Mallory Knox toured in support of their second album, Asymmetry (photo: Louise Stickland)
UK - Cambridge based alt-rockers Mallory Knox have been rapidly gaining fans and critical acclaim from their energetic live shows and rousing festival appearances this summer running on the back of their second album Asymmetry released in late 2014.

Right in the thick of all the Mallory Knox live onstage action is lighting and set designer Jordon Cooper who has worked with the band since 2013 after initially being asked to light a one off gig which they liked.

On the previous tour, Jordon has used Robe Pointes, and for this one as a floor package he chose 24 x Robe LEDBeam 100s which were supplied by north Yorkshire based R&M Productions together with four strobes and some LED battens. They hooked into the house overhead rigs at each venue.

R&M additionally built the set which was designed by Jordon and the band and inspired by the Asymmetry album artwork.

With the tour visiting such a wide variety of venues, culminating at London's Roundhouse, the whole scenic and lighting concept was designed from the ground up to be ultimately scalable, and to fit in almost everywhere.

Although the LEDBeam 100 is a small fixture, the brightness is intense, and having 24 at his disposal gave Jordan a massive amount of scope to create some very BIG and punchy looks.

The LEDBeam 100s were arranged as an array of 12 at the back, eight in the centre, upstage of the drummer, with four on the floor in front of the drum riser. Either side of stage on scaffolding towers were another six in total, and the final six were positioned in two groups of three beneath the two large letters - MK - that comprised the main set pieces.

Rigged like this they added plenty of depth to the stage and highlighted the space. The rear ones were also able to spin round and hit the giant union jack backdrop ... which delineated this as 'the Homecoming Tour' - after the band have been busy working internationally for much of the year.

Jordon used an Avolites Tiger Touch II console with fader wing for control. In addition to his very tidy rig, the set was highly effectively illuminated with LED tape.

(Jim Evans)

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