Folk festivals present unique challenges and opportunities when it comes to stage backline equipment. Unlike rock concerts with standard guitar-bass-drum setups, folk events feature fiddles, banjos, accordions, Celtic harps, bagpipes, and other traditional instruments that require special care. Planning a comprehensive backline list for a folk festival means thinking beyond generic gear and anticipating the needs of acoustic instruments and the artists who play them. Successful festival organisers (from intimate local folk gatherings to world-renowned events) emphasise meticulous preparation – stocking the right gear, hiring skilled specialists, and keeping spares of everything essential – to ensure every performance goes off without a hitch.
Organisers can draw wisdom from history. In 1965, Bob Dylan shocked the Newport Folk Festival by “going electric,” plugging in and playing with a full backline (www.mixonline.com). The uproar he caused among purists underscores how far folk festivals have come: today amplification is standard even for acoustic acts, and a solid backline is a backbone of any folk stage. Whether you’re managing a small heritage folk afternoon or a multi-stage international folk extravaganza, here are practical lessons from decades of festival production experience on assembling backline lists for folk instruments.
Understanding Folk Instrument Needs
The first step is to know the instruments and their quirks. Folk musicians play a wide array of stringed, wind, and percussion instruments, each with different technical requirements. A bluegrass band might bring guitars, a mandolin, fiddle, upright bass, and perhaps a resonator guitar; a Celtic group could add bagpipes or whistles; a world folk ensemble might include a djembe, harp, sitar, or accordion. As a festival producer, it’s crucial to research the lineup and anticipate what gear each act will need on stage. Communicate with artists ahead of time via technical riders to confirm who is bringing what and what they expect the festival to provide.
Folk instruments are typically acoustic and sensitive. They can be prone to feedback, tuning issues, and weather-related problems. For example, miking a violin or acoustic guitar in a noisy outdoor environment can be tricky – a close mic might cause tonal changes with every movement, and open mics risk feedback. As live sound experts note, trying to mic an acoustic guitar on a loud stage is often “disastrous” – it’s usually better to use a direct input (DI) or a pickup system (www.soundonsound.com). Therefore, plan on providing high-quality DI boxes and instrument microphones suitable for fiddles, flutes, and other acoustic instruments.
Climate and weather are another consideration. Many folk festivals are outdoors, where heat, cold, or humidity can wreak havoc on wood and string instruments. Seasoned festival organisers schedule slightly longer changeovers for acoustic acts to allow for tuning and adjustments, especially if temperature swings are high. It’s wise to have a climate-controlled storage area or shaded tent backstage where instruments can be kept when not in use, minimising rapid tuning drift. At large events like the Cambridge Folk Festival (UK) or TFF Rudolstadt (Germany), artists appreciate having a covered tuning area or a quiet room to fine-tune their instruments away from the elements. A violin that was perfectly in tune in an air-conditioned green room might need retuning after 10 minutes in direct sun. Being aware of these challenges and building flexibility into the schedule demonstrates professionalism and care for the performers.
Additionally, understand that some headline artists may prefer their own backline gear for consistency. It’s not unusual for celebrated folk acts (especially those who blend folk with rock elements) to carry their own favorite amplifiers or stage pianos on tour and request to use them. Many headliners will “rarely use the supplied backline, deciding instead to bring all of their own equipment… it’s not about sound quality either. It’s about consistency” (www.audiotechnology.com). Accommodating this might mean factoring extra setup time—often headliners are scheduled last so they can use their custom gear without causing major stage delays. Stay flexible and prioritise artists’ comfort and consistency, but also be ready with a backup if an artist’s equipment fails to arrive or malfunctions.
Essential Backline Gear to Stock for Folk Festivals
When drafting your backline list, include specific gear tailored to folk and acoustic performances. Here are key categories of equipment and infrastructure that experienced festival producers ensure are on hand:
Direct Boxes (DIs) for Every Acoustic Instrument
Quality DI boxes are a folk festival’s best friend. These small devices allow acoustic instruments (guitars, fiddles with pickups, basses, etc.) to plug directly into the PA system, converting their signal to a balanced line and greatly reducing noise. High-end passive or active DIs (from brands like Radial Engineering or Countryman, for example) can significantly improve sound for acoustic instruments on stage. They help deliver a clean, strong signal to the sound console and minimise the dreaded hum or buzz.
