IATSE Local 22 Stagehands Win Union Vote at 9:30 Club, Anthem and More

The International Alliance of Theatrical Stage Employees (IATSE) Local 22 secured a decisive union election covering concert production workers at several landmark Washington, D.C. venues operated by I.M.P., including the 9:30 Club, The Anthem, The Atlantis and the Lincoln Theatre.

In the conversation with the America’s Work Force Union Podcast host Ed “Flash” Ferenc, IATSE Local 22 Business Agent Ryan Chavka described how a packed worker meeting kicked off the campaign, why the core issues centered on respect and workplace voice and what comes next as the parties move toward first-contract bargaining.

• IATSE Local 22 won a strong union election among stagehands, audio engineers, lighting technicians and other production workers across four major D.C. venues.
• Workers organized around respect, scheduling predictability, safety and benefits, with first-contract bargaining now the central focus.
• Coordinated union strategy helped the broader workplace move forward, with multiple groups organizing in parallel and maintaining alignment.

Washington, D.C.’s live music economy runs on more than headliners and sold-out shows. It runs on skilled hands who build the stage, fly the rigging and power the audio and lighting, while safely moving thousands of pounds of equipment in and out of venues on tight timelines.

Those workers have now taken a major step toward formalizing their voice on the job.

In a recent National Labor Relations Board election, concert production employees at several prominent D.C. venues operated by I.M.P. voted to unionize with IATSE Local 22. The unit includes stagehands, audio engineers, lighting technicians and other production classifications working at the 9:30 Club, The Anthem, The Atlantis and the Lincoln Theatre.

Local 22 Business Agent Ryan Chavka joined America’s Workforce Union Podcast host Ed “Flash” Ferenc to discuss the campaign, the issues that fueled it and the work ahead as the parties prepare for first-contract negotiations.

From The Anthem to 9:30 Club: Organizing D.C.’s Iconic Venues

For Chavka, the story is not only about a vote count. It is also about a career shaped within the industry.

He told Ferenc he started in theater and entertainment while still in high school after a friend invited him to “come run a spotlight.” That early experience turned into steady work through college and into professional venue production. Chavka said he worked at the 9:30 Club for years in the 2000s, then began taking calls through Local 22’s referral system.

He became a Local 22 member in 2011, was elected vice president in 2016 and stepped into the business agent role in 2020.

For Chavka, that background matters. It places the organizing drive inside the lived reality of venue work: long days, late nights, fast turnarounds and constant coordination to keep shows safe and on schedule.

Inside the Campaign: How a Packed Meeting Sparked a Movement

The company at the center of the election is I.M.P., short for “It’s My Party.” Chavka said the business was founded by promoter Seth Hurwitz and is closely associated with the 9:30 Club, a long-standing D.C. landmark.

Local 22 had been aware of the venues for years, Chavka said, and had periodic conversations with workers. But the campaign that ultimately led to an election began with a single invitation.

A worker reached out in late 2025 and asked Local 22 to attend a small gathering to discuss unionizing. Chavka expected a handful of people.

Instead, he walked into a packed row house.

Chavka said roughly 40 workers attended in person, with additional participants joining by Zoom. The turnout, he explained, reflected a deeper groundswell of concern across the workplace, not just isolated dissatisfaction.

The size of the meeting also signaled something organizers look for in any campaign: workers were already talking to each other, already comparing experiences, and already looking for a path to collective action.

Respect, Scheduling and Workplace Voice

Chavka kept the discussion of workplace issues general, noting that contract negotiations had not yet begun. Still, he described a consistent theme.

Workers, he said, wanted respect and a real voice in decisions that affect their time, their schedules and their working conditions.

When it comes to venue production, scheduling is not an administrative detail. It is the difference between being able to plan childcare, manage a second job or simply get adequate rest between calls.

Chavka described the common industry reality: staffing needs can shift quickly from show to show. One day, a venue may need a small crew; the next, dozens. Workers understand that variability, he said, but they also need predictable systems that do not treat people like they can be “materialized out of nowhere.”

Pay is always part of the conversation, he added, but the organizing campaign was driven by more than that. Workers wanted to be heard when policies change and when day-to-day decisions reshape how the job is done.

Chavka also described a flashpoint that accelerated organizing momentum: workers used an internal scheduling and messaging system to communicate, including raising concerns about management changes. According to Chavka, messages began being deleted in real time, which workers experienced as a direct attempt to shut down internal discussion.

That moment, Chavka said, intensified the sense that workers needed a protected, structured voice at work.

Safety Training for Stagehands

Venue production is skilled work with real hazards: heavy loads, overhead rigging, electrical systems, tight load-in and load-out windows and fatigue from late-night schedules.

Chavka said safety language and training mechanisms will be key bargaining priorities. He noted that the industry also faces high turnover, which makes training and consistent standards even more important.

Local 22, he said, operates training resources through a separate trust fund and will explore how those resources can support the new unit.

IATSE Local 22 Election: Why the Vote Was So Strong

Ferenc asked whether the Local 22 team expected a result as strong as the one they achieved.

Chavka said the campaign’s internal assessment suggested the union had solid support, with the anticipated “yes” margin landing around the final outcome.

He also explained a technical challenge unique to production work: determining the eligible voter list in an NLRB election. Venues often have a core group of regular workers and a larger overhire list that expands and contracts with the show calendar.

That variability makes the cutoff point a central question in any election. Once the employer’s list clarified the unit size, Chavka said the campaign’s expectations aligned with the final results.

First Contract: Wages, Benefits and Scheduling

With the election complete, the focus turns to contract negotiations.

Chavka said Local 22 is reaching out to the employer to set dates and is building an internal committee. The committee will develop the first contract proposal, which he described as a “dream contract” starting point that will be refined through negotiations.

Key priorities, he said, include:

• Wages and fair compensation for irregular hours
• Scheduling systems that respect workers’ time
• Health care and retirement benefits
• Safety language and training pathways

Ferenc asked about the company’s business outlook. Chavka said that while privately held venues do not have the same public financial disclosures as nonprofits, the venues appear to have a steady calendar of shows and frequent sellouts.

On the timeline, Chavka cautioned that first contracts are rarely quick. He said completing a first agreement in under six months would be surprising, though he expressed hope that the parties could reach a finalized contract within the calendar year.

Local Autonomy, National Support

Ferenc also asked about the broader IATSE structure and what it means for workers considering organizing.

Chavka explained that IATSE Locals have significant autonomy, but the International Union can provide support when needed. He said Locals can request assistance in the form of organizers, legal resources and funding.

His message to workers in similar venues was direct: contact the IATSE Local in your area or reach out through the international union’s website to start the conversation.

Chavka added that the campaign has already generated interest beyond D.C., with other Locals reporting outreach from venue workers who heard about the organizing win.

If that momentum continues, the result could be larger than one election, he said. It could help accelerate organizing across the club and concert-venue industries.

Join the Movement Behind the Scenes. The win at the 9:30 Club is just the beginning. From stagehands to lighting techs, IATSE and entertainment workers are organizing for respect and safety. Don't miss the next big story. Subscribe to the America’s Work Force Union Podcast for weekly interviews with the organizers changing the industry.