasgow-based artists such as Charlotte Marshall & The 45s, Unoma Okudo, Esperanza, Starry Skies, and others.

Matt Recchia

Matthew Recchia (Rexx) is a live sound engineer and stage manager currently residing in Woodstock, GA. Recchia began his career in Athens, GA with an internship learning lights and sound at The Melting Point, before attaining a full-time position at The Georgia Theatre following graduation from University of Georgia’s business school. 

Beginning in the summer of 2011, Recchia toured with indie-rock band Futurebirds around the United States before jumping on with Snarky Puppy in 2013. Recchia has also toured with side projects of the band like Ghost Note, Bill Laurance, and Bokante. 

When not on tour, Recchia works as a Rigging Programmer and Dim Tech with IATSE 479 in Atlanta's movie scene.

Crook Stewart

Tour manager.

A native of Panama City, Florida, Crook performed in his own bands for 10 years and has travelled the world in his position as Tour Manager for over 33 years and has probably worked for more Rock and Roll Hall of fame members than anyone in the business.  Those artists include: Crosby Stills and Nash, Jackson Browne, Joan Baez, Bonnie Raitt, Art Garfunkel and The Rolling Stones.

He and his wife Victoria have a private music venue in Panama City, FL affectionally called The Ghetto Palace, that has hosted house concerts from artists from all over the US and abroad and open jams for musicians both from the surrounding area and from as far away as Atlanta and Central Florida. They also founded Music Matters in downtown Panama City 9 years ago and believe it was an important first step in the revitalization of our downtown.

Mantra: Common Sense, It’s Not That Common.

Rosanna Freedman

Production manager.

From London UK, Rosanna first began working with the band while managing award winning music and arts venue Band on the Wall in Manchester. Her background in the live music industry has been in working with international artists in venues and at festivals, spanning the genres from jazz through to heavy metal. Along with being production manager for Snarky Puppy internationally, she is also fulfills that role for the annual GroundUp Music Festival in Miami. Rosanna was the Production Manager on the Grammy winning albums, Live at The Royal Albert Hall and Empire Central. She also works with other artists as a Tour Manager in the EU and worldwide.

Mason Davis

Drum and percussion technician.

Mason began studying Afro-Cuban and West African percussion at an early age, which blossomed into a deep appreciation for the music of various cultures from around the world. He later went on to get degree in classical and jazz performance and after college went on to play in a variety of musical projects around the Southeastern United States.

Being familiar with all types of drum and percussion gear, he quickly began a secondary career as a “Drum Doctor” in Athens, Ga. This quickly became a passion and in fall of 2014 he became the touring Drum and Percussion Technician for the band. He resides in the Atlanta, GA. area and when not touring enjoys a studio of private students and a variety of gigs in his local area and beyond.

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• Feb 18, 2020

Updated: Feb 19, 2020

Hello friends. My first post of 2020! Let me recap the end of 2019 for you.

In October we prepared for a show in New York City, featuring Art's family. We rehearsed for 9 days prior to the appearance which was to be at Carnegie Hall in Weiss Hall. Check out the awesome flyer/poster that was made for the show.

We worked with a couple of Broadway producers to prepare the show; each family member working on 3 or 4 songs. It was interesting to watch it come together. Paul Beard, Art's piano player really rose to the occasion learning a handful of Broadway tunes that Art's wife, Kim sang.

Paul and me rehearsing for the family show in Upper Eastside.

We spent most of our days rehearsing, but we also had some down time as well. And if you're going to have some downtime, there really is no better place to be than New York City.

The views here are pretty spectacular. Art's nephew, Michael Garfunkel and me getting some fresh air overlooking Central Park.

Art's sound man and tour manager, Colin Walker and I broke away for an evening and went to see an old friend of mine who is Graham Nash's tour manager, Crook Stewart.

Crook Stewart is the fellow with the mustache to my right. I was able to meet and talk to Graham Nash for a bit...I've been a long time fan of his! His guitarist, Shane Fontayne is the other white haired guy to my far left and to my very far right is his keyboardist, Todd Caldwell. Colin is on my left. Crook Stewart was Art's road manager a few years back. He's also tour managed Crosby, Stills & Nash, Jackson Browne, David Crosby, Joan Baez and the Rolling Stones. He's a well traveled, busy guy!!

