The Economist May 14th 2022 77
Culture
Theinfrastructureofrock
Thank you for the music
T
o walk around Lititz on a perfect
spring day is to see smalltown Ameri
ca at its picturepostcard best. Pensioners
stroll along the main street, looking in the
windows of gift shops, stopping at the tea
shops. With around 10,000 residents, the
town in Pennsylvania’s Amish country is
so pristine that if you saw it in a film you
might assume it was a set. You almost cer
tainly wouldn’t guess it was the rock’n’roll
capital of the world.
Yet about a mile north of the town cen
tre is an unremarkable industrial park in
which the world’s biggest pop and rock
shows are made. The boxy buildings on the
Rock Lititz campus house around 40 com
panies, which between them supply every
thing a touring artist requires. The firms
that founded Rock Lititz, Clair Global and
Tait Towers, take care of the two staples,
amplification and setbuilding. Others fill
in the gaps. One makes only the motors to
drive the hoists that pull pasystems into
the rafters of arenas; another makes only
stage pyrotechnics. There are two huge
rehearsal spaces in which the shows
can be assembled and roadtested.
Rock Lititz takes artists from the first
glimmerings of an idea to the final
production rehearsal. There is nothing
quite like it anywhere else in the world.
And it happened by accident.
In the 1960s two brothers from the
town, Gene and Roy Clair, had a hobby sup
plying pasystems for local shows. In 1966
Frankie Valli and the Four Seasons played
Franklin & Marshall College in nearby
Lancaster, and the Clairs lent a hand.
According to Clair Global’s creation myth,
the band members’ wives noticed subse
quent shows didn’t sound as good, and the
brothers were brought on the road with
their own bespoke system. “There you go,”
says Troy Clair, son of Gene and now the
firm’s ceo. “That was the beginning of a
sound company travelling with the band.”
A dozen years later an Australian called
Michael Tait—who had been designing
lighting and staging for Yes, a progrock
band—came to Lititz following immigra
tion difficulties in Britain, and set up Tait
Towers. The town’s reputation began to
spread. But it was not until 2014, when the
two companies established Rock Lititz,
that it turned from a small hub
into the fulcrum of rock.
Put another dime in the jukebox, baby
It is an extraordinary place: part manufac
turing centre (Clair Global, for example,
still makes its own pasystems, and sends
teams on tour with artists), part r&dpara
dise and part logistics operation (a visit to
Rock Lititz reveals just how many moving
parts are required to put a show on the
road). The attention to detail is staggering.
Clair Global monitors all its tours so close
ly that on its screens you could see that in
Tulsa, Oklahoma, the yellow ink in the
singer Dua Lipa’s printer was down to 17%.
Two decades ago Rock Lititz might not
have thrived in the same way. When artists
could make money from recorded music,
there was less need to sell tickets to live
events at premium prices. After the inter
net caused a crash in revenue from record
ings, that changed. Then came the rise of
LITITZ
A town in the Amish country of Pennsylvania is the unlikely capital of rock’n’roll
→Alsointhissection
78 Whyregionalfoodsendure
79 Emperorspastandpresent
80 Thequestforeternallife
80 A tricksynewnovel
82 Back Story: Tyranny and storytelling