UK - The judging panel for The Knight of Illumination (KOI) Awards has revealed the 2019 shortlist for the Concert Touring & Events category.
Having received a record number of submissions - up 25 per cent from the 2017 Awards - the judges had to choose just a fraction of the entries to put forward for the shortlist.
The 2019 Concert Touring & Events shortlist is as follows:
The MA Lighting Award for Club
Hayden Borgars for Fever 333
Sherry Coenen for Frankenstein: How to Make a Monster
John 'JP' Partridge for Metronomy
The disguise Award for Video Content
Tom Colbourne, Rob Sinclair & Blue Leach for Kylie Minogue
Adam Young and Finn Ross for Years & Years
Paul Kell for Nick Mason's Saucerful of Secrets
The Vari-Lite Award for Stage
Tom Campbell for John Grant
Paul Kell for Nick Mason's Saucerful of Secrets
Tim Routledge for DAVE
The Minuit Une Award for Events
Adam Bassett for Dinosaurs in the Wild
Matthew Button for The Nest, London Borough of Culture
Ben Cracknell for Olivier Awards 2019
The GLP Award for Arena
Ben Dalgleish for Post Malone
Tim Routledge for Florence + the Machine
Tobias Rylander for The 1975
The judging panel comprised LSi editor Claire Beeson, music business and events consultant Ronnie Gurr, director of architectural lighting firm 18 Degrees Christopher Knowlton, head of lighting design at Imagination Jonny Milmer
UK - White Light recently provided the lighting equipment for the Apollo Nights season at the Eventim Apollo - a week of live performances from a range of music artists.
The inaugural Apollo Nights season at the Eventim Apollo in Hammersmith, London, brought together a premium VIP dining experience and a roster of headline artists for a week of shows at the landmark venue.
Curated by Ollie Rosenblatt at Senbla, the season delivered an audience experience with the front stalls seating removed to create space for VIP pre-show dining with live jazz piano before opening up the full auditorium for headline shows. The first performance was by Burt Bacharach and Joss Stone and was followed by George Benson and finally Marc Almond.
The lighting designer for the season was Ben M Rogers, who WL has previously worked with on the award-winning Hair musical. Rogers comments: “I was tasked with creating a flexible 'festival' rig that would frame the action on stage and enhance the auditorium for the dining experience. Taking the artists touring riders as a starting point, and working closely with WL’s Customer Services Team Leader Andy Cullen, I had to assemble a rig capable of delivering everything, from big, classy show looks to intimate moments.”
Alongside this, Ben also had to consider the building’s architecture when formulating his design. “The venue has exceptional sight lines with all seats able to see the full proscenium opening. I wanted to achieve layers of light to fill the large proscenium - so cascaded the fly bars and adde
Europe - High End Systems has opened the ‘new and improved’ High End Systems Knowledge Management Site (KMS) for users to get solutions for specific issues faster.
Available at www.support.etcconnect.com/hes, the KMS houses over 2,000 support articles created over the years, including hundreds of new articles produced just in the last few months. Whether you need a quick fix or a detailed tutorial, the KMS gives you a database of solutions that you can search on your own time. And, with the ability to capture questions in real time, High End Tech Services can also get answers out more quickly to help others with similar problems, says the company.
The KMS has a wide array of content available for both High End Systems and ETC products.
UK - Version 2 is supporting a growing number of crews with low energy solutions both in the studio and on location.
Working with a number of leading lighting directors, the Buckinghamshire based lighting rental specialists have supported coverage on a selection of premier summer events with products form their low energy inventory. First up was a visit to Worthy Farm, Somerset as broadcast partners for the BBC’s comprehensive coverage of the 2019 Glastonbury Festival.
Making use of a selection of V2 low energy fixtures, lighting director Oli Richards and gaffer Paul Evans made this year’s Glastonbury coverage a completely LED lit event. The Version 2 team deployed a pair of lighting trucks to help deliver the look for both the ‘live studio’ areas and the considerable number of interviews held remotely across the vast festival site.
