In fact, interpretation for the hearing impaired at concerts is not only common, it is required by federal law if requested. Under the Americans with Disabilities Act of 1990, any business that serves the public (i.e. restaurants, hotels, movie theatres, sports facilities and concert venues) must make accommodations for people with disabilities.

So it is not unusual to see an interpreter signing the lyrics at a rock or pop concert to a small number of people, even though other attendees might question a deaf person’s desire to attend a musical event. The fact is, many of the concertgoers who request the service are not fully deaf but have some level of hearing impairment.

At a recent *Nsync show at the Van Andel Arena in Grand Rapids, Mich., Shane and Sandy Reynolds watched interpreter Kathleen Robertson sign the lyrics to the boy band’s songs. Both have the ability to hear the music but are unable to make out the words.

“Having her here makes a big difference,” Sandy Reynolds said. “Without her, we couldn’t fully enjoy the show.”

Kevin Dyels, program manager for Sign Language Associates’ Cultural Access Program (CAP), which provides interpreters for about 30 to 45 concerts in the D.C. area per year, clued POLLSTAR in to the level of preparation undertaken before a concert. Since they are rarely given set lists ahead of time, interpreters will take on the responsibility of learning an artist’s full catalog of songs. Or, they will check recent set lists posted online by fans to pare down the amount of memorization.

At most concerts, CAP sends two lead interpreters and one understudy. The leads are responsible for the opening and headline acts, while the understudy often scrambles to find updated set lists during the show. For festivals, the program will send out one worker for every two bands on the bill.

The service is around $175 per hour with a three-hour minimum; total price tags average from $500 to $600.

Whether the promoter or venue foots the bill appears to vary by location and circumstance. While the ADA requires that accommodations be provided, it doesn’t specify which ones or who should be financially responsible.

According to Jennifer Macy of Denver Theatres and Arenas, promoters doing business at the city- and county-run properties, including Red Rocks Amphitheatre and the Denver Coliseum, are contractually obligated to pay for interpretive services if requested.

The promoters need at least a week for preparation, which includes securing a set list and lyric sheets from the band.

Lorrie Kosinski is the Deaf Programs Specialist for the City and County of Denver’s Commission for People with Disabilities. She is also the only sign language interpreter on staff and handles most of the requests for services at Red Rocks and other venues.

She said she only gets about five requests a year for concert services, as most of the hearing-impaired guests at the shows prefer to use ALDs (assisted listening devices), which are available at all the venues at all times.

Dyels said that payment for service requests in D.C. is sometimes covered by the promoter, sometimes by the venue. Sign Language Associates has a simple way of clearing it up.

“We bill whoever calls us. Typically, that’s the promoter. On occasion, it’s the venue but I get the sense that the venue turns around and tacks that number on the promoter’s bill at the end of the run,” Dyels said.

“The bottom line is that whoever is putting on the show should pay for it. However, I think it’s impossible for the average deaf person to find Billy Joel directly or to find his promoter,” he continued, adding that it is much simpler for concert-goers to give a request to the venue, which can then get the space ready for the event.

Dyels explained that some artists and promoters are wary about hiring signers, as they assume that the interpreters will be onstage sharing the spotlight with the artist. Not so, he said. At 90 percent of the shows worked by his group, the interpreters are stationed in the audience.

That is where Robertson was signing at the Van Andel Arena. As she pointed out, signing at concerts is vastly different from interpreting, say, a speech by the mayor.

The challenge for concert signers is to convey the rhythm and feel of the music. In the case of Robertson, she uses her whole body to dance to the music.

“Rhythmically, we have to represent what’s happening musically,” she told The Grand Rapids Press. ” … It takes a toll on your body.”

Lynne Ike, Van Andel’s marketing director, appreciates the service Robertson provides.

“She’s really good,” Ike said. “She was even signing the bagpipes from Rod Stewart’s show.”