Since becoming Anastacia’s full-time Production and Tour Manager in 2016, Keely Myers of Global Touring Office (GTO) has overseen more than 700 performances. A decade into the role, she reflects on how the production has evolved, the challenges of taking it around the world and the people who make it happen. “There has been something happening every single year, so she has certainly kept me busy whilst juggling other projects!” she told TPi.
Anastacia’s touring operation has evolved considerably over that time, with the production now performing in arenas. “I’m incredibly happy for Anastacia and proud to be part of the journey. It’s a varied role, and that’s what I love about it – no two shows are ever quite the same.”
Work on the current #NTK Tour campaign began in autumn 2024, with a shift in creative direction. “The brief was to move away from the more dance-led shows and put greater emphasis on the musicians and live music, expanding the band on stage and making them central to the show,” she explained.
Working with Lighting Designer Simon Horn to realise his initial production design, Myers collaborated with Anastacia and her management team at LME to refine the creative concept. Band rehearsals began in January 2025 under Musical Director Ricci Riccardi, bringing together Vicky Osterberg, Holly Petrie, Louis Riccardi, Emlyn Malliard, Diego Rodriguez, Nick Shirm and Paul Stewart.
“They’ve been such a great group to work with and have brought the musical heart of the show to life. Toni Abell, our backline technician, has also been fantastic to work with. It’s been a pleasure having her on the team, along with team audio made up of Erik Loots, Rod Clarkson and Peter Eltringham.”
Behind the creative vision sat a substantial logistical operation. From planning conversations with Nigel Hassler at CAA, budget development and supplier liaison to show advancing and travel arrangements, Myers coordinated multiple departments to ensure everything is in place for each performance.
Key suppliers include Entec, 4Wall Entertainment, Stagetruck, Beat the Street and Beau Nosh Catering. The scale of the campaign is reflected in the number of performances delivered. “We certainly didn’t know just how much it was going to grow,” she recalled. “By the end of 2026, we will have delivered 116 performances and counting, which is quite a journey from where we started. It’s incredibly rewarding to see all that planning come together and watch a show go from an idea on paper to a live performance in front of an audience.”
A touring operation of this scale relies on a strong team, with long-standing relationships playing a central role. Anastacia’s sister, Shawn, has been an important part of the journey over the past decade, working as her PA on the road and providing a valued source of support throughout. Head of Security Kelly Samuels has also worked alongside Myers for 10 years and has become a trusted member of the touring team. “I absolutely love working with him and can’t imagine doing these tours without him,” she commented.
Georgie Lanfranchi has recently joined the team as Production Coordinator, supporting Myers, while Joanne Croxford and Molly Wright have also worked on the campaign in the same role at different stages. “I’ve been lucky with production coordinators over the years, and I’ve always had a great relationship with them, same for Stage Managers. Dom Dryburgh kicked off the campaign and Martin Hall completed it.”
That focus on people also informs the working culture Myers wants to establish on the road. A Safe Space Agreement is in place, with all personnel expected to understand its principles before joining the team. “Creating a positive and respectful working environment is just as important as getting the production right,” she stated. “Touring can be intense, and people spend a huge amount of time together, so establishing clear boundaries and expectations from the outset helps create a healthier and more supportive camp.”
Diversity is another priority, particularly when it comes to recruitment and creating opportunities for people entering the industry. Myers furthered: “I think we have a responsibility as an industry to keep widening the pool of people coming through, and that starts with who we choose to give opportunities to, help, encourage and support.”
As the campaign grew, managing budgets while adapting to the changing demands of life on the road remains an ongoing challenge. “It’s a constant balancing act, working within budgets without cutting corners in the wrong places,” she commented.
Taking the production to Australia was a particular logistical achievement. The distance and expense required careful planning and creative solutions to deliver the show to the standard the team wanted to achieve. “Taking a production to the other side of the world is incredibly expensive. It took a lot of creative thinking, planning and everyone doing their part to make it work, while still delivering the show we wanted for Anastacia. Knowing how much she wanted to perform in Australia made it rewarding, and I was proud of what the whole team achieved.”
Beyond the practicalities of delivering the show, maintaining morale is equally important. Touring can be relentless, and making time for people to relax and connect helps sustain the team throughout a long campaign. “Touring can be physically and mentally demanding, so creating a positive environment where people can switch off, have a laugh and look after themselves is key,” asserted Myers.
After a decade working with Anastacia, Myers reflected on the success of the campaign and the people behind it. “Seeing the team deliver this show night after night is something I’m incredibly proud of. I’m also very grateful to Anastacia, Craig Logan and LME for the trust they’ve placed in me over the years. It’s been a privilege to be part of this journey, and I’m proud of what we’ve achieved together.”
Words: Jacob Waite
Photo: Keely Myers and Nora Jeker