The studio set-ups mixed Martin’s MAC Aura Wash and Rush Par 2 with Litepanels Gemini 2 x 1 Soft Panels to provide a blend of soft, even illumination and controllable colour. To complete the look, LED ribbon was added for extra sparkle throughout the set. For the location spots, V2 sent out their Litepanels Astra LED Soft Panel kits.
Heading to London SW18, the Version 2 team joined LD Malcolm Reed for ESPN’s coverage of Wimbledon 2019. As one of the largest on-site broadcasters, ESPN delivered over 145 hours of TV to over 3m viewers throughout the entire Championships.
Covering the action from every angle, the set-up required the custom install of two main studios plus lighting of numerous remot
Belgium - Main stage artists at the 2019 Ghent Jazz Festival were illuminated by 86 Robe moving lights - including 35 new T1s - in a slick lighting design created by Bart Weyts of company L&L Stage Services, who provided technical production, including lightning, audio and video, for that stage.
The event was located in the attractive surroundings of De Bijloke, a charismatic historic site formally a hospital that now houses the Ghent Music Centre in the Belgian city. L&L has been involved in the main stage technical production for the last few years, working directly for the organisers.
This year, L&L purchased T1s with this and other projects in mind from Robe’s Benelux distributor Controllux, adding to their ever-growing rental inventory of Robe moving lights which is now around the 650 mark. He wanted to use them on the Jazz festival because they are silent.
Jazz performance often features some very intense ‘pin drop’ moments - where the ambience can potentially be ruined by the clunking and whirring of a moving light!
In addition to these, 29 Spiiders and 22 LEDWash 600s graced the rig which was based on Danny Nolan’s design for Sting. Other high-profile stars included Jamie Cullum, Rymden, Diana Krall, Joan Baez, Gregory Porter, Mulatu Astatke, Melissa Aldana, Big Whoop and many others all reflecting superlative jazz from around the globe.
The lights were positioned on three overhead trusses slightly racked (lowest at the back) above the stage and on a front (advance) truss, with the LEDWash 600s on two 90-degr
UK - A.C. Special Projects (AC-SP) has expanded its team with the appointment Muraly Kuhan in the role of business development manager.
Kuhan will work closely with AC-SP’s project managers and architectural lighting brand partners - including Traxon/e:cue, CLS, Acclaim and Chroma-Q - to develop and implement new business.
He has extensive architectural lighting sales experience on both the product manufacturer and project specifier sides, encompassing supply through to specification, design and installation.
AC-SP’s managing director Lance Bromhead comments: "I'm delighted to welcome Muraly to our team. With his wealth of architectural lighting product, project management and commercial experience, he will be invaluable in helping A.C. Special Projects to achieve its future growth plans.”
USA - Jackson Browne is back on the road for the next leg of his tour with a lighting package supplied by Bandit Lites, and while the singer-songwriter’s last few tours featured big, saturated looks and backdrops, lighting designer Steve Comer designed this year’s run around beams rather than a set.
“I chose to do ladders behind the band and some side trusses at a downward angle to wrap around the band and provide beams of light that surrounds them,” Comer explaines.
“It was 12 years ago now that Jackson himself with designer David Davidian led the charge to go to a more earth friendly approach to lighting using a 90% LED based system,” says Bandit production director Dizzy Gosnell. “Back then it was 160 LED Par 64s. Jackson’s house had been off the grid a long while before, and he was intensely interested in pushing LED on his lighting systems. It was his vision and faith in us that enabled us to take the leap into the LED path we’re at now.”
Bandit Lites is providing more than 100 fixtures for the tour, including Martin MAC Auras for wash and band member key lights and Vipers for full stage gobo wash and band member solo highlights. GLP X4 fixtures bring tight beams of color and aerial beams. Additional beam effects are provided by Chauvet Rogue RH1 Hybrids and Chauvet Maverick Pyxis.
“I have really enjoyed having the Pyxis out,” Comer adds. “It is like having two fixtures in one where I can get a tight beam in one colour and a colour wash in a different color at the same time. The zoom on the outer ring really
Switzerland - Around every 20 years, the ‘once in a generation’ Fête des Vignerons takes over the Swiss town of Vevey for a month in July and August. Featuring nearly 6,400 performers, musicians and singers, 2,000 lighting fixtures, 612 loudspeakers and over 300 channels of wireless microphones, 11 networked Yamaha digital mixing systems were needed for the centrepiece production of the 2019 event.
