The Sound of The Boss: Bruce Springsteen and the E Street Band

When it comes to live music, few experiences rival the spectacle of a Bruce Springsteen concert. The raw energy, the communal vibe, the sheer scale - these are the things that define an E Street Band show. But, as with any great performance, none of it would be possible without the dedicated crew working tirelessly behind the scenes, ensuring every note, every beat, and every word lands just right with the audience. From the intricate audio setups to the quick-thinking engineers, the backstage team that supports the E Street Band is just as integral to the show as the performers themselves. Headliner takes a peek behind the curtain to meet the crew that makes it all happen.

At the heart of the E Street Band's live sound is a team that’s not only highly professional but deeply connected. Matt Fitzgerald, Troy Milner, Monty Carlo, John Cooper, and Brandon Schuette have spent years working together, each playing a vital role in shaping the band's live audio experience. 

They know better than most that live sound isn’t just about cranking up the volume or tweaking a few knobs. It's about creating an environment where the band’s music can breathe, thrive, and connect with the audience in real-time.

In the world of monitors, Matt Fitzgerald works closely with fellow engineers Troy Milner and Monty Carlo. Together, they are responsible for balancing the stage sound, ensuring every performer gets the perfect mix to suit their needs. This isn’t just a technical task - it’s an art form.

“We divide the responsibilities based on what’s most important in each section of the stage,” Fitzgerald explains. “Troy handles Max’s drums, Monty takes care of the downstage crew, and I’m in charge of vocals and percussion.”

This separation allows each engineer to focus on specific aspects of the show, ensuring precision and quick adjustments as the performance unfolds.

Monty Carlo, who’s been with the E Street Band since 1992, has the crucial role of downmix engineer. He’s responsible for creating the sonic map of the stage, ensuring Springsteen himself hears every sound with clarity.

“Bruce wants to hear everything,” Carlo explains. “He needs to hear the horns, the percussion, the vocals - positioned just as if they were physically on stage.”

With years of experience under his belt, Carlo is committed to capturing the raw, unfiltered energy of a live performance.

“We’re not trying to make a record,” he says. “This is a live band, and that's the vibe I aim for.”

For Schuette, serving as both systems engineer and audio crew chief, shaping that sonic space begins with the system design. Schuette’s job is to make sure that the sound reaches every seat in the venue, no matter where the audience is.

The Springsteen show is a major Clair Global production; and Schuette is a true advocate for Clair’s Cohesion speaker line, which he says provides a natural, true-to-stage sound. The system helps Springsteen’s voice and the band’s instruments feel as though they’re emanating directly from the stage, not just through the PA, he explains:

“Bruce sounds incredibly natural through Cohesion; even as I'm listening to different parts of the system, my attention is always drawn to the stage. It’s true reinforcement of what’s happening on stage - not just loud music blaring through speakers.”

Schuette’s dedication to ensuring the sound system never overpowers the live energy of the performance is evident in his work.

“I want every seat in the house to feel like they’re at the front,” he declares.

The Cohesion system itself consists of 84 CO12s, 40 CO10s, and 24 CP218 subs, all designed to deliver Springsteen’s music with the clarity and authenticity fans expect.

Schuette is also quick to praise Clair for its all-encompassing support - whether during pre-tour prep or just troubleshooting on the go.

“With all the support we get from the shop, I can't imagine an easier setup,” Schuette says. “Whether it’s in Lititz or Aesch, we’ve been set up for success every time we go out. And when problems inevitably arise, the shop is always there to help us out.”

Mastering the Technology

Behind every engineer’s work is an impressive array of technology designed to make their job easier and more precise. One of the key players in this setup is the DiGiCo Quantum 7, used by both Fitzgerald and Carlo to handle the enormous volume of inputs and outputs required for a show of this scale.

Fitzgerald’s role as the vocal and percussion monitor engineer demands he manage multiple channels of vocal reverb and slap delay - sometimes up to six of each, depending on the night.

