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Todd Rundgren - ‘Clearly Human Virtual Live Tour’ (2021)


Lauren Daigle - Tour 2020


Mika - ‘Revelation’ Tour (2019/2020)


Stereophonics - ‘Kind Tour’ (2019/2020)


Pizzera & Jaus - „Wer nicht fühlen will, muss hören“-Tour (2019)


Alice Merton - „Mint+4“-Tour (2020)


Alter Bridge - ‘Walk The Sky’ U.S. Tour (2020)


Cold Chisel - ‘Blood Moon’ Tour (2020)


Tom Beck - Tour 2020


Beartooth/Motionless in White - ‘Diseased and Disguised’ co-headline tour 2019


Bon Iver - ‘i,i’ U.S. Tour (2019)


Alex Mofa Gang - „Ende Offen“-Tour 2019/2020


Carly Rae Jepsen - ‘The Dedicated Tour’ (2019/2020)


Rea Garvey - „Neon“-Tour (Herbst 2018 bis Sommer 2019)


Izal - ‘Autoterapia’ & ‘El Final del Viaje/Autoterapia Vol. 2’ Tours (2019/2020)


Marillion - ‘With Friends From The Orchestra’ Tour (2019)


Flying Colors - „Third Tour’s The Charm“-Tour (2019)


Charli XCX - „Charli Live Tour“ (2019/2020)


Billy Currington - Stay Up ‘Til The Sun Tour 2019


Phil Collins - Not Dead Yet Tour / Still Not Dead Yet Tour Live! 2017-2019


Cro: Stay Tru Tour 2018


Scorpions: 50th Anniversary World Tour


Tesla: Tour 2017


Metallica: World Wired Tour 2017


Snarky Puppy: European Tour 2017


Todd Rundgren - ‘Clearly Human Virtual Live Tour’ (2021)

Todd Rundgren’s recent virtual ‘tour’ concept featured 25 shows, broadcast live over a five-week period from Radius Chicago, a new 3,800 capacity live performance venue in an old Pilsen steel factory. Each day was orientated towards a particular city, complete with special locally related video content, and people living in the relevant area able to access advanced tickets before the box office was opened further.


Lighting designer Hans Shoop utilized Robe BMFL Spots, Spikies and a RoboSpot system controlling three BMFL Follow Spots on the rig, among other lights, fulfilling a brief to create as much normalcy as possible for a live band show. They specifically didn’t want the production looking like a video shoot nor a ‘band in a void’ recording scenario, a mission for which Shoop worked closely with Alex Skowron.


Skowron, also an LD in his own right, had been the production designer on Rundgren’s 2004 ‘Liars’ tour. When he heard about this virtual tour project, he reached out to the production team headed by production/tour manager and monitor engineer Paul Froula and asked if he could assist.


He explains how the mission was to make the space appear nondescript and neutral so the audience could think they were actually touring: “The last thing we wanted was to have the same architectural features coming up show after show, so we blacked out any features that would give away the fact we were in the same space for five weeks and turned the room into a black box.”


Skowron became involved on the lighting and visuals production, sourcing kit and crew and crunching logistics which included keeping the equipment supplies as local as possible. He was also “indispensable” in materializing the design, explains Shoop whose fundamental task was to ensure the artist was well lit at all times and from all angles. The RoboSpot system helped providing a key, a fill and a backlighting BMFL Follow Spot tracking him constantly. These three luminaires were all controlled by one operator with the RoboSpot Base Station located near the FOH area.


RoboSpot duty was split between five stagehands working in daily shifts throughout the week for the two-hour performance. The full lighting rig was supplied by Upstaging, who rigged 12 trusses above the Radius’ stage - seven for lighting, four for scenics including two kabuki drops, and one upstage supporting the LED wall.


The 24 x BMFL Spots were rigged all over the lighting trusses and on the deck used for the key light and specials across the 12-piece band, as well as for lighting scenic elements. The 32 x Spikies were lined up along the vertical bars of two pods flown each side of stage and were an essential visual piece filling the wing voids on camera. They became more apparent as the show arc unfolded, explains Shoop, initially backlighting the kabuki cloths during the early stages of the show, then after these dropped providing beams firing through the haze towards the end of the set. While Shoop had originally spec’d LEDBeam 150s, the Spikies were in stock at Upstaging and came into their own.


The thousands watching remotely on a device somewhere - also visible to the band on video tiles at the front of stage - and the 30 in-person (masked and tested) audience allowed in the venue each night were treated to a set featuring music from the seminal 1989 ‘Clearly Human’ album plus many others from Rundgren’s back catalogue.


The broadcast camera director was John Deeney and video production - screens and cameras - were supplied by Nighthawk Video. Hans Shoop was also involved in creating some of the custom video content along with Todd Rundgren and Danny Connor. Nick Pishghadamian was Upstaging’s lighting technician.


(Photos: Jim Snyder)


Lauren Daigle - Tour 2020

Sängerin Lauren Daigle spielte zehn Termine ihrer Arenatournee, bis Covid-19 der Tour ein abruptes Ende bescherte. Es war ihre erste Zusammenarbeit mit Seth Jackson und Nathan Alves (Darkroom Creative) und ihre bisher größte Tournee.


Die auf große Arenas zugeschnittene Show ermöglichte es den beiden Lichtdesignern, eine sehr offene Bühne mit geschwungener Verlängerung der Front und offenen Seiten und damit langen Sichtachsen zu schaffen. Das LD-Duo setzte dabei eine große Stückzahl von GLPs Impression X4 Bars ein.