Fête des Vignerons is a spectacular event which pays homage to the centuries-old traditions of the Brotherhood of Winegrowers, which covers the area from Pully to Vevey, in the Lavaux region of Switzerland. The centrepiece production takes place in a temporary arena, built on the banks of Lac Léman (Lake Geneva) and depicts a year in the life of the vineyard over 20 scenes.
Taking place from 18 July to 11 August, this year’s production comprised 23 shows, plus the coronation of the Vigneron-Tâcheron (wine-grower’s hand), traditionally regarded as the ‘keeper of the immemorial know-how’. It saw a quantum leap in the staging and production since it last took place in 1999, with today’s technology meaning the audio production could surpass the highest audience expectations.
The show’s design was for five stages - one in the centre, plus one on each side of the arena - so sound coverage was a complex issue. For the 1999 event, the audio system was mounted on a single tower in the middle, meaning all of the sound came from one point. This year’s technical director François Mottier wanted to make sure that the mistakes from last time were
UK - White Light supplied the lighting equipment for the UK premiere of the Broadway musical Amélie, which completed its UK tour.
Originally performed on Broadway, Amélie is based on the 2001 romantic comedy film by Jean-Pierre Jeunet and tells the story of an astonishing young woman who lives quietly in the real world but loudly in her mind. This UK premiere is directed by Michael Fentiman, stars Audrey Brisson and Danny Mac and features a lighting design by Elliot Griggs.
Griggs explains: “Amélie is unlike anything I’ve ever worked on before. The film itself actually broke a lot of traditional concepts, with the central character being largely passive and the story being told through short vignettes, which together create a rich tapestry of 90s Paris, but also highlight its loneliness and isolation.
“Trying to encompass this successfully into a stage musical is no small feat! That said, the show manages to stay very true to the film. There are no big toe tapping numbers and the score, which was re-orchestrated by the fantastic Barney Race, steers the piece back towards its Parisian, folk-like roots; away from the Broadway-esque version of the Original Cast Recording”.
Alongside capturing the themes of the film, the creative team was also eager to catch its unique aesthetic. The LD continues: “Anyone who knows the film will instantly recognise the image of Amélie in her red outfit surrounded by a muted green backdrop. Set designer Madeleine Girling’s beautiful dark green art-deco Métro station set holds the enti
UK - Independent event production specialists Light Fantastic Production Services returned to The Old Truman Brewery, London to support innovation festival Unbound with a complete event solution.
Featuring presentations by a host of leading brands, the two-day symposium attracted over 5,000 visitors.
The LFPS team worked with Unbound to transform the capacious venue into a series of zones, including the Main Stage, Future Stage, Networking Zone, Partners Lounge plus individually-branded spaces for over 140 exhibitors.
The guest speaker presentations and panel style discussions were hosted within custom designed auditoria, built from the ground up by the LFPS team. Covering every aspect of the installation LFPS provided all lighting, audio, video and staging along with an extensive suite of stylish exhibition stands, digital event branding and signage.
Commenting on the project LFPS managing director Rob Myer says: “We’re delighted to have once again partnered with the Unbound team for this phenomenal event. With our 50 strong crew, we provided the organisers a single source solution for all equipment, technical support and full production management.”
Central to the event was the 500-seat Unbound Main Stage. The set design wove together LED video panels and 3D fragments of the Unbound logo to create an abstract, modern setting around a 10m upstage video wall. This LED wall was fed via a Barco S3 switcher with Panasonic laser projectors deployed on IMAG duties. In addition to the live audience, all sessions on the main stage were st
France - The Printemps department store at the intersection of Boulevard Haussmann and Rue du Havre became the first store in Paris to use 100 percent electric lighting in 1883. For this year’s Fashion Show Spring Vélizy 2 at the store, battery powered and Wi-Fi controlled LED WELL Fit fixtures from Chauvet Professional supplied by Axilum provided the lighting.
Axilum used 36 WELL Fit units in its lighting for the fashion show event. Many of the fixtures were used to illuminate displays, while others, positioned by the runway itself, played a more unusual role.
