Monitors vs. Mains
You’ve seen those wedge-shaped speakers on the floor pointing at the musicians, right? Those are monitors. Their job is to let the performers hear themselves and each other over the roar of the crowd and their own instruments. The monitor mix is often
totally different from what you hear. The lead singer might need a lot of their own vocal, while the drummer needs to hear the bass player lock in. The big speakers aimed at the audience are the 'mains' or the 'FOH' (Front of House) system. When a musician points to their ear and then points up or down, they're giving the monitor engineer—usually a person side-stage—a signal to adjust their personal mix. It’s a silent, crucial conversation happening in plain sight.
Upstage and Downstage
This one comes from the history of theater, where stages were often 'raked,' or angled, sloping down toward the audience. So, walking 'downstage' means moving toward the front of the stage, closer to the crowd. Walking 'upstage' means moving toward the back. You'll still hear directors and stage managers use these terms constantly during setup. While the physical rake is rare today, the terminology stuck. Knowing this gives you a new appreciation for a performer’s blocking and movement, understanding they’re not just wandering around, but moving with purpose within the geography of the stage.
The All-Important Head Nod
This is the universal sign for 'Here comes the change.' It's one of the most common and vital pieces of non-verbal communication in a live band setting. A singer might give a quick nod to the band to signal the end of a verse and the start of a chorus. A guitarist might nod at the drummer to cue a solo or a big final chord. It's the glue that holds a jam together, an unspoken agreement that keeps everyone on the same page without a written-out plan. Once you start looking for the head nod, you'll see it everywhere, and you'll begin to anticipate the shifts in the music right along with the band.
Strike the Set
This sounds dramatic, but it's standard industry lingo. To 'strike' something simply means to take it down and remove it from the stage. When one band finishes their performance at a festival, the stage crew’s job is to strike their gear as quickly as possible to make way for the next act. The time between sets is called 'turnover.' This flurry of activity isn't chaos; it's a choreographed dance. Watching an efficient crew strike a drum kit and amps in minutes is its own kind of performance, highlighting the behind-the-scenes professionalism that makes a festival run smoothly.
Soundcheck and Line Check
A soundcheck is the process before the doors open where the band works with the sound engineer to dial in the mix for both the mains and the monitors. It’s their chance to make sure everything sounds right in the empty room. However, at a festival with multiple bands, there often isn't time for a full soundcheck for every artist. Instead, you'll see a 'line check.' This is a much faster process where the engineer quickly goes through each input ('line') on stage—from vocals to guitar to drums—just to ensure a signal is present and clear. It’s a get-on-stage-and-go situation, and it relies heavily on the professionalism of both the band and the crew.
The Setlist
The piece of paper taped to the floor or a monitor isn't just a cheat sheet; it’s the roadmap for the show. A band’s 'set' is the time they have to perform, and the 'setlist' is the list of songs they plan to play. But it’s often more than that. Look closely and you might see notes about which guitar to use, the key of the song, or cues for transitions. Sometimes, a band will deliberately go 'off-setlist,' deciding in the moment to play a different song based on the crowd's energy. Spotting a band meeting mid-show to discuss a change is a sign that you’re witnessing a truly live and spontaneous performance.