Die Künstlerin wollte eine Show, die sich „wie eine Umarmung anfühlt“ und gab den beiden Designern damit eine klare Vorgabe. Folglich verwendeten sie für das Bühnendesign kein Metall und ein Minimum an 90°-Winkeln. „Wir wollten, dass sich das Design mehr wie ein Zuhause als eine Struktur anfühlt“, so Alves.


„Wir haben einen Lichthimmel über der Bühne geschaffen, der alle Traversen, Motoren und das Rigging verdeckt. Die Scheinwerfer wurden dabei so montiert, das für den Besucher kein Lichtaustritt erkennbar ist“, ergänzt Jackson. Die X4 Bars wurden im hochauflösenden Modus verwendet. „Die Bars betonten den oberen Bereich und die linke und rechte Seite der Bühne. Gleichzeitig konnten sie aber auch zu einem Akzent oder einer Grafik werden und sich dann nach oben schieben, um als eine Art Weichzeichner zur Überblendung der Videoprojektion zu dienen.“


Was die weiteren Schlüsselfiguren betrifft, die an der visuellen Gestaltung der Tournee beteiligt waren, so war John Bahnick von Upstaging für die Beleuchtung sowie für Video und das szenische Element verantwortlich. Associate Designer Parker Genoway fungierte als Programmierer, während Simon Roberts als Videospezialist zum Einsatz kam und als „Disguise and Notch“-Programmierer Hand in Hand mit Nathan Alves zusammenarbeitete. Die Videoinhalte waren allesamt Originalkreationen.


Setlist (Van Andel Arena, Grand Rapids, Michigan, USA - März 2020)

O' Lord
Still Rolling Stones
Trust In You
Look Up Child
Your Wings
Love Is
When The Saints Go Marching In
Once And For All
Love Like This
How Can It Be
Rebel Heart
This Girl
Losing My Religion
You Say

Move On Up
Ain't No Mountain High Enough
Turn Your Eyes Upon Jesus
Something Beautiful/You Say (Reprise)


(Fotos: Darkroom Creative/John Williams/Shutterstock)


Mika - ‘Revelation’ Tour (2019/2020)

Lighting designer for singer/song writer Mika’s ‘Revelation’ tour - which started in the fall of 2019 and went on until it had to be postponed this spring due to the coronavirus crisis - is Vince Foster who used plenty of floor lighting and significant numbers of side fixtures and trusses for these shows.


Alongside around thirty Ayrton Magic Blade-FX fixtures were approximately one hundred and twenty of one of Ayrton’s newest moving heads, Khamsin-S. “Every moving light is a Khamsin,” says Foster about his design. “The Khamsin-S are everywhere on the rig: the floor, the side hangs, the ‘B’ thrust stage and on both the stage trusses and the one downstage of the B stage. The rig was designed with input from both Mika and his sister Yasmine. We wanted an unfussy but solid music hall look to allow the audience to focus on Mika himself. The brief was essentially to create something of a ‘Baron Munchausen’ feel, a slightly tongue-in-cheek, comedic atmosphere.” This was the first time that Foster had used an LED light as his primary workhorse.


With no video on this show (the stage uses raked rainbow coloured stripes to allude to the new album cover) the lighting was very much central to establishing the visual ambience of the set. Foster used the Khamsin-S colour palette to full effect with the set list based on rainbow colours.


“Mika spends a lot of time out on the B stage so we light him essentially in 360° and can use the Khamsins as back key lighting with support from followspots,” explains Foster. “I also use a single Khamsin as a big back light with a rotating gobo at the upstage vanishing point for his first entrance, and another under a grill at the top of the ramp to light him from beneath.”  Alongside the Khamsin-S fixtures on the rig were nearly thirty of Ayrton’s Magic Blades-FX. “I have ten up on the mid truss, eight on the floor and nine out on the B stage,” concludes the LD.


Setlist (Forum Theatre, Melbourne, Australia - February 2020)

Ice Cream
Dear Jealousy
Relax, Take It Easy
Origin Of Love
Big Girl (You Are Beautiful)
Tiny Love
Platform Ballerinas
Popular Song
Happy Ending
Love Today
We Are Golden

Grace Kelly
Tiny Love/Stay High


Pictured: Mika rehearsing at Production Park Studios on a set built by Brilliant, under Vince Foster’s lighting. (Photos: Sarah Womack/Brilliant)


Stereophonics - ‘Kind Tour’ (2019/2020)

After 28 years of consistent touring, the Stereophonics’ quest to improve their stage sound and gain closer engagement with their audience continues. At the request of the band, and specifically Kelly Jones, their sound techs were sent into overdrive, working on a radical approach for the latest arena tour.


Long-term FOH sound engineer Dave Roden, using his preferred Martin Audio MLA loudspeaker array, sent his mix to a distributed PA system, running the length of a 60 ft thrust from main stage, into the belly of the audience, with a small ‘B’ stage at the end of it.


By opting to play a third of their set right in the middle of the arena (including a solo Kelly Jones set), it would have left the band at risk of absorbing unwanted sounds off the main PA picked up by the vocal mics, had it been set in a conventional L/R configuration. At the same time, performing so far in front of the PA would have required substantial EQ changes, which would have been impractical.


It fell to system tech Nick Boulton, who was making his debut on MLA, to come up with a viable solution. “We did some modelling with the aim of getting as much even coverage throughout the arena while keeping the weird noises off the stage,” he explains. “With the end of the thrust 60 ft into the room it was well within the coverage area of MLA so we simply moved the hangs downstage.”


