I started with a band called RUB ULTRA, managed by a friend of mine and one of the founders of Splash and Barfly, Nick Moore. Then onto GOYA DRESS and then I hooked up with FEEDER who were actually called REAL at the time -  that was probably '93 or '94 and I was with them up to 2000. Then there was ASH (as a merchandiser), MO SOLID GOLD, CRACKER, THE BLUE STATES and EIGHTIES MATCHBOX B-LINE DISASTER as a tech, KEANE as their first Tour Manager for eight months in which time they went from playing to one bloke as support at the Brighton Concorde 2 to 100,000 people at Glastonbury 6 months later. That was one hell of a ride. Then I started with THE GO! TEAM at the end of 2004.  I've also worked with THE CHEMISTS, TOKYO POLICE CLUB, THE OTHERS, VEGA4 and quite a few others as well along the way...


Do you have to like a band - both the members of it and their music - in order to take on the work with them?

No, not really is the honest answer as you're being paid to do a job. It really helps if you do though. I normally find myself being drawn into the music the more I know and hopefully understand the people who make it...


When and how did you first hook up with The Go! Team and how long were you their tour manager for?

I started with The Go! Team back in November 2004 for a Paris show. My last show was a festival in Jersey in August 2008 so nearly 4 years.


From an outsider's perspective you always appeared to be 'one of the family' - did it feel like that to you, particularly when compared to other bands you worked with?

They're a very inclusive bunch, very much a team. They're all pretty much laid back which is a good thing because you spend an awfully large part of each day in very close contact with each other. There's not a lot of places to hide on a tour bus. They were a really good bunch to work with and each tour or show felt like an adventure rather than a chore or just a job which was great.


The band has played in an amazing number of countries and at a variety of venues - everywhere from the 100 Club to the Royal Albert Hall to Glastonbury to Later with Jools Holland. Have there been any gigs - best and worst - that particularly stick in the mind, and why?

I think I worked it out at 30 countries over five continents, so not bad going. Red Rock amphitheatre supporting The Flaming Lips and Ween was pretty damn amazing. Some shows you think are going to be terrible and they'd turn out fantastic. We played a strange old warehouse in Austin, Texas, the stage was just some crates on the floor with bits of wood thrown on them. There was a man on the roof with a shotgun although I've no idea why and didn't really feel like asking. The crowd were all drinking this weird free drink which was a mixture of alcohol and caffeine and were absolutely mullered by the time the band went on at about 2am but it was a blinder. China was full-on as well. In fact pretty much all Go! Team gigs have been 'experiences'. They're not really the tap yer foot, stroke your chin and discuss the syncopation type band.


What's the worst difficulties you've had to overcome 'on the spot' at a Go! Team gig?

It almost invariably involves equipment failure. There's an awful lot going on up on stage and it doesn't seem to matter how careful you are or how much you check things, something will fail at some point. The band are great though and most of the time the audience probably has no idea. Missed or delayed flights are always a challenge and we all could have probably done without the tour bus breaking down in heavy snow with no lights or heating at the side of the road in Germany. Twice. On the same day. For hours. We still made the gig though. We had a bus turn up in the US for the start of a tour without the trailer I'd ordered to carry the equipment which meant trawling Texas u-haul yards trying to find one on a Sunday afternoon when most were closed or had none left.


What have been your worst or most challenging journeys travelling abroad (i.e. dodgy boarder controls/missed flights/traffic/weather etc)?

Trying to leave Russia was fun. To travel to some countries you need a Carnet (basically a temporary import/export license for the equipment you're carrying). Ours was in English, the Russians wanted it in Russian. A customs officer  decided to very slowly write out a translation by hand while the check-in was about to close. She didn't speak English and I didn't speak Russian so I had to mime every single piece of equipment. I don't know if you've ever tried miming 'overdrive effects pedal' to a bureaucratic bored Russian customs office with a face like chipped granite and eyes of pure hatred and disdain but I'd not recommend it as a parlour game. We made the flight with seconds to spare. I think my mime of a Melodic convinced her I was insane and it was in her best interest to get us out of the country as quick as possible.


Transporting the band's gear (two drum kits, recorders, samplers, keyboards - as well as load more conventional instruments) again from an outsider's perspective seems like a logistical nightmare especially when popping off for the weekend to play China or South America.  Can you summarise how it all happens?

Very very simply, we hire the big stuff when we get there. The cost of freighting the drums and amps etc for a one off festival show would be horrendous. We travelled with all the smaller equipment and instruments though and we could get it down to about 12 extra pieces on top of our personal luggage. That's still a huge amount to pay in excess baggage though. Jamie is the king of paring down the equipment to the absolute necessary and packing in the smallest space, I thought I was good till I met him, the guys a walking Tetras expert. To get it down even further, the band would secrete smaller items, pedals, drum sticks, cables etc. around their own suitcases.


If you had to pick a one - what would you favourite gig/night of a Go! Team tour?

That's a really hard one. I don't think I can pick just one. It was amazing to be on the side of the stage and watching the crowd go absolutely mental. Some nights would just seem to flow, nothing would go wrong, everyone would be really happy and the show would just go off, the audience going crazy and after the equipment had been packed away and we'd been paid, the band and crew would all sit backstage just laughing and singing and being silly. They were my favourite nights.
 

You've moved away from the business now. What are you up to and do you miss it?

I now live up in the wilds of Scotland and am involved in various 'green' groups. My carbon footprint as a TM was ridiculous and I feel it's time to do something about that. I still keep my hand in with a local Jazz Festival up here. I miss the adventure and camaraderie but I'm more than happy with never going on a long-haul flight or spending hours in an airport lounge again.
 

Anything else you'd like to add about your time with the band (or anything else you think I've missed)?

Working for The Go! Team was a boys (and girls) own adventure and they're an absolutely top hole bunch of people. It was a pleasure to work with them and I really spent a lot of time smiling. I'm looking forward to seeing them in Feb as a normal punter. I get to get my old bones down the front and show Ninja a few moves...
                                             
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Stew has asked, rightly so, that I mention the rest of  The Go! Team's crew and the sound  engineers  - Jim, Tommy, Al,  & Ed   that make the shows possible. Consider it done.

On a personal note I'd like to say thanks to Stew - for his very friendly and approachable nature on the few occasions we met, for sorting us out on a number of guest lists here and there and for the occasional friendly wave and warm smile from the side of the stage when he spotted me in the crowd, which - when you're on your own, miles away from home - was always welcome. Cheers Stew - and all the best in your future pursuits.

Pooh Burgess
December 2010