Plan to stock more DIs than you think you’ll need. A busy folk stage can easily use a dozen DIs: think of a six-piece folk-rock band where every member plays two instruments (guitar, mandolin, fiddle, bouzouki, etc.) over the set – that’s a lot of patching. Keeping a few spare DI boxes at each stage is critical because if one fails mid-show, you need a quick swap. It’s wise to standardise on reliable models that touring engineers trust (some tech riders even specify DI brands by name because they appear on “countless pro touring riders” (www.radialeng.com)). In short: never let an acoustic instrument go silent because you ran out of DIs or had a faulty unit.
For instruments without built-in pickups (fiddles, tin whistles, ouds, etc.), consider clip-on microphones or contact pickups as part of your backline kit. High-quality clip-on mics (such as the DPA 4099 series or Audio-Technica instrument mics) can be a lifesaver – they attach directly to violins, cellos, accordions, or flutes, capturing sound up close while allowing the musician freedom to move. Since these mics stay very near the instrument, they help increase gain-before-feedback, which is invaluable on loud festival stages. Having a few clip-on mics available (and the appropriate phantom power adapters or wireless packs if needed) means you can handle those traditional instruments that don’t work well with a standard vocal mic on a stand. Many folk sound engineers carry their own favourite clip-ons, but as a festival, you should be prepared with backups.
Stools and Seated Performance Setup
Unlike rock guitarists who typically stand, many folk and traditional musicians perform sitting down. Your backline inventory should include plenty of sturdy stools and chairs for stage use. Acoustic guitarists often prefer a high stool (without arms) to sit on; fiddlers might play sitting; flute and whistle players frequently sit to stabilize their breathing; an Irish bodhrán player or Indian tabla player will definitely need a chair or cushion. Provide chairs of different heights and styles if possible – for example, a taller bar-stool style for upright bass players or guitarists, and regular chairs for others. All seating should be stage-appropriate, meaning quiet (no squeaky parts), solid, and preferably with a dark, non-distracting appearance on stage.
It’s good practice to place stools on stage during changeovers if you know the next act will need them, and have a couple extra side-stage. Folk festivals often have multiple acts doing short sets, so quick placement of seating is part of efficient changeovers. Something as simple as a missing stool can delay a set or cause an awkward shuffle on stage, so double-check the stage plot for each artist and make sure the required stools or chairs are listed and ready. As an example, the Newport Folk Festival (USA) stage crew sets up chairs in advance for groups like string quartets or veteran singer-songwriters who are known to perform seated. Similarly, at Cambridge Folk Festival, where some legendary artists might be older or prefer to sit, the production ensures comfortable chairs are available – a small touch that shows respect and enhances performance quality.
For certain folk traditions, consider special seating or platform needs. Some artists from South Asia or the Middle East prefer to sit on the floor on a rug while performing lute or hand drums; providing a clean carpet or raised riser with a carpeted top can make them feel at home on stage. Always check if any act has such requirements so you can include rugs or cushions in the backline pack for that stage.
Stage Risers and Quick Changeover Tools
If your festival has enough stage space and multiple bands in succession, stage risers can be a game-changer. These are portable platforms (often on wheels) that can hold a drum kit or a fixed setup of instruments. While not every folk festival features full drum kits, many do have percussionists or even hybrid folk-rock bands. Setting a drum kit or percussion rig on a riser means it can be rolled on and off stage swiftly. This technique, borrowed from large rock festivals, can also work in folk settings, especially on main stages. For instance, the Philadelphia Folk Festival or Australia’s Woodford Folk Festival (which mix folk with other genres) might schedule a folk-rock act followed by a solo folk artist. Using a riser, the crew can wheel off the drums promptly to make space for the next act’s simpler setup. Risers help stick to tight timetables by speeding up changeovers, ensuring the audience isn’t kept waiting and the schedule stays on track.
