I am sure you know the feeling: the mixture of anticipation and excitement before walking into a concert venue. The long line before security, the chaotic mixture of chatter and the occasional burst of laughter as you creep closer and closer to the venue’s entrance. Next, your bags will get cleared by security and you will be asked to show a QR code from your phone. With an audible sigh of relief and with a growing sense of excitement, you are finally permitted entrance.
Eyes widened, you scan the dimly lit room: the merch line is in the corner, ushers pace back-and-forth, the general admission is filled with an excited mass of people and the opening act is about to go on stage. You walk closer until the lights suddenly darken and a thunderous roar reverberates through the concert hall. It’s showtime.
In the interim, I often wonder how much coordination it took before those main lights turn off and the crowd screams. Who are those people tuning the guitars? Who is adjusting those mics on the drum kit? We come in and clamor relentlessly, expecting a seamless show, but none of these concerts would be possible without the coordination of the concert venue itself, the roadies and the artist’s management team that scheduled their act.
I was fortunate enough to be able to both peek behind the curtains of the Tabernacle and speak with the folks on the inside. The Tabernacle, a world-renowned venue inconspicuously tucked away in bustling downtown Atlanta, perfectly embodies the answers to my frenzied questions. Night after night, decade after decade, the Tabernacle has consistently and seamlessly hosted world-class acts in its unparalleled hall.
Even more interesting, though, is its unique history and radical transformation that took place roughly a century after the building’s original construction. Formerly a church in the early 1900s, the Tabernacle was later converted to a House of Blues club leading up to the 1996 Olympics in Atlanta. From 1998 to present day, the Tabernacle has been owned and managed by international concert promoter Live Nation Entertainment.
Even with its impressive resume, the Tabernacle would be just another museum if it were not for its dedicated and diverse staff. Operations Manager Charlie Tankersley and Marketing Manager Sally Hackel at the Tabernacle graciously carved out an hour out of their busy day of planning to discuss the ins and outs of their chaotic and electrifying world.
Besides the long winding road to their current jobs, their actual roles are more fluid than a traditional nine-to-five. Tankersley’s job as operations manager encompasses many tasks, including security, staffing, usher training, scheduling staff for certain shows and managing routine health and food inspections.
Conversely, Hackel is in charge of marketing and social media for the shows. She expressed how this role differs from the intensive year-long projects at a standard record label.
“Once the show happens, it’s over,” she said. “It’s not like you have to work on a project for a year. It’s like, you have the show, and then it passes, and then here’s another one. You get to see so many different people in the rooms. You know, you get customers of all types.”
I was also introduced to crucial live music business lingo, including the process of making sure that both the venue and artist’s management are in unison about what the needs are of a particular gig. “Advances,” confirming all of the details needed for a specific musical event, are an integral part of the concert planning process. Tankersley walked me through the typical lines of communication leading up to a show.
Typically, the production manager will reach out to the tour manager a few weeks ahead of the show. They will ask about the venue’s capacity, vehicles, technical information, types of consoles, types of microphones, availabilities of instruments, and if there will be “backline,” which includes guitars, bass, keyboards, drums, percussion, amps, speakers, and any other musical gear that are located behind the band itself. Sorting these gear specifications out weeks ahead of time minimizes the risk and potential for a communication breakdown that is associated with the unpredictability of live performances.
Although neither Hackel nor Tankersley expected to end up in their current roles, both bring a sense of genuine interest in their profession to the venue.
Tankersley spent roughly 25 years in construction before fully committing to live music. Throughout high school and starting at around the age of 17, he worked as an usher at any local venue that would allow him. While he didn’t get paid, he got access to free shows, which he said was the most enjoyable part. Many years into his construction career, he was offered to work part-time at the Tabernacle, the same business he had ushered in decades before.
“I started asking, ‘Okay, what else is there to do here? Can I make a career change and make this happen to actually pay my bills?’” Tankersly said. “And yeah, it took a lot of hard work, but I’ve been the operations manager at Tab for a little over a year, and I’ve never been happier with my career and in life.”
Hackel, who previously worked in marketing and promotion, expressed a similar sense of astonishment at landing her current job. Simply put, she volunteered at Bonnaroo Music & Arts Festival in Tennessee and soon after received an internship in Athens, eventually leading her to the Tabernacle.