“For all the vocalists I work with, I need six reverbs and six slap delays,” he says, describing the challenge of keeping each element clear within the mix. “The Quantum 7’s reliability allows me to juggle these complex demands while ensuring the vocals sound crisp and balanced.”

For Carlo, the DiGiCo Quantum SD7 has been a cornerstone of his role as downmix engineer since 2012. Its flexibility and scalability make it the perfect tool for managing the nearly two dozen musicians on stage.

“The Quantum SD7 is still the most flexible, scalable option we’ve got,” Carlo insists. “Consistency is everything, and with this console, we know we’re always in good hands.”

The team also uses Wysicom wireless transmitters to ensure flexibility during international tours, especially when RF interference can pose a problem.

“Wysicom’s system is more flexible than anything else out there,” Carlo says, underscoring the importance of having a reliable wireless system on the road.

Alongside Wysicom, the team uses JH Audio IEMs, along with Clair CM22 and CM14 wedges.

Front of House

While the monitor engineers ensure the band are locked in, John Cooper looks after FOH. Cooper, who has worked with the E Street Band for years, plays a massive role in balancing the show for thousands of fans across the venue. Cooper’s approach is defined by his deep understanding of Springsteen’s music.

“When it comes to Bruce, it’s all about energy,” he says. “The sound has to reflect the power of the performance and the emotion of the song. It’s not just about clarity - it’s about creating a sound that envelopes the audience and connects them with the music.”

Cooper uses an Avid S6L console, which he prefers for large-scale shows due to its easy integration.

“The Avid S6L gives me a level of control and flexibility that works perfectly for large performances,” Cooper explains. “It lets me adjust levels quickly, tweak EQs on the fly, and manage multiple outputs seamlessly.”

Cooper emphasises the importance of his working relationship with the rest of the team.

“We’re a unit. We’re all on the same page; we communicate constantly,” he says.

This constant communication ensures that the FOH sound complements the carefully crafted mixes from monitor world. While Schuette fine-tunes the system, Fitzgerald and Carlo adjust on-stage mixes, and Cooper ensures everything comes together for the audience.

The Human Element

While the technology is critical, the true heart of the operation lies in the relationships between the crew members. The constant chemistry and communication between Fitzgerald, Milner, Carlo, Cooper, and Schuette keep the show running smoothly every night. These aren’t just colleagues - they’re family

Schuette, as audio crew chief, knows that a well-functioning team is essential to a successful show.

“I love to see people grow,” Schuette reflects, describing how crew members evolve from newcomers to seasoned professionals over the course of a tour. “By the end of it, load-ins and load-outs happen without a word exchanged.”

For Fitzgerald, the division of labour among the engineers allows each of them to focus on their specific tasks while staying in constant communication.

“If something’s wrong - whether it’s a mic sagging or a tech issue - we can fix it quickly without disrupting the flow of the show,” he says.

For Monty Carlo, the camaraderie within the crew is one of the best parts of being on the road.

“Bruce is all about you doing your job, and he’s appreciative of the work you put in,” Carlo says. “That kind of attitude helps create a culture of respect and collaboration.”

And a true extension of the Springsteen family is the Clair Global team:

“Clair Global is just incredible,” Carlo reflects. “From the techs to the operations people, they’re always there for us. If we need something, they get it done - no questions asked. With their support, we can focus on what we do best: making sure Bruce and the band sound incredible every night.”

The Art of Live Sound

At the end of the day, what makes a Springsteen show unforgettable is the combination of raw energy, precise engineering, and flawless teamwork. The backstage crew’s technical expertise ensures that every note, every harmony, and every instrument is perfectly aligned with the band’s vision. And while technology plays a crucial role, it’s the people behind the equipment who truly bring the sound to life.

As Matt Fitzgerald puts it, “At its heart, it’s just a good old-fashioned rock band.”

Yet, the coordination, attention to detail, and cutting-edge technology behind every performance is anything but simple. It’s the result of years of experience, a talented team, and an unwavering commitment to excellence.

“We’ve become a family on the road,” Schuette reflects. “And that’s what makes all the hard work so rewarding.”

Photo credit: Sam Hooper