Even beyond drums, risers can be used creatively: mount a collection of music stands and chairs for an folk ensemble on a riser, or have an upright piano on its own wheeled platform if one is being shared between stages or acts. Just ensure your team is practiced in locking wheels and stabilising risers once in place (nothing would upend a mood faster than a rolling piano!). Safety first: use risers with proper skirting and clearly mark edges so performers don’t accidentally step off.
Other quick-changeover tools include colour-coded cabling and stage boxes. Having multiple pre-labelled stage input boxes (sub-snakes) and colour-coded instrument cables can allow the next band to plug in rapidly while the previous band’s gear is being struck. Some festivals prepare a “festival backline plot” with common instruments assigned to certain channels (e.g. Channel 15: Guitar DI, Channel 16: Fiddle DI, etc.) across all sets – this way the sound engineer can dial in appropriate settings quicker since, say, every fiddle is likely going through a known DI channel. Work with your audio team to see if a consistent patch layout is feasible, and include enough splitters or additional small mixers if you need to sub-mix things like a multi-mic drum or harp on a sidecar.
Microphone Stands, Music Stands and Accessories
Folk performers often play multiple instruments or have unique stage setups, so extra stands of all types should be on your backline list. Microphone stands (boom and straight) are obvious necessities – always have more than the planned number, because clips break and last-minute changes happen. It’s not rare for a singer to decide to use one mic for vocals and another for their guitar, or for a duo to suddenly ask for a second vocal mic. Having spares ready prevents scrambling.
Additionally, music stands are commonly requested at folk festivals, especially if artists are collaborating on new material or doing workshops. Many traditional musicians play tunes from memory, but some may have music sheets or lyric books on stage. A sturdy black music stand (ideally weighted or clipped so it doesn’t tip in wind) can be a welcome sight for them. Include a couple of lighting clip-ons for music stands if your sets go into the evening – trying to read sheet music on a dark stage is no fun.
Instrument stands are another overlooked item. Backline should include guitar stands (for acoustic or electric guitars and mandolins), fiddle stands or hooks, and even larger stands for things like upright bass or cello if those instruments feature in your lineup. If a performer has to swap between instruments mid-set, a safe place to rest the one not in use is essential. Rather than laying a valuable mandolin on the floor, a festival-supplied stand (with padding and marked where it won’t be tripped over) is much better. This small detail can save an instrument from damage and makes changeovers smoother for the artist.
Hire Specialists: Techs Who Understand Strings and Reeds
No matter how thorough your gear list is, it’s the people behind the gear who make a festival run smoothly. For folk festivals, it’s highly advisable to hire a backline tech (or music instrument technician) who is experienced with acoustic string and reed instruments. This means someone who knows how to restring a guitar or violin quickly, who can adjust a mandolin’s bridge on the fly, or swap an accordion reed or a tin whistle if needed. These skills are somewhat niche – a typical rock guitar tech might be great with electric guitars and drum kits, but might not know the finer points of a fiddle’s soundpost or an uilleann pipe’s drone reeds. A tech with a folk background, or a luthier on call, is worth their weight in gold during a festival.
What can a specialist tech do? They serve as the on-site doctor for instruments. Broken guitar string during a set? They’re side-stage with a pre-strung backup guitar or ready to hand the artist a tuned replacement within seconds. Mandolin jack acting scratchy? They have contact cleaner spray at the ready. Accordion leather strap snap? They carry gaffer tape, zip ties, and even spare straps to jury-rig a solution until proper repair. In short, they troubleshoot and fix issues that could otherwise cause performance delays or cancellations.
Real-world experiences underscore this need. At one edition of the Rainforest World Music Festival in Borneo, a sudden downpour caused some instruments to swell and go out of tune; having a seasoned instrument tech and local luthier on site meant several soaked guitars and a sape (a Bornean lute) were dried and re-tuned quickly, allowing artists to continue with minimal interruption. Similarly, at Festival Interceltique de Lorient in France – which features bagpipe and accordion-heavy acts – organisers ensure a “reed specialist” is available. This tech helped one Galician gaita (bagpipe) player replace a cracked reed moments before showtime, averting what could have been a very disappointing cancellation for the audience.