He was replacing the band’s usual system tech Toby Donovan, who assumed crew chief duties for this tour. However, Boulton had worked previously with Dave Roden on last year’s Tim Minchin tour, using another of Martin Audio’s optimised PA’s. This time around, production was running Dante to the stage and sending AES3 protocol to the hangs, with Martin Audio Unet back-up. Monitor engineer Sam Cunningham was using a DiGiCo SD7 on stage while Roden himself was on an SD5 at FOH.


The tech crew’s solution had been to replace the conventional main stage L/R PA hangs with two side hangs further downstage, comprising respectively two drops of 16 MLA Compact as conventional outfills. Meanwhile, a further eight MLA Compact for infills were mounted on trusses set near the beginning of the thrust, and angled down.


Three hangs of 10 MLA (and two MLD Downfills) - situated in the centre and 90° upstage - formed a concentric arc at the end of the thrust. Three hangs of six MLX subwoofers were set behind that in end fire configuration. This design, Boulton sensed, would reduce the sound bleed at the back of the stage, and help ease the room reflections.


Furthermore, he said, that in view of the stipulation to minimise sound escape at the main stage they made heavy use of the Hard Avoid setting in Martin Audio’s Display optimisation software, not only creating rejection at the back of the stage but also the hard surfaces at the rear of the arena that would cause slapback.


Production manager on this tour was Dave Nelson, while other Capital Sound personnel include Finbar Neenan, Jim Loasby and Oli Crump (PA techs) and Ian Burness (PA/Stage tech).


Setlist (Motorpoint Arena - Cardiff, Wales - March 2020)

C’est La Vie
I Wanna Get Lost With You
Bust This Town
Maybe Tomorrow
Have A Nice Day
Mr Writer
Hungover For You
Restless Mind
Local Boy In The Photograph
A Thousand Trees
Indian Summer
Make Friends With The Morning
Mr And Mrs Smith
Fly Like An Eagle
Don’t Let The Devil Take Another Day
Handbags And Gladrags (Mike d’Abo cover)
Before Anyone Knew Our Name
The Bartender And The Thief

Just Looking


Pizzera & Jaus - „Wer nicht fühlen will, muss hören“-Tour (2019)

Auf der „Wer nicht fühlen will, muss hören“-Tournee der österreichischen Musikkabarettisten Pizzera & Jaus im Herbst 2019 sorgten Sennheiser-Digital-6000-Drahtlossysteme für den Klang der akustischen und elektrischen Gitarren sowie die Verständlichkeit der Liedtexte.


Seit 2018 sind bei Auftritten von Pizzera & Jaus seitlich der Bühne vier Sennheiser EM 6000 vorhanden; ein weiterer 19“-Doppelempfänger kommt am FOH-Platz zum Einsatz. Die vier am Podium platzierten Receiver empfangen Signale von acht SK-6000-Taschensendern: Sechs der Sennheiser-Bodypacks werden zur Wiedergabe von Gitarrensignalen (4 x Akustikgitarre mit kombiniertem Piezo/Mic-Pickup, 2 x E-Gitarre) herangezogen, während die verbleibenden Transmitter mit Headsets verbunden sind und die Stimmen von Paul Pizzera und Otto Jaus übertragen.


Der am FOH-Platz befindliche Sennheiser EM 6000 wird als Backup-Unit verstanden, aber auch zur Einmessung der Beschallungsanlage sowie als HF-Scanner genutzt. Die AES/EBU-Ausgänge der Doppelempfänger sind mit den Input-Modulen eines digitalen Echtzeit-Audionetzwerks verbunden, sodass sich der Signalfluss vom Taschensender bis in die Endstufen vollständig digital gestaltet. Eine Ausnahme bilden lediglich die beiden E-Gitarren, deren Signale nach der drahtlosen Übertragung den Analogeingängen von Profiling-Amps zugeführt werden.


Als Antennen finden zwei passive Sennheiser-A-2003-UHF-Richtantennen Verwendung. Ein separater Antennensplitter ist nicht erforderlich, da die EM 6000 über eine Splitter-Funktionalität für bis zu acht kaskadierte Geräte verfügen.


Die SK-6000-Taschensender werden mit BA-61-Akkupacks betrieben, für welche bei Pizzera & Jaus eine mit LM-6061-Modulen bestückte Sennheiser-L- 6000-Ladestation vorhanden ist. Letztere ist ebenso wie die Empfänger per Netzwerk mit dem Sennheiser Wireless System Manager verbunden. Die WSM-Software wird genutzt, um am FOH-Platz die HF- und NF-Pegel sowie Ladezustände der Lithium-Ionen-Akkus im Auge zu behalten.


„Wir führen unterwegs 16 BA-61-Akkus mit“, so Magister Martin Mayer, der bei Konzerten von Pizzera & Jaus für den FOH-Sound und das Monitoring der Musiker verantwortlich ist. Mayer ist Inhaber der Veranstaltungstechnikfirma


Vor dem Erwerb der Digital-6000-Systeme verwendeten Pizzera & Jaus über Jahre hinweg Produkte aus der Sennheiser-Evolution-Wireless-Serie. „Das hat eigentlich immer gut funktioniert, aber mit wachsendem Erfolg wurden die Shows zunehmend größer“, erklärt Martin Mayer. „Irgendwann stand der Red Bull Ring in Spielberg auf der Agenda, und an dieser Formel-1-Strecke war im Sommer 2018 so viel Funk am Start, dass es kaum möglich war, geeignete Übertragungsfrequenzen zu finden. Es war endgültig der Punkt erreicht, an dem ich mit Nachdruck dazu geraten habe, digitale Funkstrecken anzuschaffen, zumal uns auch die Verbreitung von LTE und DVB-T zunehmend Probleme bereitete.“