The beginning of November we toured Germany for 2 weeks.

We were based in Dresden for a number of days. Our hotel was on the main plaza in the middle of old town. Just outside our hotel was the Frauenkirche Lutheran Church, which was completely destroyed in WWII. The dark bricks you see were the only pieces that were salvaged and meticulously put back in their original location. Amazing! Look at the photo below to see what they had to work with and also notice the statue of Martin Luther that remained untouched in both photos.

The plaza in Dresden outside our hotel entrance. Colin is staring himself down in this panoramic photo.

In the fall, Colin and his lovely wife, Rachael came to Nashville for a visit.

Here we are at 3rd and Lindsley waiting for the Time Jumpers to take the stage. The band consists of Vince Gill, as well as all the top session players in Nashville. Always a great time!

Back in our hometown of Franklin, Tennessee.

For my lovely wife, Annie's birthday, 3 of her sons and my daughter, Jessica took the ghost tour of downtown Franklin. Several of the homes in town are said to be haunted and a scary time was had by all.

Yes, I'm one of those nerds that likes to take photos of the passing landscape as I fly.

As much as I fly, I still love looking out the window at the world below. This is an early morning shot as we fly into Las Vegas on our way to Santa, Fe

Good morning, Rockies!

We celebrated New Years Eve in Santa Fe with one of my oldest and dearest friends, Steve Gray and his lovely wife, Carol.

They moved a few years ago to a beautiful home in the desert just outside of Santa Fe, New Mexico.

This is a cool old picture of the early Beatles just before they were discovered by manager Brian Epstein, who cleaned up their image just a bit, I would say.

And finally....

Thanks for checking in!

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Great pictures, Tab; you know how much I like traveling with you! I've been thinking of you, Randy Casey, Eliza Blue, John Elliott, and my other music-infused friends as we find our way through a dark time of uncertainty and loss. Keep making the world a better place with you music! Love, Sue ♥️

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Jackson Browne Backstory: Sky Blue and Black

The story, from 1992, had all the juicy elements to make it front page news: rock star, beautiful actress (Daryl Hannah), A neurological diversity called Asperger Syndrome ( Autism Speaks ) — A developmental disorder affecting ability to effectively socialize and communicate —  JFK’s heartthrob son, John Kennedy Jr, and rumors of violence that supposedly inspired this song. After this article, there’s a youtube video complete with lyrics, so you can fast forward through my verbiage and listen to one of the greatest songs ever written about love and loss.

Included in this diatribe is (1) a letter from an uncle that could easily be one of these relatives that they interview for one of the Dateline or 20/20 shows, (2) Two letters from Jackson himself, one responding directly TO the supportive uncle, and one from the Police Department who investigated the “domestic incident”, and found “nothing to see here, move on.”

(3) There is another paragraph of an excerpt from an interview with John Kennedy, Jr., who also was the founder of the magazine “George” , who tells his own account of Ms. Hannah, and directly refers to her penchant to exaggerate., and (4) not included, but available by quick search is the actress talking about Asberger’s Syndrome in a Dan Rather interview.

Hannah has never publicly denigrated Mr. Brown, and never pressed charges, so you can draw your own conclusions.  Disclaimer:  To be fair and balanced regarding my opinion:  I’ve been to at least a dozen Jackson Browne concerts, and always by myself except for once. I own signed albums, and have met many current & former band members. I’m longtime friends with slide guitar genius David Lindley, and the current tour manager for both Jackson and CSN, Mr. Crook Stewart III.  I have almost always been at the stage. I have looked into his eyes multiple times and have taken hundreds of photographs of him. I cannot possibly imagine this sensitive, soft spoken, intuitive, emotional man harming someone he loved.

True or not, this is something that Jackson has had to live with since 1992, and was denied at the time by Jackson, and several times later by Ms. Hannah, but sadly, this stuff never goes away, true or not.   It is my understanding that Jackson was the one who called the police that night (she was moving out and he accused her of taking things that didn’t belong to her.)

