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Clarity

Theron Rodriguez

Dallas TX

From advance to settlement and everything else that happens behind the curtain, I've been there, through thousands of shows, and I can teach you how it's all done.
https://www.linkedin.com/in/theron23/

Before retiring as Director of Production for AEG Presents, the second largest promoter on the planet, I climbed my way up from stagehand to audio engineer, stage manager to production manager, promoter rep and show accountant, to ultimately overseeing countless concerts and festivals.

Now I consult with venues, promoters, production companies, artists, and their management teams who need someone who's actually done the job — not studied it.

$2.50/min

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Event planning Music Production Live Events Music Industry Accounting Production Management Show Production Hospitality Concert Production Festivals

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I'll Show You What It Means to Be a Professional Concert Production Manager.

If I learned anything in 30 years, it's these two things: it's going to cost more than you think, and it's going to take longer than you think. Time and money. Nothing throws a wrench in the show like lacking either one. Concert production management is the job of building that reality into the show weeks in advance, not discovering it on show day when it’s ridiculously expensive and almost impossible to fix.

I've managed production for everything from intimate private celebrity events to 30,000-person festivals, across multiple genres, in every kind of venue you can imagine. That means building and holding budgets, managing vendor relationships, hiring and managing crews, coordinating departments, advancing technical and catering riders, and keeping a production on schedule and on budget when everything is trying to push it off both.

I'll show you how to build a realistic production budget that accounts for what always happens, how to negotiate vendor contracts across audio, lighting, staging, backline, catering, and security, (so you stop paying for things you didn't need) how to hire the right crew and manage department heads without babysitting them on show day, and how to stay in control of the production when the unexpected hits — because it will.

This job, done well, is one of the most rewarding in the industry. If you're stressed, you're doing it wrong. I'll show you how to do it right.

I'll Show You How to Build a Career in the Music Industry. No BS - Just Facts.

I started as a stagehand at 19 and retired at 49 as Director of Production for AEG Presents, the second largest concert promoter on the planet. Every rung in between — FOH and monitor engineer, stage manager, production manager, promoter rep, show accountant — I climbed it.

That's 30 years of watching people stall in their careers, watching others wash out, and understanding exactly why each happened.

If you're trying to break into live music and concert production, I'll tell you how the industry actually works — not the version people post about online, the real version. How to get on a crew. How to get noticed. What to say yes to when you're starting out and what to protect as you move up.

If you're already in it and trying to climb your way up, I'll show you how the people at the top of this industry actually got there, what they prioritized, and what you need to start doing differently.

No gatekeeping, no vague inspiration — just a straight conversation about what it takes to build a real career in live music from someone who did it for 30 years on both sides of the hiring decision.

I'll Show You How to Advance a Concert, the Right Way. the Easy Way.

I've advanced thousands of shows, at every level, from intimate private events to 30,000-person festivals. Most show-day problems are advance problems. By the time the trucks roll in, it's hard, stressful, and very expensive to fix what you should have taken care of weeks ago. The missing piece of backline, the dressing room that wasn't ready, the rider item nobody ordered — those aren't show-day surprises, they're advance failures. It's the difference between a good day and a bad day.

I'll show you how to advance the right way. The easy way. That means working through technical and catering riders line by line, conducting venue walkthroughs, locking in crew call times, coordinating artist logistics, confirming production timelines, and making sure every department head knows exactly what's expected before anyone unloads a single case.

A technical rider is a negotiable document, not a demand list. The same goes for the catering and hospitality rider. Most people reading one for the first time treat it like a legal contract they have no choice but to execute in full. Most people reading one for the hundredth time still miss where the real exposure is. I've worked through riders from both sides of the table, as the production manager responsible for delivering them, and as the promoter rep advancing them against a real budget.

I'll help you read, interpret, and advance riders so you're never caught off guard, and so you know exactly where to push back and where not to. You'll learn how to identify the non-negotiable versus the wish-list items, how to have the conversation with a tour manager when the budget and the rider are miles apart, and how to get to a workable show without blowing the relationship. Sometimes the gap between what's on the rider and what the market will support feels impossible. I'll show you how to close it and make everyone feel like they won. And if the demands are genuinely unreasonable? I'll show you how to recognize that too, so you're not spending energy trying to solve a problem that was never yours to solve.

Nothing should surprise you come show day, not the tour manager, not the artist, not the production manager, and not the bill. If you advance it right, you show up ready to execute, not scramble. The goal isn't just to survive the day. It's to finish on schedule and under budget, with everyone happy. That starts many weeks before load-in.

I'll Teach You How to Properly Settle Concerts, the Correct Way, the First Time.

It's going to cost more than you think. Know this. I've settled too many shows where I watched promoters lose money. Not because of bad deals, but because nobody padded the budget for what always happens. The overage on the catering. The unexpected crew overtime. The production rider that the buyer didn't review before submitting the offer. The box office variance nobody caught until midnight. By the time you're sitting across the table doing settlement, it's too late to fix the budget. That conversation happened months ago, and it was either won or lost back then.

A big part of winning that conversation starts with your vendor contracts. Audio, lighting, staging, backline, security, transportation — every vendor relationship is a negotiation, and most people on the buying side don't know how to manage them. I've been on both sides of those conversations. I know what vendors will move on, what they won't, where the real money gets wasted, and where the padding lives. The promoters who get the best deals aren't the ones who push hardest. They're the ones who know exactly what they're buying before they sign anything.

I'll walk you through the entire settlement process. How show accounting actually works, where the surprises hide, how to properly read and create a settlement sheet, how to have the hard conversations with tour accountants, and how to protect your margin before the day even starts. I'll also show you how to negotiate vendor contracts that get you better deals, tighter terms, and fewer surprises, and how to stop paying for things you didn't need because nobody questioned or pushed back on the rider.

Whether you're a promoter learning to settle your first shows, a venue trying to tighten up your deal structures, or a production manager who needs to understand the financial side of the operation, I'll give you the real picture. No theory, reality. Exactly what I learned, actually settling countless shows of all sizes, for decades.

I'll Teach You How Professional Stage Managers Keep the Deck Running Smoothly.

Stage management is the job of keeping an entire show day from coming apart at the seams, and doing it without anyone in the audience knowing there was ever a seam. I spent 30 years running the show from the deck: artist arrivals, set times, changeovers, crew coordination, interdepartmental communication, and keeping every moving piece in the right place at the right time, from the first truck rolling in to the last one rolling out.

Most people don't understand what stage management actually requires until something goes wrong. A late artist, a slow changeover, a department head who didn't get the memo — any one of those can cascade into a public disaster if the person running the deck doesn't have the systems and instincts to absorb it and move through it.

None of it works without a schedule that was built right in the first place. Shows run late. They just do, and you have to accept that. The only variable is whether you built that into your timeline or you're going to spend the day scrambling to make up time you never had. The schedule that looks too loose is almost always the one that finishes on time. The tight one is the one that falls apart right before doors. I'll show you the difference and how to stop building schedules based on how you wish the day would go.

I'll help you build both the systems and the instincts. You'll learn how to build a show-day timeline with real buffers and clear department responsibilities, how to sequence load-in so nobody's blocking each other, how to communicate across departments so nothing falls through the cracks, how to manage artists and their crews professionally, and how to keep the day moving even when it doesn't go as planned. Because it won't. I'll show you how to be ready, how to react, and how to respond.

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Member since June 2026