Bei jeder Location scannt Martin Mayer die HF-Umgebung: „Ich betreibe unsere zehn digitalen Sennheiser-Funkstrecken im untersten Frequenzbereich zwischen 470 und 480 MHz“, berichtet er. „Die Erfahrung zeigt, dass dort eigentlich immer alles frei ist. Wenn wir in eine Halle kommen, scanne ich dort zunächst die HF-Umgebung mithilfe der WSM-Software, woraufhin geeignete Frequenzeinstellungen über das Netzwerk an die Empfänger übertragen werden. Auf der Bühne kann der Backliner dann die Taschensender mit den Empfängern synchronisieren.“


Alice Merton - „Mint+4“-Tour (2020)

Von Mitte Februar bis Anfang März 2020 war die deutsch-kanadische Sängerin Alice Merton unterwegs, um ihr Debütalbum „Mint+4“ live zu präsentieren. Die Tournee führte die Künstlerin neben Deutschland auch nach Tschechien, Österreich und Dänemark.


Auf der Bühne wurde Merton von einem Licht-Setup von GLP unterstützt. Das Licht- und Setdesign war eine Co-Produktion von Mertons Manager Paul Grauwinkel und dem Lichttechniker Maximilian Hermsdorf, in Abstimmung mit der Künstlerin. Hermsdorf begleitete die Tour auch als Licht-Operator. Das Licht-Setup der „Mint+4“-Tour bestand aus 16 GLP Impression X4 Bar 20, 25 GLP KNV Dot, 10 KNV Line und sechs Impression E350, geliefert von der Firma Grauwinkel.


Die Bühne beinhaltete einen mittig über eine Treppe begehbaren Plexiglas-Riser, der Platz für Drums und Keyboard bot. Die Impression X4 Bars platzierten Grauwinkel und Hermsdorf jeweils in zwei Zweierreihen an der Vorderkante des Risers sowie erhöht an Truss-Toren am hinteren Bühnenrand. Die weiteren GLP-Bars wurden seitlich an Truss-Ständern montiert und je nach Möglichkeit frei auf der Bühne verteilt.


Die KNV Dots wurden, nur mit Klemmen befestigt, vor, auf und hinter dem Riser platziert. Die KNV Lines hingegen wurden an den Truss-Toren hinter den Risern befestigt und unterstützten die KNV Dots, wobei sie nicht als eigenständiges Showelement verwendet wurden. Die E350 wurden in einer Reihe direkt vor dem Riser eingesetzt.


Setlist (Live Music Hall - Köln - März 2020)

Hit The Ground Running
Learn To Live
Keeps Me Awake
Trouble In Paradise
Honeymoon Heartbreak
Speak Your Mind
Funny Business
2 Kids
Lash Out
Back To Berlin
No Roots
I Don’t Hold A Grudge

Why So Serious


(Fotos: Sarah Köster)


Alter Bridge - ‘Walk The Sky’ U.S. Tour (2020)

American rock band Alter Bridge wrapped up a 4-week tour of U.S. cities in late February with lighting designer Joshua Light directing a Bandit Lites-supplied lighting system that included Elation’s Smarty Hybrid moving head.


Light adopted key aspects of a design created by the late Joe Eager for the band’s 2019 European tour, a large 5-truck show that included profile and beam fixtures. For the US tour’s trimmed setup however, Light needed a more compact package and combining fixture types in a single hybrid fixture was the way to go.


Working from four 10-foot truss towers with additional Smartys on the floor across the backline and on the drum riser, Light utilized the fixture’s multiple modes with transitions between gobos, beams or frost wash looks to keep the looks dynamic. “There were a couple of moments where I went from backlight with the frost in to flipping over to a gobo with clean focus, or switched from gobo breakups to beam looks,” he says.


The Smarty Hybrid fixtures worked in the rig with other moving head effects, LED washlights, and hybrid strobes. Alter Bridge has plans to take the same rig back out on the road in May with European dates following that.


Setlist (Knitting Factory - Spokane, WA, USA - February 2020)

Wouldn’t You Rather
Come To Life
Pay No Mind
Ghost Of Days Gone By
Broken Wings
Native Son
Rise Today
Cry Of Achilles
Waters Rising
Watch Over You
Open Your Eyes

Addicted To Pain


(Photos: Chuck Brueckmann)


Cold Chisel - ‘Blood Moon’ Tour (2020)

In February 2020, before the worldwide lockdown to beat Covid-19 came into force, Robe’s reporting team were in Australia - which had just been engulfed by the worst bushfires for many years - and captured a historic musical moment in time.


The rain pelted down relentlessly for the final gig of Australian pub-rock band Cold Chisel’s 2020 tour at Sirromet Winery just outside Brisbane in Queensland. This hugely welcomed metrological miracle capped an emotional evening and helped to finally extinguish most of the remaining uncontained fires raging from Australia’s disastrous 2019-20 “bushfire season”.


The tour’s lighting was designed by Cold Chisel’s long term LD Jeff Pavey who put Robe moving lights at the centre of the “big rock look” he crafted. Defining the look onstage were 40 x Robe MegaPointes and 11 x BMFL Blades supplied by Gold Coast rental company Creative Productions, together with LED wash lights, weatherised beam lights, 2-lite LED blinders and 4-lite tungsten blinders.


All 25 shows on the tour this year were outdoors, with the standard rig designed to fit into a 22-metre-wide, 16-metre-deep deep Clifton Productions’ stage with around 15 metres of headroom. Four straight trusses in the roof were flown at slightly different heights complemented by eight side trusses - four per side - that gave cross stage lighting positions and coverage for solos.