Included first is a letter from Daryl Hannah’s uncle, stating that he saw the bruises in the hospital.  Jackson’s response to the uncle, a letter recounting the report of Lt. John Miehle of the Santa Monica Police Department, and excerpts from an interview with John Kennedy Jr, who was reportedly the catalyst of the alleged beating, discussing Ms. Hannah’s penchant to make up stories and her ability to provoke anyone to the point of wanting to hit her.

The letters, and the law regarding any domestic violence police run:  http://home.comcast.net/~leslienoelani/TNI.html

From Yahoo Groups………  http://www.songfacts.com/detail.php?id=3640

I am posting two letters in response to this question, both written to US magazine a few months after the incident.  I am also posting a bit of a Dan Rather TV interview with Ms. Hannah.  The letters and interview were posted to the Jackson Browne mailing list on Yahoo Groups, so they are third generation, so to speak.

************  From  US Magazine   **************

I am Haskell Wexler, Daryl Hannah’s uncle. I am, also, a longtime friend of Jackson Browne and admirer of his artistry.  I am no longer his friend.

Jackson beat Daryl in September 1992. I was with her in the hospital, I saw the ugly black bruises on her eye and chin and on her ribs. The examining doctor reported she had blood in her urine. The doctor was shocked by the severity and noted Daryl as “a badly battered woman.” I photographed her at the hospital.

It could be that nobody cares about objective truth anymore. Jackson is a “good guy,” and good guys don’t beat women. Yes, it is hard to listen to Jackson and believe he has a hidden side of violence.

I saw the results of the last violent attack on my niece, and there is no spin of fancy which will erase my shock and disdain for someone who would beat her up.

Haskell Wexler, Santa Monica, CA

*******************

(Jackson Browne asked to respond with two letters. One general response and one addressed specifically to Mr. Wexler.)

It appears that Haskell Wexler has taken exception to your having printed my assertion that much that was said about this affair in the tabloids and in the media is untrue. Particularly that the police came to our house and I sent them away without their having spoken to Daryl. Further, Fred Schruers actually checked it out with the police, and that’s more than the other writers that I made the same assertion to were able to do.  Here is a statement made by Lt. John Miehle of the Santa Monica Police Department in November 1992:

“The Santa Monica Police Department went to the house where Jackson Browne lives regarding a possible disturbance. We resolved the situation in about five minutes. There was never any assault. There are no charges pending and no prosecution sought by or intended by the District Attorney. It is this department’s intention that no citizen, regardless of who she is, suffer any kind of abuse, whether it be domestic violence or any other kind of assault. But in this case, absolutely no assault occurred. Our investigators tell us nothing happened. Nobody has even alleged that Daryl Hannah was even touched. If they had, we’d be investigating. We’re not hiding anything. The press is trying to make more out of this than there really is, and it’s unfair, not just to Browne, but to us. We did our job, and repeat, no crime occurred here.  This whole thing is ridiculous.”

Dear Haskell,

I agree that we are no longer friends. A friend would never do what you have done. You have believed the worst about me and not allowed me the opportunity to defend myself. What’s more, you have participated in a attack on my reputation and character in which many untrue things have been said, some of which I think you must certainly know are untrue, and added your incorrect but very damning assumptions to them.

I tried to reach you, but you would not return my call. I wish you had.  It would not have been necessary to answer you publicly now. Obviously you believe what Daryl has told you. Perhaps you think Daryl has been generous in not pressing charges of battery. But there is a very good reason she did not press charges. If there was a trial, I would be able to defend myself in court, and the police who came to the house and intervened would testify to what they saw there. By her not pressing charges, the entire description of events has taken place in the media, where anything can be said and nothing has to be proven.

Your letter states that I beat Daryl. I did not. You describe seeing her injuries. I suggest that you allow me to describe Daryl’s actions to you and then judge for yourself as to how those injuries may have occurred. I repeat: I did not beat her.

I have no desire to expose Daryl to public scrutiny in this matter. I have avoided describing her actions or characterizing her behavior so far. It has been hard. I would have preferred to talk to you a year ago.  Basically, I believe that Daryl has a right to the support and belief of her family and friends. However, you leave me no choice but to respond to your public accusations.