The WELL Fit units at the runway were placed on their sides so they could create a lattice work of crisscrossing light on the carpet as models paraded to showcase the latest fashions.
“We had free card from our client to recreate a friendly space,” says Lionel Tachet of Axilum. “So, we relied on our imaginations to use the WELL Fits in a unique way to create a path. The WELL Fits are powerful autonomous projectors with a high autonomy and Wi-Fi management, which made them very well-suited for this project.”
USA - Chauvet Professional has released the Maverick MK3 Profile to the market. The fixture, which received its world premiere at the 2019 Prolight+Sound exhibition, can handle the demands of large concert venues and excels in a wide range of other applications, from high-profile events and festivals, to broadcast projects, says the company.
A fully featured 820W LED moving profile fixture, the Maverick MK3 Profile has an output of over 51,000 source lumens (23,000lm output), making it capable of creating aerial effects, specials and audience lighting at any touring show. In addition, it offers a plethora of features, including a four-blade fully wiping shutter system that can rotate up to 60° in each direction, for a total 120° rotation capability.
Adding to the fixture’s versatility are its precise CMY + CTO colour mixing and a fast 9:1 zoom ratio that maintains a flat field, and even focus from 6 degrees all the way out to 54°. Thanks to its two overlapping prisms, two gobo wheels, two frost options (super-light and medium) and an animation wheel, the fixture creates captivating static, and dynamic rotating and animation effects.
“We’re very excited to be releasing the Maverick MK3 Profile,” says Albert Chauvet, CEO of Chauvet. “This product is more than just a powerful light, it’s also an extremely versatile tool; one that will open a great number of creative possibilities for designers and rental houses.”
Spain - ETC dealer Stonex has supplied 19 Source Four LED Mini fixtures to light the installations of acclaimed Indian artist and filmmaker Amar Kanwar at the Thyssen Bornemisza National Museum in Madrid.
The museum hosted the work of Amar Kanwar - Testimonios Relámpago and El Bosque Soberano. ETC lighting was used to enhance his exhibition which focuses on the concepts of nature, landscape, climate and human presence whilst criticizing the political state and lack of justice in his native country, India.
Kanwar’s artwork in La Sala de Las Semillas, is characterised by taking elements of nature from India and using them as an activist proposal. Different types of rice grains were collected and carefully categorized in small drawers. The room required a dim light that created a warm and intimate atmosphere. Kanwar selected ETC for the installation based on his previous experience with the company from exhibiting in different parts of the world.
Lighting designer Carlos Alzueta specialises in theatrical and museum lighting and worked on the project at the Thyssen Bornemisza. “Amar Kanwar has in-depth lighting knowledge and having used ETC before, was especially interested in using Source Four LED Mini fixtures for their reliability and superior optics,” comments Alzueta.
“For lighting in museums and exhibitions, it is useful to have the option of focusing, adjusting or cutting out light. We worked with a combination of neutral filters with different densities to adjust the light of the fixtures,” remarks Kanwar.
Spain La Ciudad del Rock Arganda del Rey hosted electronic music festival A Summer Story on 21-22 June as 100,000 attendees enjoyed the latest music trends highlighted by Claypaky fixtures.
The festival has become one of the epicentres of electronic music in Spain Its fifth edition, produced by Disorder Events, featured performances by more than 70 artists, as well as large screens and spectacular lighting that combined tungsten and LED technologies.
A Summer Story featured four stages with lighting designs that mixed moving heads, LED bars and blinders, among others, all controlled from a grandMA2 full-size console supplied by Stonex.
Disorder Events and Enrique Jiménez of Fluge Audiovisuales worked together to light four stages. Fluge Audiovisuales was once again in charge of providing the AV equipment, including Claypaky Sharpy PLUS fixtures.
The main stage had a pyramidal structure 35m high. Its integral design was by Eduardo Valverde of Pixelmap Studio with programming and operation by Juan Manuel Lázaro Ordiales.
The Live and Techno Stage, designed by Jiménez, showcased several types of Claypaky fixtures. “The difficulty of the design was that this scenario hosted two very different types of performances on Friday and Saturday. The lighting design had to respond to these two different configurations, so we needed very versatile equipment,” he says.
