Mastering Performance with Live Music Producer Tom Jackson | Exclusive rBeatz Interview

Mastering the Art of Live Music with Live Music Producer Tom Jackson

Terry : Welcome to rBeatz.com! You’re joining us for “Local Music Somewhere” here in the rBeatz studio. We’ve had some fantastic guests, but this might be my favorite show of the year. I have a special guest who’s been a mentor to me in music in several ways.

In the past, I sold a lot of his DVDs back when DVDs were popular. He sold his sets to many of our clients, and we worked closely with him in artist management. He’s a live music producer, and we’ll discuss what that means today. He’s truly at the top of his game, with clients including Shawn Mendes, The Band Perry, and Taylor Swift. He also wrote a book called The Live Music Method and has a video series we’ll touch on as well. So, please welcome Tom Jackson!

Tom : Good to be here!

Terry : It’s great to have you on the show! I’ve known you for years, and I was just reminiscing about how we met. It was at the GMA conferences during the Dove Awards. We had a booth that looked like a living room, and you walked out of your seminar, exhausted, and asked if you could sit on our couch. You ended up chatting with the lead singer of Jars of Clay, who was new at the time, and I realized that live performance production was a real thing. I had no idea until then! Over the years, I’ve come to understand that having someone like you is essential.

So, as a live music producer, tell us more about what that role entails.

Tom : My job is to create moments during a show. Most artists play songs and hope for the best, but I work to craft an experience from beginning to end so it’s memorable for the audience. Many people confuse a live music producer with a choreographer, but we’re very different. Most songs are written for radio, which typically means they’re short, around two and a half to three and a half minutes. But in a live setting, you can take those songs and create something much more engaging.

While a song may sometimes generate a moment on its own, my role is to ensure that each song has those special moments—whether they’re touching, fun, or musical. I listen to the songs and rearrange them to highlight those moments in a performance.

For many aspiring musicians, the difference between radio and live performance is crucial. If a band plays their radio hits exactly like the recordings, audiences might feel bored. You change the tempo and add different instruments, making the concert experience worthwhile. Ticket prices are high, and it has to be memorable.

Exactly! For artists, creating memorable moments is not just for the audience; it’s also a marketing tool. When you build merchandise around those moments, your sales can skyrocket. For instance, I worked with Taylor Swift, and we took the same set of songs from her earlier tour but created moments within them. As a result, her merchandise sales increased by 600%.

That’s incredible! It just shows how effective your techniques are.

It’s all about connecting with the audience. When you create an experience, it makes a difference. And remember, communication isn’t just about the music; it’s also visual. The audience pays attention to different aspects than musicians do. I try to break the audience into zones, creating a one-on-one connection in each zone so everyone feels included in the show.

That’s a great approach. I’ve seen your techniques in action, and they really resonate with audiences.

Thanks! It’s about engaging the audience and making them feel like they’re part of something special.

You have such a wealth of knowledge, Tom. For those just discovering your work, can you share how you got started as a live music producer?

Sure! It all began with a progressive rock band I played in. We didn’t have limits on our arrangements. Later, I toured with the Young American Showcase, which opened my eyes to what audiences really respond to. I learned to focus on how to communicate with the audience from the stage.

What I call “destinations” on stage is crucial. If you don’t know what those destinations are, here’s what often happens: performers just wander around on stage. They spend a bit of time in one spot, then move to another, and it becomes what I call a “Chinese water torture.” The pressure on the audience never changes, and that’s not good. It starts to put people off.

I’ve seen this a lot. When it comes to movement, talking about choreographers, some people are natural dancers and do it really well. If you’re going to incorporate that into your act, you should excel at it. But I’ve watched famous artists who have choreography but don’t apply these techniques effectively. You might see a whole show focused on dancing, yet it leaves you feeling nothing. I’ve heard complaints about tours this year that felt like that.

Take Taylor Swift, for example. In interviews, she says, “I’m not really a dancer,” yet she still incorporates dance moments into her shows. She keeps it simple—her movements aren’t over-the-top, which makes them work for the segments.

Going back to the psychology of a show, that’s a huge part of it. Most artists, and I’m speaking to you, the artists out there, often don’t really know what they’re doing. I work at a couple of rehearsal studios, and I watch rehearsals where they lack direction. When you’re putting a show together, you want to create an opener, a closer, a touching moment, a fun moment, and some musical highlights.

But here’s the thing: most artists will rearrange their songs without fully exploring the moments hidden within. That’s where I come in. I get music from artists—sometimes they even ask for it without vocals or specific instruments. I can listen to the underlying grooves waiting to be uncovered.