Jackson Browne

*********************

JFK, Jr. Interview The interview was a television interview just before or at the time of George magazine’s launch; the date on the tape says Nov. 96.

The interviewer brings up Daryl.  He calls it a “queer relationship…off and on.  She was involved at one point…involved elsewhere.”  He kind of smiles.

The interviewer asks about Jackson Browne and Kennedy says, “I like him.  I like his music.  He seems nice enough.”  She asks if he thinks “it” happened, and he says, “It?  You mean do I think he um, hit her? No.  I think he probably wanted to, and she knew that.  She has that effect at times.”  He seems to consider, then says, “Daryl sometimes exaggerates things…she gets an idea…Daryl is more complex than you might think.  And I think there was a lot of family pressure, about Jackson…not his age, just…the families know each other.  And I think she felt pressure about the way she…they had problems, and I think some of her family was upset by that. And she felt she had to say certain things to not be blamed for the problems.  She got stuck in it, and then had to carry it on.”

The interviewer than asks if he means he thinks Daryl lied, and he says, “I don’t want to give the impression she does that, but…yes. I think it got out of hand on her, and now she is stuck with it. He is stuck too, which is sad.  But I wasn’t there and I don’t know for sure.  Could he have done it?”  He shrugged.  “Could she make you want to hit her?  Yes.  But I’m sure I have made women want to hit me, to be fair.”

I would suggest checking out Browne’s album I’m Alive if you’re really interested in this subject.  Many of the songs are about his relationship with Hannah and it’s just a great collection of songs period.  Also, Joni Mitchell wrote a song about the incident, which is titled “Not to Blame”

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On the Road Again: Putting the Rock Tour Supply Chain on Music

By Gilles Paché

Rock tours attract millions of fans each year around the world. But are concertgoers aware of the logistics involved in pulling off impressive concerts? Gilles Paché offers an overview of a fascinating topic that deserves more attention from researchers and practitioners.

While the COVID-19 pandemic put a major halt on rock tours for more than a year, now is the time for legendary bands and singers to return to the stage, after having experimented with virtual concerts on Web 2.0 platforms1 instead of the traditional live gigs. Just like the restoration of a “new normal” in companies, 2023 is a return to the big tours for dozens of artists and bands in the United States2. More broadly, the entertainment industry, including major sporting and cultural events, is experiencing an economic renaissance, as evidenced by the popular success of the 2022 World Cup football tournament in Qatar. If the public is now accustomed to seeing the impressive images of thousands of fans gathered in a stadium for the concert of a famous band, it does not suspect that worldwide tours are the result of the perfect coordination of hundreds of people, a prerequisite for a total ‒ and successful ‒ experience for fans. To illustrate the “logistical overkill” and the stakes involved, one of the best examples is undoubtedly the Rammstein Stadium tour.

The tour of the German metal band, with its “sulphurous” reputation, uses 180 semi-trailers, more than 1,000 tons of equipment, and two stages 230 feet wide and 130 feet high. It is the biggest rock tour in the world, organised in two sequences, from May to August 2019, then from May 2022 to August 2023, for a total of 104 concerts in Europe and North America with exceptional attendance (including 80,000 people at the Song Festival Grounds in Tallinn, Estonia, on 20 July 2022). Each concert ties up a stadium for 10 consecutive days, while setting up the stage requires seven days of work and the presence of 300 technicians. As for the concert itself, the pyrotechnic effects lead to the burning of 265 gallons of fuel oil per evening, to which must be added the electrical consumption of the 2,000-light shows and 370 music speakers. With the seven Boeing 747 aircraft used to transport all the material, we are very far from the Reise, Reise tour in 2004 and 2005, which had required Rammstein to employ “only” 10 to 13 semi-trailers.