If budget permits, staff each stage with at least one backline tech who has basic multi-instrument knowledge, and designate a roaming “string doctor” across the festival. This person might even set up a small workstation backstage with common tools and spare parts (pliers, screwdrivers, a soldering iron for pickup cables, glues, strings, reeds, rosin, drum keys, etc.). Some festivals take community engagement to heart by involving local experts: for example, the National Folk Festival in Australia invites instrument makers to its events (www.folkfestival.org.au), and Port Fairy Folk Festival in Australia hosts “one of the largest interactive hand-made instrument exhibitions” on site (portfairyfolkfestival.com). These makers and luthiers not only enrich the festival experience for attendees but can also serve as a knowledgeable resource if an artist’s instrument needs emergency care.
In summary, don’t leave the fate of a fiddler’s performance to chance – have a pro on hand who can re-hair a bow or fix a buzzing string pickup. The performers will thank you, and the show will go on smoothly.
Spare Items: Tuners, Capos, Strings, and More
Even the best musicians sometimes forget or lose small accessories. A festival production team should prepare a stash of spare items to cover these inevitable needs. In the fast-paced environment of a festival, it’s embarrassingly common to hear, “Does anyone have a tuner I can borrow?” or “My capo just broke, can I get one from backstage?” Savvy festival producers anticipate these requests and have a kit ready.
Tuners: Digital clip-on tuners (or pedal tuners for stage use) are crucial for acoustic sets. Keep a few charged clip-on tuners in the backline kit for each stage. If an artist’s tuner malfunctions or batteries die, handing them a working tuner on the spot can save precious minutes. Tuning by ear on a loud festival stage is difficult even for pros. By providing a spare tuner, you’re ensuring the artist can get in tune quickly and the audience isn’t subjected to prolonged tuning delays. Pro tip: also keep spare batteries (like the common CR2032 coin cells for tuners, or 9V for pedal tuners) in your kit.
Capos: Guitarists and banjo players rely on capos to change keys, and capos are notorious for getting lost in transit or left in a guitar case back at the hotel. They’re also relatively cheap. Keep several guitar capos (the adjustable kind that fit most necks) on hand, plus a few specialised ones if you know a performer uses a particular type (for instance, a banjo capo or partial capo for alternate tunings). The look of relief on a singer-songwriter’s face when the stage manager produces a spare capo five minutes before their set is well worth the minor expense of buying a few extras.
Strings and Reeds: Every string player carries their own spare strings – until they don’t. Maybe they already used their backup set in last night’s show, or a travel mishap separated them from their gear bag. Having a selection of common strings in your backline inventory can save the day. Focus on gauges and types used by artists you’ve booked: light or medium acoustic guitar string sets (phosphor bronze), a few sets of fiddle strings (and perhaps individual E strings which break most often), some mandolin and banjo string sets, and a bass guitar string set if you have upright or acoustic bass players (electric bass strings too if any folk-rock).
Likewise, woodwind reeds for instruments like clarinet, saxophone, or even uilleann pipes might come in handy. You can’t stock every possible size, but having a couple of strength 2.5 or 3 clarinet reeds, some alto sax reeds, or an oboe reed or two can make a difference if those instruments are part of your festival. These are niche, but consider the risk: if a Bulgarian gaida (bagpipe) player’s reed splits, the only replacement might be something you have to improvise. In one case, a resourceful tech at a folk festival carved a makeshift reed from a piece of cane on site! It’s easier if you just have a few known spares ready.
Picks, Cables, and Miscellaneous: Guitar picks have a way of vanishing. Keep a variety of pick thicknesses available – they cost next to nothing and artists will gladly grab one when needed. Also maintain spare instrument cables and microphone cables as part of your backline kit (yes, your audio crew will have these too, but it’s good to have backups in the backline stash for quick access on stage). Spare instrument straps can be helpful (an old leather guitar strap in the bottom of a trunk has saved more than one show). If any performers are using older or quirky instruments (e.g. a vintage electric piano or an analogue synth in a folk-fusion act), communicate with them to see if spares or adapters are needed.
