FOH Engineer Josh Osmond on Mixing The Lumineers Tour with VENUE | S6L
Who Is Josh Osmond and The Lumineers
The Lumineers have become one of the defining folk rock acts of the past decade, blending acoustic elements with songwriting that resonates with audiences around the world. Known for hits like “Ho Hey” and “Ophelia,” their live performances are raw, emotional, and immersive, thanks largely to the work of their front of house (FOH) engineer, Josh Osmond. But before he was mixing stadiums for The Lumineers, Josh’s journey into live sound started with a love for music and production.
With over 20 years in audio, Josh’s story began in his early twenties when he realized the corporate world was not for him. Fascinated by behind-the-scenes moments at concerts, he enrolled in a studio-focused audio course and quickly pivoted toward live sound. After skipping his own graduation to join a touring band, he racked up hundreds of shows per year, learning through experience and making plenty of mistakes along the way. That road led to gigs with John Legend and Tracy Chapman, as well as roles as a system engineer for Bob Dylan and the Grateful Dead before he landed what would become his long-term role with The Lumineers in 2013. Twelve years later, Josh is still behind the console—helping shape the sound of one of modern music’s most authentic live acts.
Josh Osmond’s Setup with Avid VENUE | S6L
Josh Osmond’s role as front of house engineer for The Lumineers is rooted in trust and collaboration, built over a long relationship with the band. For their recent Automatic World Tour, preparation began nearly a year in advance, with Josh staying closely connected to the studio process. He regularly spoke with the band’s studio team to understand the sonic blueprint, including everything from vocal chains to compression choices. This early involvement allowed Josh to plan how those sounds could be recreated on stage, aligning the technical setup with the emotional tone of the record.
Translating those studio elements into a powerful live mix is where Josh’s VENUE | S6L-32D setup comes into play. With over 165 inputs routed through two Stage 64s and one Stage 32 on stage, plus another Stage 32 and Local 16 for outboard effects at front of house, the scale of the show demanded an upgrade to Avid’s new VENUE | E6LX-256 Engine. “The workflow just makes sense to me,” Josh says. “The snapshot functionality is as good as it gets.”
He relies on detailed user layouts and over 100 control events to automate everything from input changes to mic swaps. With over 165 inputs, his system is built for speed and flexibility, with custom fader banks per song and instant access to essential layers without the need to bank through channels.
Josh also makes full use of Pro Tools integration capabilities with VENUE and records up to 216 channels over a single Cat cable using AVB-HD. “That part is just insane,” he says. His mix includes ambient mics, utility routing, and a suite of analog outboard processors, but he takes pride in not using a single plugin on input channels. “All my inputs are using built-in compression, gates, or HEAT. Any plugins I use are either for effects or on group buses—and even then, they’re there mainly in case of analog outboard gear failure.” This blend of thoughtful engineering, automation, and restraint is what allows Josh to deliver a show that’s not only sonically accurate to the record, but emotionally immersive on a live stage.
Working with The Lumineers
When asked what sets The Lumineers apart from other acts he’s worked with, Josh points to the complexity behind their stripped-back sound. “On the surface, they’re a folk-rock band,” he says, “but the reality is far more intricate.” With over 165 inputs in his show file, it’s clear this is no ordinary acoustic setup. The band’s live production includes a stage that stretches up to 70 feet into the crowd, multiple vocal mic positions, rolling drum kits, and piano setups that move from song to song. Unlike traditional bands that stay in fixed positions, The Lumineers are constantly in motion—requiring a mix engineer who can adapt in real time.
This movement brings an added level of pressure to Josh’s role. With up to 20 vocal mics and various instruments being moved or swapped throughout the set, Josh needs to be aware of what’s live in the mix at any given moment. “If an audio tech grabs three mics off the stage, and I’ve left them open in the mix, you’ll hear clunking and handling noise,” he explains. To avoid that, he rides faders and toggles inputs on the fly, syncing his actions with the choreography of the band. It's a setup more like a pop production but just without dancers. Instead, it’s the musicians themselves who move with intention, keeping the visual and sonic energy alive throughout the show. It’s a challenge, but one that elevates the performance to something truly immersive.
Moments on Tour with The Lumineers
When it comes to “wow” moments, Josh Osmond has had more than a few. “There’s a number of different shows we’ve done over the years where you just get chills, hair standing up on your arms,” he says. A standout memory for him was mixing a sold-out show at Wrigley Field in Chicago. “I grew up as an athlete, so anytime I’m on a field like that or in an arena where a professional team plays, it’s really cool,” he adds. More recently, the band played a tribute in Manchester by covering an Oasis song, and the crowd erupted. “Literally the first word they sang, and within half a second the whole crowd was singing. That was a chills moment.”
But it’s not just the crowd that inspires those moments. Josh also credits the band’s creative energy and collaboration. “They trust me pretty heavily to put together a mix that’s going to be the best sound we can put forth,” he explains, but it’s far from a one-way process. “They’re one of the best bands I’ve ever worked with in terms of collaboration,” he says. From talking about arrangements to adding extra vocal layers or unique reverb effects, the band often communicates very specific musical ideas. “My relationship with them ends up being sort of like a producer role in the live setting,” Josh shares. During pre-production, they’ll record and review multiple takes to make quick, intentional decisions together. “It’s a group effort… and they just want to put the best product out to the audience.”
Advice from Josh Osmond
When asked what advice he’d give to younger engineers hoping to work with major artists, Josh does not sugar-coat it. “There is no quick route,” he says. “You’ve got to put in your time, get your reps, mix a lot of shows, and make a lot of mistakes.” His core principles? “Patience, persistence, dedication,” he lists. For Josh, it’s not just about skill, but also being a good person, building relationships, and staying committed to your craft. “Focus on your passion, care about what you do, and try to learn something new every day,” he says. “Eventually, people will notice your work, and opportunities will come.” His final piece of advice? Don’t be afraid to say yes to things that feel a bit out of your depth. “At a certain point, you just have to jump in.”