Moving goods and people

A rock tour is based on a series of concerts performed by an artist or a band in different cities in the same country or in different countries3. Obviously, the volume of a tour varies greatly, and it is not possible to compare a series of a few intimate concerts in halls of 1,000 people with gigantic concerts of a hundred dates in monumental stadiums that can accommodate up to 80,000 people. In the second case, we are dealing with truly multinational events operating on a large scale and managing massive flows whose sequencing of concerts is based on rigorous planning of operations and associated teams. The supply chain associated with the entertainment industry is traditionally subject to specific constraints compared to other, more conventional supply chains, with very little tolerance for delivery delays and scheduling errors. Indeed, each different piece of equipment transported is crucial to the performance of the concert. Thus, it is impossible to imagine that a Rolling Stones or Genesis concert could be held without a set of drums, or that the fans should be asked to come back the next day, when the drums will finally have arrived at their destination, as may happen during occasional stock-outs in a store4. The transport technologies available at a given moment are at the heart of the management of the operations of a rock tour, and the difficulties are increased when it is necessary to cross borders, with customs clearance phases conducted quickly. The supply chain difficulties linked to transport are the loss of products, their damage, delivery delays, and the lack of security of the flows. To remedy this, the quality of service required by the organisation of a rock tour implies the use of appropriate means of transport. On the ground, special trucks with padded walls and corners are systematically used to protect the (very fragile) equipment. In the air, the use of large Antonov or Boeing 747 aircraft is preferred, but the new generation of aircraft have weight restrictions and smaller doors, which sometimes makes them unsuitable for rock tour supply chain organisation. This reality is not well known by fans, and when aircraft are used, it is more usual to hear about the travels of rock stars, the most famous example being the different aircraft used by the Rolling Stones over the years and decorated with the famous tongue (see illustration 1).

Illustration 1. The public face of transportation: the example of the Rolling Stones’ aircraft and its famous tongue

When all the equipment arrives at a concert venue, it is unloaded and set up in a predetermined order that never changes: rigging, set, lighting, video system, and audio system. The instruments are the last to be moved onto the stage, and after the concert, everything is repacked in reverse order. But rock tour logistics should not be limited to the management of the physical flow of equipment necessary for the stage performance. One of the particularities of rock tours is that they involve a lot of people whose movements must also be organised from site to site, in reference to a succession of dates chosen according to their economic potential (the number of fans who reside in the trading area, which can be several hundred miles, depending on the country and the fame of the artist or the band). It is not uncommon for rock tours to rely on crews of more than 100 to 150 people, including riggers, carpenters, caterers, security guards, technicians, electricians, and drivers. It is easy to imagine the stakes in terms of accommodation and catering.

Implementation of overcapacity

If the supply chain associated with rock tours emphasises the importance of the volumes to be handled and transported, the major point remains the continuous pressure on the management of the operations. When the price of a ticket is several hundred euros, which does not cool the ardour of the superfans5, it is not possible to cancel the concert because of poorly synchronised supply chain operations that result in a delay in the delivery of one or more essential elements. To cope with such pressure, the solution chosen for the largest tours is the implementation of a systematic overcapacity, otherwise known as “operational slack”. Following Jay Bourgeois III 6:31, it is possible to speak of a “cushion of actual or potential resources which allows an organisation to adapt successfully to internal pressures for adjustment or to external pressures for change in policy, as well as to initiate changes in strategy with respect to the external environment”. In concrete terms, two platforms are used: when one team has finished preparing the concert in city A, a second team starts preparing the next concert in city B. The case of U2’s 360° tour between June 2009 and July 2011 is impressive because it used three stages for more than two years (the set-up time of each stage was four days), and consequently three supply chain teams: one team working at the concert site; one team dismantling the stage from the previous concert; and one team setting up the stage at the next concert site (see illustration 2). In total, 189 trucks transported the different scenes (390 tons of material), using 380 drivers; 12 buses were also used to manage the 550 people associated with the 360° tour. Even if this rock tour remains an exceptional event, as much in its duration as in its pharaonic dimensions, with a scenic structure resembling a giant spider, it constitutes an emblematic representation of the complexity of the event logistics, which should not weaken in the next years in an experiential stream. Indeed, rock tours must give the fans a unique and memorable experience, with the use of a gigantic stage that has nothing to do with the ultra-minimalist Beatles concerts of the 1960s, with a reduced stage and four musicians playing for only about 30 minutes 7 .

Illustration 2. A partial view of the U2’s 360° tour logistics

The transport technologies available at a given moment are at the heart of the management of the operations of a rock tour.