A 12 metre wide by 6 metre high LED screen dominated the upstage area - also supplied by Creative Productions - and this was one of the reasons that Pavey chose MegaPointes for their main effects fixtures. Six of the BMFL WashBeams were on the front truss and linked into two remote follow spot control systems, with three on the upstage truss linked into a third remote spotting system. The other two fixtures were on the mid truss and concentrated on key-lighting the drum and keyboard riser positions. The MegaPointes were distributed on all overhead and side trusses and they were the heart of the rig.


Custom playback content was created by Rachael Johnson, and the camera mix was by Dave Hendy. Jeff Pavey programmed and operated the lights using his Hog 4 console and was joined on the road by a Creative Productions crew of Jeremy Dehn, John Penridge and Declan Woods.


Setlist (Sirromet Winery - Mount Cotton, Australia - February 2020)

Standing On The Outside
Wild Colonial Boy
Rising Sun
My Baby
All For You
Four Walls
Getting The Band Back Together
Forever Now
Land Of Hope
Cheap Wine
Killing Time
Saturday Night
Shipping Steel
You Got Nothing I Want
Khe Sanh
Bow River

When The War Is Over
Flame Trees
Letter To Alan
Georgia (On My Mind)
Breakfast At Sweethearts
Goodbye (Astrid Goodbye)


(Photos: Louise Stickland)


Tom Beck - Tour 2020

Gemeinsam mit seiner Band absolvierte Tom Beck im Januar 2020 eine Tournee durch elf deutsche Städte. Bei seinen Live-Auftritten verwendete der auch als Schauspieler tätige Singer/Songwriter Equipment von Sennheiser, darunter eine Evolution-Wireless-500-G4-Drahtlosstrecke.


Seit Anfang 2020 nutzt Tom Beck ein Sennheiser-EW-500-G4-965-DW-Vocal-Set, das sich aus einem SKM-500-G4-Handsender, einer MMK-965-1-Doppelmembran-Kondensatorkapsel (Niere/Superniere schaltbar), einem EM- 300-500-G4-Rackmount-Empfänger im 9,5“-Format, einem GA-3-Rack-Montagekit und einer MZQ-1-Mikrofonklemme zusammensetzt. Die Drahtlosstrecke wird im DW-Band (790 bis 865 MHz) betrieben.


Auf dieser Tournee wurde der EM-300-500-G4-Rackmount-Empfänger mit den im Lieferumfang enthaltenen Stabantennen betrieben. Diese deckten sowohl die komplette Bühnenfläche als auch den Publikumsbereich ab - wie beim mehrfach zelebrierten „Bad in der Menge“ von Beck zu beobachten war.


Drahtlostechnik von Sennheiser nutzt Tom Beck bereits seit längerem. Darauf wies ein Wireless-System aus der EW-500-G3-Serie hin, das während der Tournee als Spare mitgeführt wurde. Für sein In-Ear-Monitoring verwendet Beck einen SR-300-IEM-G3-Stereo-Transmitter in Kombination mit einem EK-300-IEM-G3-Diversity-Empfänger. Tontechniker Jan Hoffmann, der für den Sound auf der Tournee verantwortlich war, führte an jedem Auftrittsort einen Frequenzscan durch.


Beartooth/Motionless in White - ‘Diseased and Disguised’ co-headline tour 2019

Color creates a language all its own. Cameron Birchill offered living proof of this in his work for Beartooth on the metal band’s national co-headline ‘Diseased and Disguised’ tour with Motionless in White, which ended January 30, 2020 in Fort Lauderdale and featured a collection of Chauvet Professional Rogue R2 Wash fixtures from Squeek Lights.


For many of the songs in his 60 minute show, Birchill used orange as his primary color and accented it with whites. When the band played songs from previous albums, he turned to different palettes, such as deep blues, greens and cyans. During some of the high impact songs, the lighting moved toward what Birchill calls “more hostile looks,” with primary reds accented with yellows.


In addition to deftly managing colors, Birchill relied on backlighting and silhouetting to reflect his client’s raw, edgy sound. “I like to go to backlights and silhouette,” he says. “It creates this ominous look and adds a sense of mystery to the stage, both of which fit the essence of Beartooth’s sound.”


Along with its six Rogue R2 Wash fixtures, Birchill’s rig included six Chauvet DJ Shocker panels, which were hung on four-foot pipe and base below the drum riser. These fixtures were used to set the mood during the build up to the band’s performance of their title song.


During the ‘Diseased and Disguised’ tour, Beartooth and Motionless in White alternated opening for one another. “I can’t say enough good things about Mike Null, Motionless in White’s lighting designer and the entire crew for them and Beartooth,” says Birchill. “I am Beartooth’s Tour Manager, in addition to the LD, and sometimes things got crazy, at which point Mike always covered for me during set up and tear down. The people I toured with and the people at Squeek Lights really made this a great experience.”


Beartooth Setlist (Ft. Lauderdale):

The Lines
Beaten in Lips
Bad Listener (with drum solo)
You Never Know
Body Bag
In Between


Motionless in White Setlist (Ft. Lauderdale):

Necessary Evil
Thoughts & Prayers
Devil’s Night
Immaculate Misconception
Break The Cycle
Another Life
Brand New Numb (with Caleb Shomo)
Eternally Yours


Tour Dates:

04.01.2020 Seattle, Wash. - Showbox SODO
05.01.2020 Portland, Ore. - Roseland
07.01.2020 San Francisco, Calif. - Regency
08.01.2020 San Diego, Calif. - Soma
09.01.2020 Anaheim, Calif. - House of Blues
10.01.2020 Ventura, Calif. - Ventura Theater
11.01.2020 Tempe, Ariz. - Marquee Theatre
13.01.2020 Denver, Colo. - Summit Music Hall
15.01.2020 Chicago, Ill. - House of Blues
19.01.2020 Toronto, Ontario - Danforth Music Hall
20.01.2020 Niagara Falls, N.Y. - Rapids Theatre
22.01.2020 New York, N.Y. - Webster Hall
27.01.2020 Norfolk, Va. - The Norva
30.01.2020 Ft. Lauderdale, Fla. - Revolution