By preparing these spare items, you follow the scout’s motto: “be prepared.” As one stage veteran quipped, the mark of a true professional is having backups of all the essentials – “from extra tuners and strings to backup tubes and batteries” (www.guitarcenter.com) – so that neither the band nor the show staff ever have to beg around for a missing piece. Festival producers should embody that professionalism by equipping their team with spares that can be rushed on stage at a moment’s notice. An added bonus: when fellow crew or artists from other stages hear that your festival always has the little things covered, your reputation for excellent support will soar.
Organization and Labeling: Keeping Backline Chaos Under Control
With multiple stages, dozens of performers, and hundreds of gear pieces, a folk festival’s backline can descend into chaos without good organization. That’s why experienced producers stress clear labelling and smart organization of all equipment cases, trunks, and stage boxes.
Label everything. Use durable, waterproof labels or tape to mark each road case and storage trunk with its contents and designated stage or area (www.harrydoherty.com). For example, you might have “Stage A – Instrument Spares,” “Stage B – Mic Stands & Cables,” and “Main Stage – DIs & Audio Accessories” on your cases. When a frantic search is on for that extra fiddle stand, a boldly labelled trunk saves valuable time. Labeling with your festival name or an asset ID is important too – it helps crew identify festival-owned gear at a glance and discourages visiting acts from accidentally packing your items when they depart. A simple sticker with “PROPERTY OF [Festival Name]” and a unique number can go a long way.
Many roadies and touring crew live by the mantra “label, label, label” because it makes gear easy to spot and retrieve (www.harrydoherty.com). At festivals, where multiple bands’ equipment intermingles on stage and in wings, labeling helps ensure nothing gets lost or mixed up between acts. It’s not unheard of for a DI box or guitar pedal belonging to the festival to vanish into a band’s stash during the rush of teardown – only to be noticed missing hours later. Clearly marked gear stands out and tends to find its way home. One practical tip is to also label by colour code: perhaps Stage A backline cases get red tape, Stage B blue, etc. This visual cue means even from a distance or in dim backstage lighting, crew can direct the right gear to the right stage.
Stage boxes (the on-stage storage tubs or small cases you keep just off the wings) should likewise be labeled with their function. For instance, a translucent plastic bin labeled “Stage Right Spares – Tuners/Capos/Picks” can be placed just off stage, so any musician or tech can quickly grab what they need during a set. Another might read “Mic Stand Spares – Stage Left”. By having these mini backline stations clearly marked, you reduce radio chatter and panic when something is needed urgently – anyone from the crew knows exactly where to look.
Finally, keep your backline storage area (whether a tent, trailer, or backstage room) orderly. Shelve or separate equipment by type. Use dividers in drawers for small items (tuners, adapters, drum keys). Encourage your techs to return items to their labelled spot after each use. It sounds pedantic amid festival excitement, but these habits prevent small gear from vanishing. Remember, as a festival organiser you’re effectively running a temporary music gear shop for the weekend – and good shops keep their inventory organised.
Post-Festival: Inventory Update and Maintenance
Once the festival lights dim and the last encore is sung, the work isn’t quite over for the production team. One of the most important duties of a seasoned festival producer is to update the backline inventory after each edition of the festival. This means doing a thorough count and check of every piece of backline gear, from the largest amp down to the last capo, to see what needs attention before you pack it away or send it back to suppliers.
Start with a full inventory audit. Use the master list you began with (you did have a detailed list of all backline gear deployed, right?) and go through item by item. Note any losses immediately. If that high-end DI box #3 never made it back from Stage 2, now is the time to discover it – not next year on the eve of your festival. Check with stage managers or even reach out to bands if needed (sometimes an artist might inadvertently pack a festival-owned mic or DI; a polite follow-up can often retrieve it). Incidents of missing gear are common enough that a touring stage manager once quipped, “If you manage to get through your whole touring career without ever losing any equipment, you are the only one” (www.harrydoherty.com). In other words, assume some gear will eventually go astray. By catching discrepancies now, you have time to resolve them or budget for replacements.
