Fans walk into a concert thinking about the moment the lights drop, not the rows of trucks that got everything there. They chase the setlist, not the cords and scaffolding lining the backlot. The headliner gets the scream, but somebody else has already built the entire world the crowd steps into. After forty years of figuring out how to make tours bigger, faster, and smoother, Concert Stuff Group (CSG) has become the force behind more of those worlds than most fans ever realize.
CSG now powers 75% of Billboard’s top one hundred touring artists. That includes many artists, plus the record-breaking 2025 show at Michigan Stadium that became the largest one-day concert in American history. When a show that big needs an in-the-round stage that fills a football field and still moves on schedule, CSG is often the one making it happen. Then they pack it up, haul it across the country, and build another giant in another city, sometimes the very next night.
Their story started in 1986, when Jim Brammer and Jeff Cranfill launched Southern Lights in Winston-Salem. What began as a local production shop steadily grew into a national network of companies that handle staging, lights, audio, barriers, transportation, and nearly anything else that needs to appear overnight in a stadium. After decades of collecting expertise the way bands collect busted guitars, CSG now includes fifteen specialized companies and recently added six more. The goal is simple: remove chaos from touring. Instead of artists calling fifteen vendors for fifteen problems, CSG tries to be the one number that solves all of them.
The scale of that system shows up in real places. Last summer, G2 Structures, the division responsible for massive staging builds, delivered many stadium shows. That kind of logistical juggling is usually the stuff of touring folklore. For CSG, it was a long week, not an impossible one.
Their speed extends beyond traditional touring. When Hurricane Helene hit the Carolinas, Luke Combs and his manager called CSG leadership, and within hours, the plan for Concert for Carolina was underway. More than eighty-two thousand people showed up, nearly thirty million dollars were raised, and G2’s in-the-round design let them squeeze every possible ticket into the stadium. It was production as problem-solving, the kind that comes from decades of doing the impossible on deadline.
“Very few companies in the world can execute multiple stadium shows simultaneously in one city, night after night,” said Jim Brammer, CEO of CSG. “Our ability to deliver at Soldier Field and Wrigley Field simultaneously highlights what makes Concert Stuff Group a great partner for artists and promoters around the globe.”
And they are still growing. CSG is expanding its North Carolina campus to seventy acres and nearly doubling its headquarters footprint. Their transportation arm keeps more than one hundred trucks on the road at any given moment. 7 Cinematics, their Emmy-winning broadcast division, continues to push live shows onto screens with the same energy fans feel in person. Piece by piece, decade by decade, the company has built a touring ecosystem that moves like an orchestra instead of a patchwork.
Live music thrives on the illusion that it all just happens. The stage appears, the crowd pours in, the first chord rings out, and everything feels effortless. CSG’s four decades sit underneath that illusion, holding it up, hauling it forward, and raising it higher every year. As they move toward their fortieth anniversary, they look less like a vendor and more like an engine, one that keeps the entire touring world in motion. And if they are doing their job right, fans will never think about them at all. They will just feel the lights go down.
SPIN Magazine newsroom and editorial staff were not involved in the creation of this content.