 (Photos: Sarah Hess)


Bon Iver - ‘i,i’ U.S. Tour (2019)

For the U.S. leg of Bon Iver’s recent tour, lighting designer Michael Brown put 49 x Robe MegaPointes and 25 x Kinetic Lights custom moving mirrors at the core of his dynamic design. Brown has worked with the band since 2012. For this recent tour he also teamed up with WhiteVoid’s Christopher Bauder, a light artist based in Berlin, Germany, who had invented the Kinetic Lights winch system. Bon Iver’s production manager James Dean was also onboard.


Before he approached Bauder, Brown had the design and layout of the winches and MegaPointes all worked out, some of it inspired by the light art installation ‘Skalar’, combined with several original ideas for how it would work with Bon Iver.


The 3D geometry that defined the band’s touring lighting rig was created by five identical overhead chevron trusses comprising 32 ft long wings connected by a 90-degree corner block, which resembled a diamond from the audience perspective and mirrored a diamond-shaped layout of the band risers onstage down below - with no one on the central plane.


The 25 custom diamond-shaped Kinetic Lights LED-outlined mirrors, each suspended on three of their proprietary winches, flew below the chevrons - in five vertical rows of five - able to move up/down/pan/tilt in any direction, controlled by their own KLC control software, developed specially for this purpose.


Then there were two grids of MegaPointes at the core of the rig. A row of 21 fixtures formed a U-shape around the winches with another 21 echoing the same positions on the floor, and all these fixtures were mapped onto the mirrors. The other seven MegaPointes were on the floor aligned directly below certain mirrors. All the flown elements were sub-hung from a mothergrid installed into the arenas.


Lighting - for the MegaPointes plus a number of other moving lights and LED battens and strips - was controlled via a GrandMA2 console which was also triggering the KLC computer for the winch movements. Lighting equipment, all the associated rigging and the set risers were supplied out of rental specialist Clearwing’s Milwaukee shop, with the mirrors and winches a rental from Kinetic Lights in Germany.


Clearwing crew chief and systems designer Sam McKeown made sure that everything worked practically and logistically on the road. It was the first time Kinetic Lights mirrors/winches have been on the road in the U.S. for a concert tour and used in a live band context like this.


Setlist (PNC Arena - Raleigh, NC, USA - October 2019)

Heavenly Father
715 - Creeks
Lump Sum
U (Man Like)
Hey, Ma
33 “GOD”
Blood Bank
8 (Circle)



(Photos: Graham Tolbert)


Alex Mofa Gang - „Ende Offen“-Tour 2019/2020

Auf der Tour der Alex Mofa Gang zum Studioalbum „Ende Offen“ fungierte Gabriel Paul von PM Blue als Lichtdesigner. Paul verwendete bei jedem der insgesamt fünfzehn Konzerte in 2019 ein eigens kreiertes Tour-Setup, bestehend aus insgesamt 22 Scheinwerfern von Chauvet Professional: 2 Maverick MK2 Spot, 2 Rogue R3 Spot, 4 Rogue R2 Wash, 2 Rogue R1 Wash, 4 Rogue R1 FX-B und 8 Colordash Batten-Quad 6.


In Zusammenarbeit mit der Band entwickelte er ein Lichtkonzept, das den Fokus vor allem auf Backlighting setzte und auf den Einsatz von herkömmlichem Front- und Toplighting komplett verzichtete. „Die Band ist kein Fan vom klassischen weißen Frontlicht. Vor allem bei den ruhigeren Parts ist da immer die Gefahr, dass das Weiß die Bühne zu stark erhellt und damit die Stimmung aufbricht. Das wollten wir mit Hilfe eines eigenen Setups vermeiden“, beschreibt Gabriel Paul die Ausgangslage.


Um dies zu verwirklichen, waren vor allem die verwendeten Rogue-R1- und R2-Washes essenziell während der Show: „Mit den Washern konnte ich eine gewisse Grundstimmung auf der Bühne setzen. Die R1 Washes dienten zusätzlich noch als Gassenlicht, was in diesem Fall unser eigenes Pendant zum Frontlicht war.“


Hauptakteure auf der Bühne waren allerdings die Maverick-MK2- und Rogue-R3-Spots. „Die Spots waren meine Hauptwerkzeuge, um die Struktur während der Show zu schaffen. Ich arbeitete viel mit Goboprojektion, Backlighting und nutzte da die gesamte Effektvielfalt“, erklärt Paul. Erhöht hinter der Band positioniert, konnte er mit Hilfe der Spots sowohl Bühne als auch Zuschauerraum in Farben hüllen oder mit Gobos verzieren.


Eine ebenfalls wichtige Rolle nahmen die Rogue R1 FX-B ein, die vor allem gegen Ende des Konzertes zum Einsatz kamen. „Diese Fixtures waren sozusagen meine Geheimwaffe“, so Paul. Zusätzlich verwendete er acht Colordash Batten-Quad 6, die unter anderem für die Beleuchtung und Hervorhebung des großen Backdrops eingesetzt wurden und somit das Logo der Band erleuchteten. Positioniert zwischen den Instrumenten, dienten sie laut Paul auch dazu, eine weitere visuelle Ebene auf der Bühne zu schaffen.


