In Episode 2 of The Best 5 Minute Music Podcast, Kamba continues the conversation with Precious Tawo as they dive deeper into his growth in live sound engineering.

Precious opens up about the mentor who saw potential in him early on and decided to invest time and attention into his development. He shares how that experience shaped his confidence, work ethic, and understanding of professionalism within the live events industry.

The episode also explores the different technical roles involved in live performances, including FOH (Front of House), monitor engineering, and backline engineering. Precious explains what each role means, how they work together during shows, and why live sound requires teamwork, trust, and quick decision-making.

For anyone curious about the hidden structure behind concerts and touring, this episode offers a valuable look into the people and systems that keep live music running smoothly.

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What's up?

Welcome to the moment.

You just step into the stars.

So you said that your boss at the time took a special interest in you.

I'd like to know how and why that happened.

So everybody calls me Pull my Jump.

So basically install me asking questions like I probably move from point A to point D and I realize that I missed B and C and I come back and like, what should I do?

I'm that guy that I believe that once I just start doing it, the rest will.

Will come.

So I was always very fast then due to the fact I also downloaded a lot of books from this thing.

So many things.

I mean, TW will probably ask questions about.

I already know what they were.

And since I've read about this thing, he cannot easily send me, go and get this, go and get that, go and get this, go and get that.

So he only took him week plus before you now realize that, whoa, how come I know all these things so fast?

And then there was a little politics that was happening that period between the Lagos crew and the Calabar crew.

And in the whole politics, I was the youngest and I just came in.

So the Lagos crew will send me to do stuff.

Calabar set up, the crew will send me to do stuff.

So in their heads then they're both punishing me.

But I was being used more than everybody, which means I was learning faster than everybody.

Yeah.

And when we now moved into stadium, one of those days, Osagi was on stage with Dibanj.

I can never forget sound checking.

And then he now told me to go to front of house, which is where the console is that controls the sound for the venue.

He asked me to go to front of house and go and mute the front of house.

And I went majestically.

I muted it.

And then he turned and looked at me and he called me Puma again.

Yoruba.

Another I walk outside me.

So he now asked me how I knew about it.

Like I've been learning, I've been reading and everything, watching videos and all that evening something happened and I felt like, oh, I really want to do this thing.

Because from the first day, as we're in the back of the.

Sorry.

I even said we.

I went at the back of the lock.

Sorry, back of the locks was for crew on the first day.

We didn't enter the back of the.

The trucks on top of equipment.

That is how we got to the venue, inside the equipment.

So when my head was down that day, I Asked one of the guys, like, ah, I've had this work.

Did it happen normally?

And the guy yeah, it happens that they even travel for gigs.

And I'm like, okay, I would like to travel for those gigs.

They said no, they go to Lagos, they go to Asaba, they travel.

This is me that was barely traveling like calabar boy, I was always indoors.

So the next thing, when that evening, my boss, something happened.

I walked that day and then I now decided I didn't want to be part of the audio team anymore because I found out that there are nine engineers before me.

And I was like, at what point will I become a main crew member whereby they need only most times four engineers.

At most five that include the backline guy.

Can you please do differentiate these engineers?

So basically for every show there's supposed to be a front of house engineer that controls what everybody in the venue.

Yes.

A monitor engineer that controls what people on stage.

Yeah.

You have two technicians maybe running cables, patching, I'll have you.

They have a backline tech that's in charge of setting the drums, keyboard and what have you.

Now in between us at that time, even as company persons, we get to load the trucks and then you get to fill up one of these positions.

So you might be loading the truck, but you'll be the engineer that still makes for what the band will hear.

You might load the truck.

But everybody was basically doing everything.

And that's why I even got knowledge about light screen and everything.

That's helped me to become a production manager today.

Because as at that time you might have a department that you work for, but while setting up, everybody sets up together.

So I'm helping staging guys, I'm helping lighting guys because stage have to go up, light follows, screen follows before we even have the space for sound down.

So I basically have to join throughout the whole setup.

So that's why I learned all these things.

So when I saw that the ladder was too high and I had to look which is the closest screen guys?

Screen guys, we have a lot of hands.

As at that time I felt like I could stay there.

And that afternoon I moved into the screen department and I left the sound department.

When my boss came that time, Osaki asked me, why am I fixing the cable?

The why am I fixing the screen cable?

I was like, oh no, it's for my guys, the screen guys.

I want them to.

To use it to power stuff.

He was like, when did I become a screen guy?

I say.

And I explained to him why I needed to move.

He Got angry.

Next thing after they had a meeting.

I know that the meeting was about me.

Light guy wanted me, Head of lighting wanted me.

Head of screen wanted me, Head of sound wanted me.

So when they came out for a meeting, told me that okay, I should even tell me that he wanted me just.

He didn't want to show emotions like he didn't care about.

He just told me to.

To leave what I was doing.

I entered the the back of the hilox there and that we're going to Millennium park because then we used to settle for Millennium park and stadium.

So while Million park is running, we're setting up for stadium.

So that afternoon we're setting up stadium.

Then by 4 o' clock we moved to Million park for sound checks and what have you before the event.

So he told me to leave the rest of the entered the vehicle that we're going to go and run Millennium Park.

Then while we're there that day, he now told me that we'll talk after the event.

So December finished.

Everything went well.

I was like the fastest training that moved from a training to crew in less than a month.

Fast forward to January.

Osaki has to always come from Lagos because he's based in Lagos.

So I was not asked to prep the equipment that he had listed and everything and just fresh in just less than just a month.

I was in charge of the.

The people to prep everything and we prepped everything like arrange all the equipment, label them like what we need to move to stadium.

The catch there was not even about mixing the fact that what value was I bringing to these things?

So as at my young age, we're moving equipment then from Calabar then to Lagos.

And I was always in charge of prepping this equipment and something people really neglect.

A lot of people engineers want to be on the board as at that time was not about being on the board.

They always wanted someone that if.

If you say A is in A, they know A is actually there.

You get that kind of thing.

So I became that face.

Everyone knew that once I'm there, everything is good.

Audio is good.

So that's it.

Coming up on the best five minute music podcast.

The regular Nigerian worship sets part is very important for them.

Once they hear that part they are worshiping.

Just about when David was about to go up, we lost 18 channels of our stage rack.

David was on stage with his mic about to shout Abuja.

So that's how much time we have for this episode.

I can't wait to see you on the next one.

Bye for now.

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