[b]Malcolm, thanks for talking with themekongsessions.com
You once told us that you got into rock n roll for the glamour and women. How has that panned out for you? What is the reality of putting on concerts for the giants of rock and roll?[/b]
As it happens, it actually worked out quite well for me as I met my wife through this job and am happily married with two beautiful daughters who bring as much glamour to my life as I could possibly desire and who also provide a healthy antidote to my time away from home working on events.
As for the realities of life in the production side of the live music and event industry, it's a vocation I think...once you experience it you know immediately whether it's the life and career for you. Many people come to it imagining that it’s all sex, drugs and rock n’ roll and don’t hang around for long once they discover that it actually also involves a lot of hard work, long hours, responsibility and dedication.
I would compare the process of organising events to putting together a giant jigsaw puzzle involving many different components, equipment and service suppliers. There is an old adage that 'Proper Prior Planning Prevents P*** Poor Performance' and I have always found that to be true in live event production where solid advance planning is at the heart of all successful events big or small.
At the top end standards are generally very high because they need to be when you are creating a custom built venue from scratch, rigging increasingly massive and complex temporary structures or moving a small army of people and tons of gear around the globe to a fixed schedule. This is particularly the case on an international tour with an artist of the calibre and reputation of Leonard Cohen, where expectations are high.
On the current leg of the LC World Tour there are 40 shows across 16 countries and the tour director and production manager are responsible for ensuring that all of the production, technical, logistical and a multitude of other pre-requisites are delivered by the local production teams in each of these locations, including Phnom Penh.
First and foremost it is a team effort requiring a wide variety of talents to ensure success...for me one of the most satisfying aspects of working on events in Asia is the wide diversity of backgrounds and nationalities that comprise some of the production teams; my record so far on a single production is over 35 different nationalities which is unique anywhere in the world, I think.
With over 25yrs in the industry, what artists or concerts stick out in your memory as being truly momentous?
In the course of my career I have been fortunate enough to have worked on productions featuring artists from across the spectrum of the musical genre from rock and pop via jazz and blues through to world music and classical. Of those, the artists and shows which immediately come to mind as being the most memorable are:
What drew you to living in Asia? Can you ever see yourself residing back in bonny Scotland?
I came to Asia for the first time with a theatrical tour back in the mid 80s and ended up falling in love with my wife, who is Thai, and with South East Asia and I am happy to say that both relationships have become richer over the years.
I am proud to be Scots...it’s a special place and it provides an endless topic of conversation with taxi drivers and local crews the world over from scotch whisky to football to Mel Gibson & Braveheart ! I still have family back home and my family and I love to visit...my daughters got to see snow for the first time on the last trip...and I do miss the rugged scenary, the craic (Scottish conversation) and my Mum’s home cooking. However I’m happy living and working in Asia and can’t see myself returning to live or work back in Europe after all this time. After all it’s taken me 25yrs to get a tan and there is no where to get somtam or sticky rice in the Highlands!
What has been the most unusual event you’ve ever produced?
It would probably have to be The Grand Sumo Tournament, which was staged at The Royal Albert Hall in London in 1991 as part of The Japan Festival. It was the first Sumo wrestling tournament ever to be staged outside Japan in the sport's 1,500 year history.
Clay for the sacred dohyo (wrestling ring) had to be specially selected from a quarry near Heathrow Airport, while a huge drum and the ceremonial canopy, the yokata, were shipped in from Japan accompanied by a staff of octagenarian ‘living national treasures’ celebrated in Japan for their special knowledge of the technical aspects of the sport.
The event featured elaborate ancient Japanese ceremonial ring consecration, opening & closing ceremonies followed by the bouts featuring the top 40 rikishi (wrestlers) comprised of younger players and old masters, including the two reigning yokozuma (grand champions) plus the heaviest sumo wrestler ever, Konishiki - nicknamed the Dump Truck - who weighed in at 37.5 stone (238.25 kg)!
Having worked on the Jose Carreras concert at Angkor Wat earlier in the decade, what were your first impressions on arriving in Phnom Penh in 2010?
Back in 2000 I was commissioned by Raffles Hotels Intl and Singapore Symphony Orchestra to undertake an event feasibility study on Angkor Wat for a concert presentation featuring Jose Carreras and visited both Phnom Penh and Siem Riep.
My predominant memory of that first visit was of the air of depression, the run down infrastructure and a local security situation which was much less encouraging and one of the principle concerns related to the viability of the Carreras event at that time. I still remember thinking that PP was the only capital city that I had seen outside of Africa with unpaved roads...
