"If we have got 24 hours in the day, the job will take 24 hours."
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'"` We peer across the vast, empty floor of the sta.
dlum. Out there, way across tte space, things are pretty quiet. But the peace is short-lived: the back entrance of the arena opens. Seconds later hundreds of excited young women are runniig through the gates, jostling forward in an effort to roach the front of the stage. CM momentarily feels a little flattered, but then the reality sets in that the punters have come to sae Bon Jovi. not a journalist, even one from Britain's premier haulage magazine.
Not to worry. It's a rare chance to take a look at the stage of such a large-scale -.our. But technicians need to get work done so we make an exit, finding refuge in the backstage catering area. CMtucks into a delicious pork sandwich, as Roger Thomas explains the complex nature of EST's work. Firstly, he tells us about the indispensable generators. "If the national grid was to collapse, then the show would till be able to go on," he says. "We can play in any circumstances." The generators are mounted on two flatbeds; they devlop more than enough juice for the speakers, lights and other electrical equipment of the show.
Sea containers
EST is transporting the gear for tile entire Bon Joy' UK, European and Scandinavian tour, but the bits and pieces have to reach them in the first place. "Some of the equipment comes from the United States, and when the tour finishes it has to get back," says Thomas. "It means at the end of this tour seven sea containers will have to be loaded up for the journey
hack to the States. So the job means that we often have to go to parts and airports." Does the carriage of fragile consignments such as musical instruments create any particular problems? "Not se much, because the packaging is designed to travel round the world," Thomas explains. "Instruments don't get preferential treatment." However, all EST trailers on the tour are running on air suspension.
If the type of work undertaken by EST Is different, the way the firm approaches each job Is quite remarkable. It's more akin to a military operation than workaday haulage, with the convoy spilt Into three separate wings: Advance Team A, Advance Team B, and the Universal Team. Thomas explains: "Team A, with Its three trucks, transports the generators, rigging, cables, and light catering to the venue In the first place. At this point the stage has already been erected by another specialist firm."
To follow the military analogy, Imagine Team A as establishing the bridgehead. After this, when some sort of infrastructure is in place, the thrust of the operation is down to the Universal Team. Here, the overwhelming bulk of the EST fleet roaches the scene and the heavy work begins. 'The Universal Team carries all the bits and pieces which the audience gets to see," says Thomas. "Speakers, lights and mixing desks all have to be taken from the trucks Into the arena."
How long does it take to set up a show of this size? Thomas stresses that it is always a case of painstaking time management. "If we have got 24 hours in the day, the job will take 24 hours. But if we have got six hours, then we will take six hours." It has been known to get everything up and running in as little as two hours, but typically the job, when EST reaches the scene, will take around 12 hours.
Incidentally, with the job of Advance Team A completed, and the work of the Universal Team in full swing, another operation is mobilised: the trucks of Advance Team B roll on to the next venue on the tour. like their Team A colleagues, they establish the bones of the show, awaiting the bulk of the fleet. "This leapfrogging technique allows the tour to move much quicker," says Thomas.
EST fleet
The busy schedule explains why the EST fleet at Gateshead International Stadium Is so quiet—the drivers are lying low until BcNi Jovi finishes the show. But is Thomas ever caught up in the electric atmosphere of the rock and roll experience? His reaction is conservative. "Occasionally I will listen to the music." he says. "But I tend to go to sleep. You get immune to it after doing the job for a few years...it just kind of fades into the background."
Taking a breather from the noise and excitement of the show is nothing to do with musical taste—it is vital for recuperation. When the stars trot offstage and the thousands of elated fans go home, EST has to put everything back in the trucks. We spoke to Thomas after the Gateshead show. "We loaded 15 trucks in under four hours, which took us to 2am. Then we drove to Stoke-on-Trent straight after," he says. EST also transports for conferences and theatre shows. All these one-off jobs are demanding, but the gruelling schedule of the major rock tours are toughest. "Those are hard work," Thomas admits.
The schedule can be punishing for all EST staff on a tour, but the lead driver is charged with extra duties which might extend to anything from route planning to sorting out Sunday driving permits in Germany.
It's a world away from any other form of haulage. In the competitive world of road transport an operator can little afford to disappoint the customer, but there can be absolutely no margin of error in the rock tour business. When the punter claps eyes on the band's advertising poster months before the stars take to the stage, the die is cast: EST must be there on the day. The firm's slogan—"You rock, we roll"—could hardly be more accurate.
To make sure everything runs smoothly, unstinting dedication from the drivers is crucial. Noise and constant coming and going are occupational hazards to be endured, as is the requirement to be away from home for weeks at a time. The combination of expertise, organisation, stamina and the right equipment ultimately comes to fruition, "It is about maximising resources," Thomas concludes.
• Visit the EST web site: www,vourock-weroll.co.uk: