Chauvet lights Josh Turner live shows
Friday, 16 April 2021
josh-turner1Josh Turner - back on stage
USA - An artist whose career has been fuelled by his tight connection to fans, Josh Turner creates his own brand of magic when performing before audiences, something he’s rarely been able to do since the pandemic struck. But recently, the Grammy-nominated, chart-topping country star got to savour the live concert experience, as he played socially distant shows in Florida and Georgia.
Helping him feed off the crowd at both stops was an engaging, upbeat Mason Felps lighting design that featured warm white audience light created with a collection of Chauvet Professional STRIKE 4 fixtures that were flown across the upstage truss.
“Josh really likes to see fans at his shows,” says Felps. “It’s part of the bond he has with them. So, of course we wanted to include audience lighting in the rig, especially during these times when the fans have to be separated. The STRIKE fixtures are very bright with warm light, which is just what we wanted.”
Like the other fixtures in Felps’ rig, which included 24 Maverick MK2 Spots and 16 Maverick MK3 Washes, as well as Rogue R2 Washes, and Vesuvio RGBA foggers, the four STRIKE 4 units were supplied by ESI of Tampa.
Felps used the LED movers in his rig to create a range of intense colours on stage, from deep cherry reds, to softer pastels, to dark evocative hues. Having the broad palette, not only helped him convey different moods in light, it also added a special, almost celebratory, quality to the show, reflecting the spirit of fans who were happy to be at a live concert again.
For some of Turner’s more mellow ballads, Felps set the tone by accompanying the deep, dark washes with large gobo patterns. He sometimes accentuated the mood of these songs by adding soft warm white washes from this STRIKE 4 fixtures.
The first show’s stage measured 50ft x 40t, while the second night’s was 32ft x 15ft. Felps had his Maverick MK2 Spot fixtures arranged on the deck and flown on mid-stage truss the first night, then used them as truss toppers on the small stage on night two. On both nights, he relied on a variety of crossing beam patterns to add depth to the stage.

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