Next, assess the condition of each item. Cables that were crackling on Day 3, mic stands that started drooping, stools that became wobbly – tag them for repair or replacement. It’s far easier to fix or buy off-season than during the rush leading up to the next event. Professional backline rental companies keep their equipment in top shape year-round through regular upkeep – festivals should follow the same principle for any gear they own. If you own the gear, schedule maintenance: have amplifiers serviced, get the piano tuned, oil the hinges of road cases, and clean those dusty clip-on mics. If you rented, give feedback to the supplier about any issues so they can service their kit.
This is also the moment to reflect on what backline gear was underutilised or in short supply. Did you find that hardly anyone used the on-stage monitor wedges because most folk acts were fine with the mains? Maybe next year you can scale back there. Or did you constantly send interns scrambling for more music stands? That’s a clue to invest in a few more. Some festivals create an internal report or debrief document, where each department (including stage/backline) notes what went well and what should improve. Include notes like “need two more violin clip mics” or “all XLR cables on Stage 3 to be replaced” so that when planning the next festival, you can budget and plan accordingly.
By updating your inventory and acting on its lessons, you’re performing continuous improvement for your festival. Seasoned producers treat backline equipment as an investment that spans multiple years. For example, the team behind Edmonton Folk Music Festival in Canada (a long-running event) has iteratively built up a cache of quality backline gear by reviewing their inventory needs annually. They noticed years ago that direct sunlight on instruments was a recurring issue, so they purchased more pop-up shade tents and instrument covers – a small inventory addition that paid dividends in instrument tuning stability. Such improvements come directly from post-event analysis.
Finally, ensure that all gear is properly stored after the festival. Humidity-controlled storage, neat organisation, and even simple things like removing batteries from devices (to prevent corrosion during long storage) will save you headaches when you pull the gear out next time. If you’ve labeled and catalogued everything, the next edition’s prep will be that much smoother. And don’t forget to update any digital inventory systems or spreadsheets – it’s only as accurate as the latest entry, so log those new spare capos you bought or remove the broken mic that’s been scrapped.
With the inventory updated and gear safely stowed or returned, you’ve closed the loop on this year’s backline journey. Take a moment to appreciate that because of your team’s foresight – stocking the right gear, hiring the right specialists, and organizing everything meticulously – countless magical musical moments happened on your stages. From the quietest ballad on a lone mandolin to the raucous finale with a dozen musicians fiddling in unison, the backline support made it possible.
Key Takeaways for Folk Festival Backline Success
- Tailor Backline to Folk Needs: Understand the unique instruments in your lineup (strings, reeds, percussion) and plan for their amplification and care. Communicate with artists early to anticipate special requirements.
- Essential Gear Stock: Equip stages with plenty of DI boxes, instrument mics (including clip-ons), and appropriate stands (mic stands, instrument stands, music stands). Provide sturdy stools or chairs for seated musicians, and use risers to speed up changeovers for multi-instrument setups.
- Hire Expert Techs: Have at least one backline or instrument technician who knows acoustic instruments (guitars, fiddles, accordions, etc.) on site. They can perform quick fixes like string changes or emergency repairs, saving performances from disaster.
- Spares Kit: Always keep spare accessories: tuners, capos, strings, reeds, guitar picks, cables, straps, and batteries. These inexpensive items can rescue a show when an artist forgets or breaks something.
- Organise and Label: Label all backline cases and stage-side boxes clearly by stage and content. Keep gear organized so nothing gets lost or mixed up. An orderly system ensures quick access during fast changeovers and after the festival.
- Post-Event Inventory: After the event, thoroughly check all backline equipment. Repair or replace damaged items, note any gear that “walked away,” and update your inventory list. Use these insights to improve and refine your backline planning for the next edition.
By following these guidelines and leaning on real-world festival experience, the next generation of folk festival producers can avoid common pitfalls and keep the music playing smoothly. A well-thought-out backline plan is the unsung hero of every great folk festival performance. When the fiddles are in tune, the guitars are humming without feedback, and every performer has the tools they need at their fingertips, you create the conditions for those spine-tingling musical moments audiences will never forget. And ultimately, facilitating those moments is what festival production is all about.
27th September 2025