Everyone loves a good groove, whether it’s hip-hop or something else. I’ll often dedicate part of a song to just the groove, allowing the audience to connect with it. After building up that groove for a bit, we might bring in the bass player or let the guitarist step forward, creating a journey for the audience rather than just throwing everything at them at once.

You’d be surprised how often there are incredible background vocals that only the artist knows about. I’ll strip things down and bring those out front to build a moment. It’s about crafting fun moments that engage the audience and allowing for a touching moment by simplifying the arrangement.

I recently worked with a popular artist—won’t name names—who had a very personal song. Initially, she resisted my suggestion to strip the production down. But after we tried it, she ended up crying because it felt so genuine. That’s the power of the right arrangement.

The problem is that many artists rehearse and then go on stage hoping for something magical to happen, without a clear plan. Sure, some nights it works—when the planets align and the crowd feels that connection. But then, the next night, it can all fall flat, and you don’t know why.

Here’s the truth: you can create those magical moments every night. Even on a tough night, you can still find a way to win the audience over.

Tom, before the break, we were talking about creating moments in live performances. One of my favorite examples of this was with a Christian band during a Winter Jam tour. They had a song, “Arise My Love,” which was crafted beautifully to get the audience on their feet—such a triumph by the end!

Another standout was “Rhythm of the World,” where you had everyone playing different instruments, even incorporating bagpipes! That song became a massive hit, sitting at number one on Christian rock radio for four weeks.

 I remember them doing a showcase in Nashville where they had 12 minutes to perform. While other artists tried to cram multiple songs into that time, we decided to focus on that one 12-minute piece we created. The buzz afterward was incredible!

Despite being a B+ band compared to some A-list artists, they captivated everyone. Now they run the Winter Jam tour, playing arenas every year and consistently ranking at the top in merchandise sales, proving that creating emotional moments matters more than being trendy.

A great live show is a great live show, regardless of age. And for aspiring musicians or parents of aspiring musicians, it’s never too early to start learning.

Tom, can you tell us more about your book, “The Live Music Method”?

 Absolutely! It’s a comprehensive guide—about 430 pages filled with live performance techniques. It’s an investment for artists; it should be marked up and referenced repeatedly. I liken it to having an architect’s plan for your show. It lays out concepts that stimulate ideas to help you build your performance effectively.

So, tell us about that memorable moment you had. There were bagpipes, sitar, and African drums—it was a huge moment!

 Absolutely! To this day, those artists are a perfect example. They run this thing called Winter Jam, which tours arenas every year. The truth is, it’s back and stronger than ever.

Right! They attract audiences primarily between 12 and 19.

 Exactly! Some of these artists are in their 60s and 70s, old enough to be grandparents, yet they consistently rank number one or two in merchandise sales. They pack out coliseums! A couple of years ago, they had 40,000 in Atlanta, and now they’re averaging around 10,000.

That’s impressive, especially with so many younger, hip groups on the lineup.

 It is! Despite all the young acts, their merchandise still outsells everyone else’s because they create genuine emotional moments. A great live show is all about that connection.

So, for aspiring musicians out there, what advice do you have?

 It’s never too early to start! If your child expresses interest in music, nurture that. I’ve got a book called “Live Music Method,” about 430 pages of live performance techniques. It’s an investment worth marking up like a Bible!

I love that! What’s the core concept of your book?

 My theory is that, just like you need an architect to build a house, you need a solid plan for your show. I provide a blueprint to help artists construct their performances, covering everything from set lists to overcoming stage fright.

That’s so important! And what about the video series you mentioned?

 We’re moving to streaming soon! The “All Roads Lead to the Stage” series will be available, along with clips from other events.

That sounds fantastic!

 The goal is to help musicians walk on stage and make an impact. It’s about truly affecting people, not just playing music.

Absolutely! Many artists struggle with funding. You have a unique perspective on sponsorship—can you elaborate?

 Sure! I’ve worked with artists on child sponsorship programs for over two decades. They ask people to sponsor a child during performances, raising funds—around $150 per child—and helping those in need.

That’s a meaningful approach!

 It is! Many artists earn significant extra income while making a difference.

Where can listeners find out more about your work?

 Check out onstagesuccess.com. You’ll find information about my seminars, charity partnerships, and products aimed at helping mid-range artists, just as much as the big names.

That’s wonderful! Thank you, Tom, for waking up early for us today.

 Anytime! Next time, let’s aim for the afternoon!

Sounds good! Thanks for joining us, everyone. Don’t forget to check out rbeatz.com for more indie talent. Until next time, much love!