From Synth-Pop Frontman to Dallas’ Event Maestro: The Unlikely Ballad of Richard McClure

Richard McClure’s journey is a masterclass in reinvention with a focus on the art of bringing people together.

Before McClure was the architect behind Dallas’ most polished corporate galas, orchestrating the seamless flow of light and sound for giants, he was a teenager telling jokes in a strip club. He was a synth-pop frontman renting out a Deep Ellum street to spite a club owner. He was a creative force, ricocheting through the city’s cultural underbelly with punk-rock ethos and a poet’s heart. His career is not a straight line but a vibrant, chaotic and quintessentially Dallas collage of reinvention.

McClure’s story begins on the sticky floors of Dallas’ grittiest stages. At just 16, he was cutting his comedic teeth at 10’s of Dallas, a topless bar off Northwest Highway where his punchlines landed between dance sets. He even shared a bill with the infamous Morganna the Kissing Bandit. 

“I was underage working in a topless bar as a comedian,” McClure tells us with a laugh. “And my grandmother even came to see us and thought it was quite fun.”

Soon, he was a fixture at the legendary Comedy Corner on Greenville Avenue, where he not only performed stand-up but also founded his own improv troupe, the Comedy Cornerstones. They became a Sunday night staple as a band of young wits honing their craft in the crucible of live performance. It was an early lesson in captivating an audience, a skill that would prove transferable from dingy clubs to dazzling ballrooms.

But comedy was just the opening act. The neon-soaked, synthesized pulse of the late ‘80s and early ‘90s beckoned. McClure, then known as Richard Gwynne, fronted Á Deux Voix (“two voices”), a synth-pop duo. With a sound that shimmered with European melancholy and dance-floor energy, they carved out a niche in a city electric with new wave and industrial music. They were ambitious, driven and unapologetically DIY.

“From Paris decadence to London decadence and Houston decadence — Á Deux Voix,” McClure chants, reciting an old band promo like a mantra. He recalls how local radio stations, eager to add a touch of European mystique, would encourage the duo to adopt English or French accents and pretend they were from overseas.

Á Deux Voix found themselves in the orbit of musical heavyweights, opening for Echo and the Bunnymen at the Lizard Lounge and playing a side stage at Lollapalooza. They even caught the ear of CBS Records, which brought them into a Houston studio. The label’s vision? A sound that was “Trent Reznor meets New Order.” The connection was more than just a passing comparison. The burgeoning industrial scene was a playground for McClure and his contemporaries.

His hustle was relentless. In one legendary tale of Deep Ellum defiance, Á Deux Voix found themselves turned down by a local club. Refusing to take no for an answer, McClure decided to create his own opportunity. For just $25, he rented a stretch of Elm Street, set up his own stage, and — with a bit of rebellious ingenuity — ran an extension cord from a neighboring taco place to power the entire concert. The crowds spilled out onto the pavement, drawn by the music and McClure’s determination to put on a show, no matter the obstacles. 

It was a formative moment in the energetic, competitive world of Dallas nightlife, a scene populated by bold characters and creatives, including a young Erykah Badu, whom McClure remembers dancing with in a jazz class. 

Á Deux Voix’s music resonated, earning a coveted spot on 94.5 The Edge’s first Tales from the Edge compilation CD, cementing their place in Dallas music history. Their tapes, like the Swim EP and a live recording from Video Bar, became treasured artifacts of the time — physical proof of a band that embodied the city’s edgy, artistic spirit.

But scenes fade, and the life of a touring musician is a grueling one. As the new millennium dawned, McClure found himself at a crossroads. The same creative spark that fueled his comedy and music was ready for a new conduit. In 2001, he founded AVSD Productions. The transition from frontman to behind-the-scenes maestro felt natural. The goal was the same: create an unforgettable experience.

“If there’s somebody else who can do this… there’s nothing limiting me from being able to do it,” McClure says, reflecting on the philosophy that has guided his entire career. “So, why not just get out there and try it?”

Initially taking on weddings, AVSD Productions quickly pivoted, finding its footing in the corporate world. McClure had discovered a new stage — instead of commanding a crowd with a microphone, he was now conducting an orchestra of technology, audio, video, lighting and staging to transform sterile conference rooms and cavernous halls into immersive environments. He stopped offering video services when it wasn’t profitable, a pragmatic decision from a man who had learned the hard way about the business of art.

It’s a world away from telling jokes to a handful of patrons between stripteases or charming a club full of new wave kids. Yet, the core principles remain. It’s about understanding the audience, managing the energy and knowing that every detail matters. It requires a formidable work ethic, something McClure says was “driven into [him] being the youngster.” He adds, “If you just don’t make things happen, they’re not going to necessarily just happen for you.”

This drive is a recurring theme. He tells a story about being on a boat in England when the throttle broke. With no mechanic in sight, he turned to YouTube, diagnosed the problem and fixed it himself. It’s the same resourceful, can-do spirit that led him to rent a city street for a concert decades ago.

Today, AVSD Productions is a cornerstone of the Dallas event industry, the silent partner behind countless high-stakes conferences, awards shows and charity galas. Over the years, many clients have come to rely on AVSD for their AV needs, building ongoing relationships that often extend far beyond a single event. In addition to being the mastermind behind technical production, McClure has worn the hats of DJ and emcee, bringing his signature energy and showmanship to dance floors and podiums across the city. He and his team ensure that the CEO’s keynote is presented and heard flawlessly, that the lighting shifts perfectly to match the mood, and that the entire production unfolds with the precision of a choreographed performance. He’s traded the tour van for touring with companies, managing their AV needs for conferences across the country.

The journey from Richard Gwynne, the artist, to Richard McClure, the entrepreneur, is a testament to the art of reinvention. He’s a living link between the raw, creative energy of old Deep Ellum and the polished professionalism of modern Dallas. He has brought people together his entire life — first to laugh, then to dance and now to communicate. The stage has changed, the tools are more advanced, but the mission has always been about creating a moment. For a kid who started on the fringes of the Dallas entertainment scene, he’s now, quietly and expertly, running the whole show.