You've found a babysitter, spent an hour in traffic jams, overpaid to park the car and waited a half hour in line to get into the park.
But, off on the side, you may see one man, still biting his nails and pacing nervously.
If you've been perusing the back pages of the Hebrew dailies on the weekend for the upcoming pop music shows coming here, you'd be excused for thinking you'd mistakenly stumbled on the listings for Los Angeles or London.
Within a little more than a month, here are some of the international acts that have and will be touching down on our shores.
It's a far cry from earlier in the decade, when Palestinian terror in the guise of suicide attacks, bus bombings and restaurant explosions all but curtailed the influx of international talent.
What has changed to suddenly transform Israel from a musical ghost town into a concertgoer's delight and a performer's paradise?
The people who may have the answers are those characters behind the scenes, who, months before ticket holders swing through the turnstiles with hearts pounding and expectations peaking, are busy grinding out the minute details of logistics and crunching the numbers of financial viability.
They're the promoters - or as they prefer to be called, the risk takers.
UNLESS YOU'RE a music business insider, chances are you've never heard of names like Shuki Weiss, Dudu Zarzevsky and Zev Isaacs, or even lower-profile colleagues like Yuri Leshev and Carmi Wurtman.
"At the end of the day, there's only five or six people who are involved with bringing artists to Israel, and they're talking to the same 60 offices abroad," says Hillel Wachs, who for the last two years has partnered with Wurtman and his company 2bVibes to bring artists like the Black Eyed Peas, Macy Gray and Joe Cocker.
Wachs indicated that while promoters aren't necessarily best friends, they do maintain contact with one another for mutual benefit.
"The promoters look for a niche and try not to step on each other's toes.
Another reason for at least a minimal amount of communication among the promoters is to prevent a bidding war for a particular artist, which ultimately raises the price for the consumer.
"There are bidding wars between the promoters.
And anyone who's bought a ticket for that show or one of the big concerts this year like Depeche Mode, Cohen or Madonna knows that there's been a huge jump in prices, with stadium shows generally beginning at NIS 450 and soaring all the way to the thousands for VIP seating.
"From what I hear, every show this summer is selling nicely," says Yuri Leshev, who has been promoting shows since 2000 in conjunction with the Hadran Ticket Agency in Tel Aviv.
"This is really amazing if you think about it.
"To see someone like Madonna or Leonard Cohen or Paul McCartney is really only a once-or-twice-a-year event.
"Of course if a ticket opened up, I'd grab it.
Despite enthusiastic music lovers like Louzon, there's no guarantee for a promoter that a show is going to be successful or make money.
"You never know," says Zarzevsky, nursing a cold drink at a local Tel Aviv coffee shop.
"We sold 50,000 tickets to McCartney, but we could have sold 62,000," he says ruefully.
The men (and there aren't any large-scale female promoters out there yet) at the center of the storm are generally not going to talk about their financial balances.
To lessen the potential financial risk in bringing over huge stadium attractions like McCartney, many promoters turn to corporate sponsors.
"One of the main issues here is risk management," says Wachs.
"Bank Discount is paying a lot of money to get exposure and a positive association among its target audience - the older, more affluent class who are investing money and opening accounts.
Corporate sponsorship can make or break the financial viability of a show.
"Ticket prices are determined by the sponsor, who may want to give them away to clients.
According to the promoter, the whole nature of bidding for an artist has changed, due to the wild card of sponsorship.
"Twenty years ago, you bid on an act according to what you thought would be the income versus the expenses and the fee.
"Nowadays you try to get the sponsorship money and then you make an offer based on how much you'll get from the sponsorship and from ticket sales as well.
The promoter was talking about last year's McCartney show, which was almost canceled when original sponsor Orange backed out.
EVEN WITH a corporate sponsor, however, many times the costs are still insurmountable for a huge stadium show on the level of McCartney or Madonna.
Yuri Leshev says that while a sponsor may give NIS 1 million in sponsorship, it's often a drop in the bucket.
"The Madonna show is probably costing between NIS 15 million and NIS 20m. overall to produce.
"The first show I did was Uriah Heep in 2000.
"I was so inexperienced. I made every mistake possible.
"The money came out of my pocket.
"I know of cases where promoters have essentially had to run away and leave the country.
Leshev calculates that a promoter who produces a dozen shows a year needs to profit from 60 percent to 70% of them to cover the losses of the others.
"You can go to your suppliers and say, look I lost on this one so can I get a discount?
"Losing money is depressing.
According to Leshev, a promoter should never trust his own tastes when deciding whom to bid for.
"Having an inner feeling is very important when choosing an artist.
"My most successful acts, for the most part, have been the artists I don't listen to.
ONCE YOU have the "inner feeling" about an artist who's on tour and decide to place an offer, that's only the beginning of the ride.
According to Leonard Cohen's manager, Robert Kory, who's overseen Cohen's world tour, the concert industry is healthy indeed.
"The concert business is surprisingly strong.