Jiménez used eight A.LEDA B-EYE K10 devices to meet the challenge. "A.LEDA K10 could act as a street light in wash mode during the daytime and work with the LED surface a
China - Elation has been providing lighting solutions for Royal Caribbean International cruise ships since the first Oasis class ship launched in 2009. That trend continues with Royal Caribbean’s latest luxury cruise liner, Spectrum of the Seas.
Custom-built for the Chinese market and accommodating 4,246 guests, Spectrum of the Seas set sail from Shanghai in June as the largest cruise ship in Asia. Similar to Royal Caribbean’s previously launched Quantum class ships, Spectrum of the Seas features first-at-sea amenities including Sky Pad, a bungee trampoline experience, and two-level family suites with an in-room slide.
Built at Germany’s Meyer Werft shipyard, Amptown System Company (ASC) served as system integrator for sound, light, video, projection, media control and networking of media technology for the entertainment areas of the ship, working closely with the Royal Caribbean architects and technical team under the leadership of Royal Caribbean’s Superintendent SLVR & Architectural Lighting, Christopher Vlassopulos. Vlassopulos co-ordinated the design and specification for all the entertainment equipment in all three Quantum class ships’ public spaces, including the entertainment lighting systems, and served the same role on Spectrum of the Seas.
Spectrum of the Seas is an environmentally friendly smartship with energy-efficient entertainment lighting systems. She boasts a similar lighting package template as the Quantum class ships although with some updates and changes. “To keep up with the evolution of LED fixtures, the newe
Flamboyant ‘90s pop icons the Spice Girls’ 13-date summer stadium tour, Spice World – 2019 Tour, kicked off at Croke Park Dublin in May to culminate in June at Wembley Stadium (where else!), transforming 1990s nostalgia into 21st century excitement as they went.
Helping to bring the near-vintage flavour to modern sensibilities was a fan-based, fully-invested design team brought together by Creative Director Lee Lodge, comprising set designer Jason Sherwood, choreographer and stage director Paul Roberts and lighting designer Tim Routledge, under the art direction of Kate Moross, who succeeded in creating a show that was a fusion of theatricality and live music on a touring scale.
Into this set up Routledge, a keen advocate of Robert Juliat Dalis fixtures, introduced over one hundred RJ Dalis 862 150W LED footlights with the purpose of bringing a heightened sense of glamour to the girls on stage.
“Our main aim was to achieve two things,” he says. “Firstly, the show was to look amazing in daylight from the get-go - some stadium shows can be a little dull in the daylight hours and we wanted it to be ‘all guns blazing’ from the start; and, secondly, to ensure the Spice Girls and their dancers look glamorous at all times, by lighting them as beautifully as possible.”
The main challenge to maintaining this intensity of focus throughout the show came in the form of the 30m x 11m main stage and long 41m diameter catwalk that curved 34m out into the audience. “Followspots can only do so much,” says Routledge.
The answer was Routledge
World - Dreams and nightmares are the main themes of the Billie Eilish When We Fall Asleep world tour - the first major tour for this young internet sensation whose career is experiencing a meteoric rise. Helping this seventeen-year-old, Indie pop phenomenon to dizzying heights is the tour’s wonderfully creative set design, the central motif of which is a flown bed, inlaid with 24 Ayrton MagicDot-R lighting fixtures supplied by PRG.
Erik Anderson of Cour Design is the creative director behind this incredibly dynamic show. Anderson and his partner, Gordon Droitcour, have been working with Eilish since late 2017 and on this occasion, collaborated closely with production and lighting consultant, Nick Whitehouse at Fireplay, alongside lighting director and programmer, Tony Corporale and lead programmer, Dominic Smith.