Die Band hat sich dazu entschlossen, die Tour zu verlängern und für 2020 noch Termine dranzuhängen. Ab April stehen neun Konzerte auf dem Kalender, unter anderem in Wiesbaden, Münster, Düsseldorf und Kiel.


Tour Dates:

08.11.2019 Osnabrück, Bastard Club
09.11.2019 Kassel, Goldgrube
15.11.2019 Hamburg, Knust
16.11.2019 Dortmund, FZW
22.11.2019 Stuttgart, ClubCann
23.11.2019 Köln, Artheater
29.11.2019 München, Kranhalle
30.11.2019 AT-Wien, Chels
07.12.2019 Berlin, Lido
13.12.2019 Bremen, Tower
14.12.2019 Frankfurt, Nachtleben
20.12.2019 Nürnberg, Z-Bau
21.12.2019 Hannover, Musikzentrum

02.04.2020 Wiesbaden, Schlachthof
03.04.2020 Konstanz, Kulturladen
04.04.2020 Lörrach, Between the Beats Festival
16.04.2020 Dresden, Groovestation
17.04.2020 Düsseldorf, The Tube
18.04.2020 Kiel, Die Pumpe
23.04.2020 Göttingen, Exil
24.04.2020 Münster, Sputnik Café
25.04.2020 Koblenz, Circus Maximus

Tourveranstalter: FKP Scorpio und Gastspielreisen


Carly Rae Jepsen - ‘The Dedicated Tour’ (2019/2020)

Adlib supplied audio and lighting production for the UK dates of Canadian singer/songwriter Carly Rae Jepsen’s ongoing ‘Dedicated’ world tour. In addition, Adlib supplied a lighting and audio control package for the European leg. Production Manager and FOH engineer Zach Snyder had not worked with Adlib before but was recommended to the Liverpool-based production specialist by their tour director, Tony Marino, who’d used Adlib before with Panic! At The Disco.


Snyder specified an Avid S6L 24d for the FOH console and a DiGiCo SD12 for monitors which was run by Spencer Jones. Lighting designer Charles Ford chose a GrandMA2 light as his control desk of choice. For the two sold-out UK shows at Manchester’s Victoria Warehouse and London’s Brixton Academy, Adlib supplied an L-Acoustics K2/KS28 system. The artist and her four-piece band - expanded to include more musicians for the U.S. sections - all have their own Sennheiser mics and IEMs.


Charles Ford’s theatrical styled lighting design for the larger shows included 16 x Ayrton Khamsin LED profiles, combined with 12 x Robe MegaPointes. His wash luminaire of choice was the Claypaky B-Eye K20, and also on the rig from Adlib were GLP Impression X4 Bar 20s plus ChromaQ ColorForce LED 48 and 72 battens for up-lighting the white set risers and back cloth. The lighting detail was completed with hazers and a mirror ball.


The design had started with the U.S. touring version earlier in 2019, and this ‘international’ version was evolved for overseas ‘empty shell’ production shows like this and was also used for festival scenarios. Another basic lighting requirement spec was sent out to all the European venues where they worked with a mixture of in-house and promoter provided lighting rigs. There’s been no touring video, but they have a backdrop which has accompanied them everywhere made from lightweight crushed grey fabric.


The account was managed in the Adlib office by Leah Coyle. Adlib’s Crew Chief Ash Dawson headed up a team of Tom Webber, Kenny Perrin, Sam Gallacher, Aaron Greig and Sam Cooknell to oversee prep, rehearsals and the back to back Manchester and London shows.


Setlist (Sentrum Scene - Oslo, Norway - February 2020)

Run Away With Me
Call Me Maybe
Now That I Found You
Gimmie Love
Feels Right
Want You In My Room
When I Needed You
I Really Like You
Let’s Be Friends
Everything He Needs
Boy Problems
Party For One

Let’s Get Lost
Cut To The Feeling


(Photo: Tom Edwards)


Rea Garvey - „Neon“-Tour (Herbst 2018 bis Sommer 2019)

Das jüngste Soloalbum von Sänger und Songwriter Rea Garvey trägt den Titel „Neon“ und erschien im März 2018. Im Herbst desselben Jahres sowie im Sommer 2019 präsentierte Garvey die neuen Songs im Rahmen seiner „Neon“-Tour, für die er einmal mehr Licht- und Bühnendesigner Christian „Rocketchris“ Glatthor engagierte.


Glatthor entwarf ein variables Set: Mit Hilfe von insgesamt 60 Fusion Sticks FS20 von Fusion by GLP griff er das Neon-Thema von Album und Tournee auf. Der Großteil der Fusion Sticks wurde von einer Traverse im Bühnenhintergrund in vertikalen Reihen von je sechs Stück untereinander abgehängt. Weitere Sticks auf Bodenstativen verteilte der Designer asymmetrisch auf der Bühne.


Sämtliche Sticks wurden für die Rea-Garvey-Produktion mit Custom-Diffusorfiltern ausgestattet, die Glatthor im Vorfeld der Produktion gemeinsam mit GLP entwickelt hatte. Mit den zur Verfügung stehenden Diffusorfiltern ließ sich der Abstrahlwinkel von Beam zu Flood oder auch asymmetrisch verändern, wobei der Fusion Stick FS20 immer noch ausreichend Lichtleistung bietet.


Glatthor stattete seine Fusion Sticks zusätzlich noch mit einer Frostfolie aus, um das Licht besonders weich zu zeichnen. „Der Diffusor lässt die LED-Sticks mehr wie echte Neonröhren aussehen. Zwar schluckt er etwas Lichtleistung, aber der Output der Sticks ist immer noch so dominant, dass man selbst in Arenen noch die ganze Halle in ein diffuses, farbiges Licht tauchen kann“, erklärt er.