The example of the three stages of U2’s 360° tour should not be considered aberrant, as it is in line with the principles of behavioural theory. Overcapacity is the excess of actual or potential resources that help an organisation to overcome internal or external pressures, as indicated by Jay Bourgeois III, facilitating its adaptation when there is a strong time constraint. The presence of a quantity of resources that exceeds the minimum necessary to achieve a given level of production of a service improves reaction capacity and, therefore, customer satisfaction. Harvey Leibenstein explicitly talks about a slack that is essential to the “good life” of an organisation, which he calls “X-efficiency”8. The existence of several stages fits perfectly into this type of analysis, since it reduces the pressure on the teams at the end of a concert to dismantle and transport the equipment to the next city. Without this slack, artists or bands would probably have to reduce the number of dates offered to fans, which would negatively impact their satisfaction, especially with a significant increase in the distance to travel to participate in the unique and memorable experience that is the concert.

Importance of planning

However, it would be wrong to think that the implementation of logistics overcapacities makes operations planning unnecessary. The logistics of rock tours require an upstream definition of all supply activities, with the identification of the various critical tasks whose non-performance ‒ or delayed performance ‒ could block the supply chain, and consequently the execution of the concert in the various locations that have been selected. The organisation of a tour is therefore based on a negotiation process linked to the acquisition of logistical resources from specialised partners, which is comparable to the situation of commercial supply chains. For example, the Averitt company offers customised supply chain solutions based on 100 drivers for OTL 53-feet trailers specially equipped for the entertainment industry (for example, see the description of Drake’s Summer Sixteen tour by Mark Solomon9). This negotiation to obtain logistical resources essential to the development of the succession of concerts is a key element to create the conditions for totally successful control in the sequencing of supply chain operations. It should not be forgotten that one of the major problems of rock tours is linked to the equipment that must be handled and transported over long distances, under special safety and protection conditions. Accordingly, rock tours, especially when they take place on several continents, rely on excellent project management, which consists of designing and executing a set of operations to obtain a specific result. All project management is subject to the following three constraints: the technical specifications of the project; the material and immaterial resources required to carry it out; and the imperative respect of the deadlines for delivery. This is the case for rock tours, which rely on a set of processes throughout the life cycle, from the launch phase (beginning of the tour) to the closing phase (end of the tour). For rock tours, there is also the consistency of the quality of the infrastructure used. With increasingly elaborate tour productions and strictly timed concerts, the infrastructure is a decisive factor for the fastest-possible assembly and disassembly of the scenic structure.

While logistical planning is essential to avoid last-minute “bricolage”, in other words making do with the means at hand in an emergency, it does not prevent unexpected difficulties due to an unfavourable environment. This was the case for Coldplay’s Music of the Spheres tour in 2022. Faced with the climate challenge, to which its young fans are very sensitive, the band organised sophisticated logistics to offer an “eco-responsible” tour, with the use of solar panels, a portable battery, and a kinetic floor. In addition, as well as the biodegradable confetti and eco-cups used during the concerts, the audience was invited to pedal to generate green energy and allow the concert to continue. However, Coldplay acknowledged huge supply chain problems as, in trying to make their tour green, the band quickly ran into difficulties transporting equipment at an acceptable cost. An interruption of the Music of the Spheres tour was considered, before unexpected sponsors prevented a financial crisis and allowed the tour to continue. This example is interesting because it highlights the fact that the issue of implementing sustainable supply chains affects the entertainment industry as much as the retailing and manufacturing industries and, for that reason, knowledge transfers are of obvious interest.