My first impression this time round has been of a renewed confidence, optimism and hope for the future which can now be seen and felt even on the journey in from the airport. I was very impressed at the marked improvements in appearance, infrastructure, facilities and cleanliness which have really transformed the atmosphere of the city...although I was reassured that I had landed in the right place by the fact that the local driving still manages to make Thailand look good!
Waking up to the breathtaking dawn over the Tonle Sap and watching the large groups of people walking, talking and exercising together or playing with their kids at the start of the day, there is a palpable sense that the country is at a turning point. This concert - and the others to follow - appear to be taking place at an important moment and will hopefully contribute towards this renaissance by changing international perceptions of the country and by encouraging people to visit and see this beautiful and fascinating place for themselves.
Having been approached for the role of Mekong Sessions Production Manager, what factors made you agree to take the position?
It wasn’t a difficult decision to agree to accept the position, and the chance to work on this historic event, for both personal and professional reasons.
The first was personal as I have had an abiding interest in the recent history of the region, which in the case of Cambodia started with the autobiographies of Dith Pran and Haing S. Ngor, who played him in the film of 'The Killing Fields' and whose own personal story is equally harrowing, and also through the work of Jon Swain, Tim Page & John Pilger. So the chance to return and work here again and be able to make some kind of positive contribution, was very attractive.
The second was professional...for the past few years of my professional life a significant amount of my work has been in the United Arab Emirates which is one of the richest countries in the world and the polar opposite of Cambodia in almost every way. Having helped to establish the UAE on the international concert touring circuit, I felt that I was ready for a new challenge and the chance to do something with an enduring benefit beyond simply gilding a lily, so to speak.
I was also impressed by the vision, enthusiasm, passion and sincerity of Chris, Neil, Jimmy, Piseth and the rest of the team at The Mekong Sessions which makes a very refreshing change from the usual money driven mechanics of this business.
Leonard Cohen is the biggest artist to ever perform in Phnom Penh and much of the production resources are at first necessarily being sourced outside. How important do you see the role of developing the human resources at this end to ensure a lasting, positive legacy here in Cambodia?
I would consider the development of local skills and infrastructure in all fields of endeavour as being crucial to the long term future of Cambodia and fundamental to the reconstruction and regeneration of the country.
In the course of my career in event production, I have seen levels of professional competence and confidence rise in other parts of SE Asia and in the Middle East. This improved expertise in tandem with investment in the standard and quality of venues and rental equipment has in turn led to them becoming an attractive destination for major touring artists and a firm fixture for concert booking agents and promoters. This does not happen overnight but is a gradual process of investment in knowledge, people and facilities. And I do believe that Cambodia has the potential to develop it’s own home grown production capability in a similar way in time.
I have always believed in the principle of being first in and last out, of leading by example and of imparting my knowledge and experience along the way to those who are interested to learn. And I am looking forward to having that opportunity again in Cambodia where I think there is the chance to make a genuine difference to people’s lives through doing so.
The Olympic Stadium is the smallest venue on Leonard Cohen’s 2010 World Tour. What will this mean for the aural and atmospheric experience of the fans? Is it very different from the huge venues like O2 Leonard Cohen has played recently?
I think that The Olympic Stadium is a fantastic setting for this particular concert.
In my opinion the more intimate setting will lend itself to Leonard Cohen’s music, his performance style and the stage production, compared to a larger venue such as the O2 in London where the performer is often dwarfed by the sheer scale of the place. Arenas and stadiums work well for some artists however this is not a high volume show and the audio system and stage presentation will be designed to compliment the venue; every seat in the house is a good seat -no one is more than 80m / 250ft from the stage which will enable everyone to see Mr Cohen and his band up close to an extent that would not be possible in many other places on the tour.
How excited are you about producing Leonard Cohen’s first ever South East Asian concert?
If someone had said to me that I would one day have the opportunity of working on a show with Leonard Cohen in Phnom Penh I would have thought they were kidding. It is always exciting when you are part of something for the first time and even moreso in this case since it is also the first professionally produced international concert in the country’s history.
This is one of those career highlights that comes along very rarely. It is a privilege to be asked to work on it and I am grateful to The Mekong Sessions and to AEG Live and Mike Scoble, Leonard Cohen’s Tour Director, for entrusting me with the responsibility.
Any final words of wisdom for fans undecided about whether to make it to Phnom Penh?
I think that it will be a great vibe and a night to remember. Hallelujah! Don’t miss it !
themekongsessions.com thanks Malcolm McInnes and looks forward to presenting the greatest show Phnom Penh has ever seen on 27 November 2010.
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