The stage design is an intricate structure revealing a forced perspective with a diamond-shaped raked video floor and an overhead truss to match. Midstage there is the main feature of the flown bed which is iconic to much of what the singer has to say, and dramatically brought into focus by the novel lighting beneath. Anderson explains: “The MagicDots are rigged to the underside of the custom scenic bed piece (built by Gallagher Staging Nashville), and are utilized during three specific automation moments during the show. We needed a compact, fast-moving light that could be rigged in a grid formation, to act as a sort of custom chandelier when the bed underside was raked out toward the audience. At one moment we use this look to s
Belgium - Lucenti has introduced their latest additions to their portfolio, the Blackwave Collection. It consists of LED bars with a 20mm pitch and comes in two lengths, a 100cm LED bar with 50 pixels called the BW100 as well as a 50cm LED bar with 25 pixels, the BW50. Both are powered and controlled by the designated PixlDrive1.
These bars unleash “a whole universe of creative possibilities, any pixel can be fully controlled in any shape at any given time”. Their lightweight but robust engineering done in Belgium, is the result of light technicians, rental companies and light designers giving their extended feedback from real-life experiences, says the company.
The in-house developed Pixel bus data system by Lucenti, ensures ﬂuent RGBW colour mixing with smooth dimming and synchronization between each pixel and driver. Combined with interchangeable ﬁlters it allows for strong vibrant saturated colors all the way to pastel tints. With 50 powerful pixels per meter, these bars give “unparalleled output even during bright daylight without the need for smoke”.
Given that the BW100 and the BW50 are designed to be used in demanding environments like stages, festival decoration, club interiors and on the move with rental companies, Lucenti opted for a double chambered lightweight metal housing, providing enough strength to interlock multiple bars and resulting in an IP66 rating.
The Blackwave tubes come standard with a stealth black ﬁlter, with options including transparent clear flat, frosted flat, frosted tube and frosted square cov
Europe - The Showtec Mistique is a CO2-based hazer which produces an extremely fine haze. It is the solution for many theatre and television productions because it is quiet, says the company.
The oil-based hazer-fluid is carried by and dispersed through the CO2 so there is no need for an additional pump which means no noise-pollution.
Features include: very even and thin haze ensures no visible cloudy effect on stage, customisable output direction for extra flexibility, silent operation with output and fan speed remote controllable by DMX and W-DMX.
Belgium - The 89m high tower of the majestic Saint Bavo's Cathedral is off limits to the public, except for 10 days in July when Ghent rolls out the welcome mat for the Gentse Feesten. Normal rules, whether at the Saint Bavo’s tower or anywhere else in Ghent, don’t apply during this annual music and theatre festival that draws over one million people to this Belgian city.
Lighting the way for visitors at this year for the 176th edition of the festive event was a massive collection of Chauvet Professional fixtures that were used at over 15 stages and other venues. Among the fixture brightening Belgium’s second largest city during its annual escape from the ordinary were the Maverick MK1 Spot, Maverick Storm 1 Wash, Maverick MK1 Spot, Rogue R3 Wash, Rogue R2 Wash, and the COLORado Solo Batten. Additionally, over 200 COLORdash Par H12IP fixtures were used throughout the festival site.
Sono brought lighting excitement to the festivities at Korenmarkt with BSL using the COLORdash Par-Hex 12IP, while Phlippo Productions supplied the stage with Rogue R1 FX- B fixtures. Sono also used the COLORdash Par-Quad 12 IP at Nordic House and A-Pluss.
At Saint Bavo’s, Euro P.A. enlivened the whole square with COLORado Panel Q40 fixtures. The flexible and power-packed stage rig consisted of Maverick MK1 Hybrid, Maverick MK2 Spot, Maverick MK2 Wash, STRIKE 1, and STRIKE P38 units controlled by a ChamSys MagicQ MQ500 Stadium console.
In the shadow of the Saint Jacob’s Church, Matthieu Verpoort ran a powerful show on his ChamSys MagicQ MQ500 Stadium cons
UK - Adlib supplied full production - sound, lighting, video and rigging - plus crew for the recent UK tour by Daryl Hall and John Oates, whose impressive string of top 40 hits stretch back to the 1970s.
After the UK tour, an Adlib control package and video servers went on to the Latin American leg of the tour, and then returned to Europe with the addition of a full audio package for the third segment and euro festival run.
Adlib’s Craig Hamilton - based in the Glasgow office - project managed and co-ordinated all things sonic, liaising closely with Daryl Hall & John Oates’ audio team of FOH engineer Chris Salamone, monitor engineer George Squires and US supplier Firehouse’s stage tech, Jeff Child.