A key topic to be explored

Rock tours attract millions of fans each year around the world. But are they aware of the logistics involved in pulling off impressive concerts? Indeed, for a rock tour to succeed, it requires the transport of a lot of goods, with the teams in charge of handling them, but also of assembling and disassembling the different elements of the stage structure every day. These teams must be fed and housed city after city, requiring efficient hospitality management. In comparison, transporting 25 tons of fruit and vegetables from Spain to Norway or importing 40 containers of toys from China is “a piece of cake”. A rock tour lasting several months or even years requires moving huge scenic structure, fragile musical instruments, hundreds of costumes, and giant video screens. Of course, when a rock tour is launched, there is no room for delays, damage, or scheduling errors. Each leg of the tour must be tailored to the specific laws and customs regulations of each country, which can be very demanding. Paradoxically, the rock tour supply chain has not been tackled head-on by management research, which leaves the field open to carry out work in cultural economics, sociology, musicology, or ethnology, as if the management of rock tour flows over several hundred thousand miles did not raise any specific issues. It is surprising when we learn that, in the late 2010s, the various tours of the Rolling Stones since 1962 had led the band to travel more than a million miles, or 43 times around the Earth! However, the specific constraints associated with tours are undeniable, and they deserve special attention. It is enough to consult Google Scholar to see the very low number of works dedicated to the rock tour supply chain stakes; an example is the recent doctoral dissertation of Gabrielle Kielich in communication studies10, and the almost total absence of academic articles published in the best world journals in logistics and SCM. This lack of interest is regrettable and is undoubtedly rooted in a purely “artistic” vision of rock tours, for which “the stewardship will follow” (“l’intendance suivra”), to quote General de Gaulle’s famous sentence. At best, some observers think vaguely that the logistics can be outsourced in total confidence to specialised competent logistical partners like Averitt.

This approach cannot be satisfactory when we consider the economic benefits of rock tours, especially for the cities hosting the concerts (even if it remains difficult to quantify these benefits precisely; for example, the fans’ spending on food products and accommodation at the concert venue). Even more importantly, significant business opportunities exist, especially for graduate students who have chosen to specialise in supply chain management. This field of event logistics can attract talent, because it offers a stimulating environment that would, for example, allow bright students to link their passion for music with their job, because finally, as the philosopher Georg Wilhelm Friedrich Hegel11:22 wrote, “Without passion nothing great in the world has been accomplished.” By way of comparison, for many years, MBA programmes in sports management have been developed in Europe to feed the professional sports sector, especially football. Tens of thousands of students passionate about sports are trained in marketing, finance, HRM, or management control to improve the governance of well-known clubs. This is not yet the case for the logistics management of rock tours. A word to the wise! Go to top

About the Author

• Rendell, J. (2021). “Staying in, rocking out: online live music portal shows during the coronavirus pandemic”. Convergence , Vol. 27, No. 4, pp. 1092-111.
• Anonymous (2023). “Concert season is here: upcoming music tours in the USA”. The European Business Review , 10 February. https://www.europeanbusinessreview.com/concert-season-is-here-upcoming-music-tours-in-the-usa/
• Reynolds, A. (2022). The live music business: management and production of concerts and festivals . Routledge, New York, 3rd ed.
• Chishty, M.-A., Loya, S., Ismail, S., and Zaidi, H. (2015). “Consumer response in out-of-stock situation at a retail store”. International Journal of Humanities & Social Science , Vol. 5, No. 3, pp. 180-8.
• Anonymous (2022). “How much money does it take to be a music superfan in the UK?”. The European Business Review , 19 September. https://www.europeanbusinessreview.com/how-much-money-does-it-take-to-be-a-music-superfan-in-the-uk/
• Bourgeois III, J. (1981). “On the measurement of organisational slack”. Academy of Management Review , Vol. 6, No. 1, pp. 29-39.
• Cottet, P., and Paché, G. (2022). “Living a memorable consumer experience: the epic of the Beatles concerts (1963-1966)”. Journal of Marketing Development & Competitiveness , Vol. 16, No. 3, pp. 33-47.
• Leibenstein, H. (1978). General X-efficiency theory and economic development . Oxford University Press, New York.
• Solomon, M. (2019). “Rock, roll and the road: how trucker guys and gals bring the music”. Freight Waves , 16 July. https://www.freightwaves.com/news/rock-roll-and-the-road-how-trucker-guys-and-gals-bring-the-music
• Kielich, G. (2021). Road crews and the everyday life of live music . Unpublished doctoral dissertation in Communication Studies, McGill University, Montreal.
• Hegel, G.-W.-F. (1857/2011). Lectures on the philosophy of history. WordBridge Publishing, Aalten.

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