The venue’s distinct and historical background has given it a unique and palpable sense of pride, family and tradition. To many at “The Tab,” the nickname employees and fans alike affectionately refer to it with, their venue is truly in a league of its own in comparison to other bigger venues in metropolitan Atlanta and across the country. Between advancing shows and communicating with touring acts, those working at the Tab have an undeniable connection that goes past just concert planning itself — its appeal has less to do with any material attractions, and much more to do with the rich history imbued within its walls.
“It’s unique,” Tankersley said. “I mean, in the southeast, you’ve got the Ryman Auditorium in Nashville. Yeah, these artists could sell out the Grand Ole Opry that’s almost three times the size, but sometimes it’s, ‘I want to play that little iconic venue’ … It’s absolutely one of a kind.”
Courtesy of the Tabernacle/Live Nation Entertainment
The cozy and familiar vibe of the Tabernacle is bolstered by its traditional architecture and design, a remnant of its roughly century-old origins. Once through the main wooden doors, you can either walk down for refreshments, food or merchandise at the Cotton Club or find your seats in the performance hall. The performance hall is divided into four sections: floor, lower balcony, middle balcony and upper balcony. All the sections are general admission with a first come, first serve policy. No matter where you sit or stand, the panoramic view — the elevated stage, the wooden floor, the stainless steel glass on portions of the wall, the many rows of red seats, the elaborate designs on the tiers of balconies — culminates in a one-of-a-kind entertainment experience. The venue even offers the option to virtually tour.
Courtesy of the Tabernacle/Live Nation Entertainment
Hackel echoed Charlie’s sentiment regarding the venue’s unique pull: the site’s sheer history alone sets it apart from others in the live music ecosystem.
“I mean, how many other venues are converted churches, you know?” she said.
The hall has hosted an eclectic roster of artists over the past 27 years as a music venue. Despite its small seating capacity compared to other Atlanta music halls, Tankersley said that artists, such as The White Stripes co-creator Jack White, prefer the venue.
“Jack White is playing 15 to 25,000-seat arenas and then he says, ‘But when I’m in Atlanta, I want to play the Tabernacle because that’s one of my favorite venues,’” Tankersley said. “He did three nights in a row.”
The iconic emo pop-punk band Paramore played at their hall, despite just selling out State Farm Arena and playing two sold-out nights at the Madison Square Garden. Time after time, the greats return to the tradition of the Tabernacle.
Comedy legends have graced the stage here, too. Historically, John Mulaney booked 12 shows in a row over a week and a half. Other comics like Dave Chappelle, Conan O’Brien, the late Bob Saget and Lisa Lampanelli have made appearances at the Tab.
Tankersley attributed the far reach and appeal of the Tab to the feeling and culture within its walls.
“When you walk in the door, it’s got a vibe,” he said. “If there’s nobody in at all, you can still feel the energy of that building. It’s such a cool building to work in.”
Hackel added that her drive for the Tabernacle stems from a mix of the diverse types of people she meets and the fast-paced nature of her job.
“That’s my favorite part, like when I’m actually at the venue and getting to interact and see the shows here,” she said. “But, one thing with live music I’ve noticed is that it happens so fast … You get to see so many different people in the rooms.”
Tankersley encouraged those even slightly interested to go out and volunteer in their local communities, citing the Symphony Hall and the Cobb Energy Center as potential places.
“You get to stand and show people seats, and you get to watch the show,” he said. “It feels so cool to be on the inside of what’s happening.”
From attracting acts that headline festivals to hosting local metal bands, the Tabernacle is a hallmark of the thorough dedication and unbridled passion that its staff exudes toward live art.
Next time you’re rushing into your favorite music venue right before the opening act goes on, take a moment to breathe it all in. Nothing you see around you, from the live band on stage to the music exploding from the speakers, happened by accident.
Also, remember to thank the usher: maybe they’ll be orchestrating the next show.
Ari Segal (he/him/his) (25C) is from Boca Raton, Florida, and majoring in Philosophy, Politics and Law (PPL). He is the Arts and Entertainment Editor at the Wheel. Outside of the Wheel, he is involved with the Emory Law School, Emory Conversation Project and the SPARK Mentorship Program. If you run into Ari, he is probably talking about music, listening to music or playing music on the guitar.