Promoter Zarzevsky, who in addition to bringing McCartney, has produced shows by Lauren Hill, as well as the annual Eilat Jazz Festival and the Tamar Festival, agrees that artists certainly aren't hurting for bookings.
"I'm looking at touring sites constantly, exploring opportunities to bring artists to Israel, and I don't see any economic downturns.
With Israel gradually being added to the radar screens of agents who are routing tours through Europe, along with the growing perception that it has developed into a market which can pay top dollar, and is currently a "safe" place to visit, the result is that an increasing pool of talent is eager and willing to play here.
According to Kory, there's even a word of mouth circuit in the industry based on artists' touring experiences, that can influence another artist's willingness to perform in Israel.
"There's definitely communication among managers and artists' agents.
According to Zev Isaacs, an Australian immigrant who produced some of the country's biggest shows in the 1990s - like U2, Madonna, Elton John and Peter Gabriel - and today owns and runs the Hangar 11 club in the Tel Aviv Port, the country has seen a 180-degree turnaround in the last year.
"We've had a bad stretch for a long time, especially around 2002-2005, when there was very little international exchange of culture," says the wiry Isaacs in his office on the floor above the cavernous Hangar.
"We still have to drag the artist to come here usually - we're not on the regular agenda when planning tours.
According to 2bVibes's Hillel Wachs, one reason why artists are generally paid more money here than in other countries is due to the exorbitant costs of bringing in equipment and crew, all of which must be done by plane or ship.
"When someone comes here, they lose performance days.
Once the logistic issues are squared away, there remains the less tangible, but just as prominent, issue of personal security.
"There are periods when things seem to be more stable and there's less security concern.
For some promoters, the security card can mean the potential loss of a lot of money - the Red Hot Chili Peppers got intifada fever in 2001, and Depeche Mode bailed in 2006 ahead of the Second Lebanon War.
"The bigger the name, the higher risk of cancellation," says Hadran's Leshev.
"You're bound to lose a lot of money, even if all the fees that were going to the band are returned.
Even in today's relative quiet, thanks to the volatile reputation that Israel is saddled with, artists and their management need constant reassurance that they're not going to get shot at leaving their hotel.
Isaacs describes his experience with the New York musical sci-fi theater group Blue Man Group who performed a string of shows at the Tel Aviv Exhibition Grounds in June.
"I would get daily phone calls from them in January saying the rockets have fallen 17 kilometers from Tel Aviv, and asking what my security precautions were?
"Then about two weeks before they landed here in June, the matter was raised again.
"Of course, as soon as they got here, and witnessed the reality of Tel Aviv, everybody went off to restaurants and bars, and they didn't ask for security from that moment on."
Yuri Leshev recalls that it took more than a year of discussion, phone calls and e-mail with Steve Vai to convince the guitarist to come to stage his Alien Guitar Workshop.
"He told me point blank that he was scared.
Leshev admits that promoters take a big responsibility when ensuring an artist's safety, especially when they themselves aren't quite sure it's safe.
"They sent me an e-mail questioning the wisdom of coming, for security reasons.
"Things are happening on a daily basis, buses exploding, coffee shops being attacked - we were all at risk.
Even taking away the security wild card, some promoters encounter artists who don't want to perform here just because it's Israel.
"Many artists still have a problem coming to Israel.
Wachs adds that in two years of negotiating with artists, he's only encountered one artist - Sinead O'Connor - who insisted she wouldn't perform in Israel for political reasons.
According to Zarzevsky, despite repeated attempts to book a show, Bruce Springsteen has shown no interest in performing here, but he isn't sure whether it was due to political or simply security reasons.
"We had worked on a George Michael concert for months.
"The agent didn't check one little thing, though - whether Michael would play here.
ONCE AN artist has been assured that it's safe, that it's financially viable despite the extra costs and that he's not politically averse to performing here, it all comes down to the visit.
"We host them - I'm talking about me and all of my colleagues - with the best conditions and treatment," says Zarzevsky.
Wachs suggested that it was the opposite treatment which endears the artists to the country.
"I looked at the MySpace comments of Macy Gray's band after their show here.
"Often, band members are used to running from town to town and being treated like meat.
"Here, they can let their guard down;
Things have evidently changed from the days, only 16 years ago, that Elton John, due to shoddy treatment at the airport and paparazzi on his trail, fled the country hours after his arrival.
Leshev offers all of his artists personal tours of Jerusalem, the Dead Sea and other attractions which they would not normally get to see from a Tel Aviv hotel window.
"I like Israel myself very much, and I like when people appreciate the place where I've made my home.
"And in many cases, they go back home and tell their friends - 'Look we just played Israel, it's such a fantastic place and you have to go there.'"
Ultimately, despite the hassles, frayed nerves and last-minute nightmares, most of the shows presented here go off without a hitch.
According to Zarzevsky, despite the financial turmoil and endless demands, he would have still promoted the McCartney show.
"It was a once-in-a-lifetime experience.