Adlib’s Billy Bryson was the system tech, Jay Petch was the monitor and stage tech for the UK section of the tour and Billy was also the tech on the European festival dates.
They again chose to work with an L-Acoustics PA to achieve the precise sound they wanted, deploying 12 K1 plus 4 K2 down-fills for the main arrays and 12 K2 for the side-hangs.
For lip fills across the stage six L-Acoustics X8 were utilised, with out-fills comprising four ARCS II per side.
Subs were 16 x KS28, deployed in four blocks of four, tipped on end. The onstage sub in each stack was reversed and run in cardioid mode, at the request of Chris Salamone in continuity with the setup on their most recent US tour.
Adlib specified an Outline Newton multisource processor which matrixed between the main DiGiCo SD10 FOH console, the DiGiCo S21 backup
France - Production designer Jean-Christophe Aubrée has taken over the lighting for two major stadium shows, featuring French band Indochine (aka Indo).
It was a comfortable position for Aubrée, to find himself in. Having previously worked with other well-known artists, and formerly operated in an assistant design capacity with Indo, he stepped up for the last two last shows of the long-running 13TOUR, which took to the road back in February 2018.
Nicola Sirkis, Indochine’s leader, decided to create a whole new show for these two last stadium dates as a big surprise and experience for the fans. And helping provide a fitting finale were well over 1,000 lighting fixtures, including 794 GLP impression X4. All were supplied via PRG France from their bases across Europe.
The vast majority of the X4s were consigned to the lighting roof with another 36 populating the cross-shaped stage and proscenium edge, creating volume and depth, and 36 of the smaller impression X4 S positioned around the band on stage.
Jean-Christophe Aubrée has regularly turned to GLP’s LED solutions on festival rigs across Europe. “Most recently, I have been using the X4 Bar 20 and the awesome JDC1 hybrid strobe to create very interesting looks,” he says.
At the Stade Pierre-Mauroy in Lille, where the shows took place to sell-out audiences of 30,000, the lights were hung at a height of 30m, and therefore needed to deliver full power.
“I was looking for a reliable product that would achieve consistency over 758 units without any variation in terms of co
UK - Westlife are back after a seven-and-a-half-year hiatus, with a new production for the 20 Tour ahead of their much-anticipated new album, Spectrum.
One hundred and forty-eight Robe MegaPointes were prominent on the touring lighting rig - specified by lighting designer Tom Sutherland.
The first leg of the tour culminated in two sold out nights at Dublin’s Croke Park stadium playing to 170,000 fans. The gig was streamed live to cinemas worldwide.
Tom Sutherland of DX7 Design is part of a new creative team. He was asked onboard by show producer / director Brian Burke, and the two combined forces to create the production design that is supporting Nicky Byrne, Kian Egan, Mark Feehily and Shane Filan on the 20 Tour.
The performance space is defined by a large 70ft wide video screen upstage - which splits in two horizontally - and a full video floor, with columns of side and top lighting making up a large and dynamic box. Upstage at the back was a flying platform running the whole stage width, and several of the lighting trusses that also moved.
With musicians stationed just in front of the left and right stage wings, there was a totally clean space for the group to use, and the emphasis was all on the four of them, supported by slick video treatments and classy matched lighting looks.
Tom specified MegaPointes to be the principal hard-edged and effects fixtures, chosen for their brightness and versatility which enabled him to create a series of perfect ‘fun factors’ for the colourful, upbeat extravaganza of movement and
UK - Stage Electrics has been appointed as the UK distributor of Ultratec Special Effects, a large-format pyrotechnic effects manufacturer.
Stage Electrics has already invested £10,000 worth of initial stock and will be stocking a range of large venue pyrotechnics from the company. “We believe having a comprehensive range of Ultratec on the shelf in the UK is what our customers need to support their shows. We’ve chosen a range of stock, including a variety of professional mines, comets and gerbs from 20ft to 200ft,” comments Paul Roughton, national sales manager at Stage Electrics.
“We are looking forward to working alongside Ultratec and building a strong partnership,” continued Anna Western, sales director of Stage Electrics.