Die Fusion Sticks dienten Glatthor einerseits als physische Objekte im Raum, entfalteten aber - je nach gewählter Intensität - auch unterschiedliche Effekte während der Show.


Setlist (Barclaycard Arena - Hamburg - September 2018)

Is It Love?
Beautiful Life
Can’t Say No
Oh My Love
It’s A Good Life
Hold My Heart
Stay Stay
Kiss Me
Colour Me In
Guten Tag (Wir-sind-Helden-Cover)
Catch Me When I Fall
Lions In Cages
Wild Love

Can’t Stand The Silence
Never Giving Up


(Fotos: Chris „Rocketchris“ Glatthor)


Izal - ‘Autoterapia’ & ‘El Final del Viaje/Autoterapia Vol. 2’ Tours (2019/2020)

After the success of the ‘Autoterapia’ tour, Izal was on the road again extending the tour to include 2020 dates in ‘El Final del Viaje/Autoterapia Vol. 2’, a farewell to the fans before taking a rest. Mike Behrendt, the band’s sound engineer, chose DAS Audio’s Aero-50 and UX systems for these shows.


During the ‘Autoterapia’ tour, the band has been playing through a design comprising a main system of thirty Aero-50 (fifteen per side) and twelve UX-221A (4 stacks of 3 in cardioid configuration, 2 stacks per side), along with sixteen Aero-40 for Outfill, six Aero-20 for Frontfill and six Aero-40 for Downfill.


Interview with Mike Behrendt

What were the audio requirements for the tour and how has the system performed to the band’s needs?

MIKE BEHRENDT: We were looking for a sound system that could offer a full range response, making all elements clearly audible in the mix. It was also important to have enough power or “punch” without producing unwanted distortions. Finally, we got what we were looking for. The sound system met all these requirements and tackled them in a very successful way. The system also scored a success among the tour production team who were delighted to go forward with it.

You have performed at many different venues (WiZink Center, Palacio de Deportes de Granada and the bullfighting arenas of Valencia and Alicante). How would you describe the performance of the Aero-50 and UX systems?

MIKE BEHRENDT: I have to say that, from the start, we found the right balance as soon as we started working with DAS Audio. Like all systems, you must learn to get the most out of it, and after several years of working with it (in Fluge and during this tour), we have the know-how to meet all our requirements. In all the venues where we have used the system, it has performed correctly. Once we got the system up and running and knowing the response it offered, we were able to get the right designs and quantities of cabinets for the different venues where we played.

Have you had any chance to try out different configurations with the UX?

MIKE BEHRENDT: Except flown, we have tried all kinds of configurations, although on tour we always use the same. As I see it, the best way to work with the UX is 3 stacks (3 units per stack) on each side, in cardioid configuration, with the possibility to modify the lobe directivity. This means that we can adjust different times for the side stacks (taking the central one as a reference) with very short times, from 0.2 ms to 1.2 ms. In my opinion, this is the simplest and most effective way to work with them.

When you fine-tune the system, what is your workflow?

MIKE BEHRENDT: I believe that system design is the most important thing. I like to fly the system high, if the event allows it (between 6-8 mts from the ground to the first axis), with a homogeneous vertical dispersion, and always tilted, even if the throw is long. From this point on, I pay a lot of attention to achieve a design in which the loudspeaker axes match perfectly. Then, I take several central and side measurements to check the response and make sure everything is correct. Then, I apply EQ corrections to the main system. From a central position, 10 mts ahead or behind the front of house, I level and phase align the subwoofers to the main system. Once this is done, I adjust the rest of the elements: level, times and responses.

What frequency response do you need to make your mix work?

MIKE BEHRENDT: As requested in the rider, it must be a full response (20 Hz-20 kHz) but the actual working area of our show is 30 Hz-18 kHz. If this area performs within this range, the show runs smoothly.

If you had to highlight one aspect of the system performance...

MIKE BEHRENDT: Outdoors, the system is at its best. Its performance, depending on the design you make or the limitations you have, is fairly homogeneous in all the areas of the venue.


Setlist (Palau Sant Jordi - Barcelona, Spain - February 2020)

Ruido blanco
La piedra invisible
Los seres que me llenan
Arte moderno
Pequeña gran revolución (with Rozalén)
Agujeros de gusano
Tu continente
Temas amables (with Sidonie)
Oro y humo
Canción para nadie
Qué bien
Hacia el norte
Asuntos delicados
El temblor (with Mäbu)
Pánico práctico
Epílogo III - Resurrección y venganza
La increíble historia del hombre que podía volar pero no sabía cómo (with Zahara)
Magia y efectos especiales

Bill Murray
El pozo (with Miguel Ríos)
La mujer de verde
El baile
Pausa (with Bunbury)


Marillion - ‘With Friends From The Orchestra’ Tour (2019)

British prog-rock band Marillion completed a special UK tour in November 2019, culminating in two nights at the Royal Albert Hall in London. The ‘Marillion With Friends From The Orchestra’ dates, which coincided with the 40th anniversary of the band and the 30th anniversary of Steve Hogarth as its lead singer, saw the band joined by Brussels-based string quartet In Praise Of Folly, along with Emma Halnan on flute and Sam Morris on French horn.


Once again, Marillion’s lighting designer Yenz Nyholm was tasked with delivering the required level of spectacle for these celebratory shows. “My brief called firstly for ‘big’, and then for ‘bright’,” says Nyholm. “With eleven people on the stage, we needed a lot of coverage. We used video with all the songs, so the wash lights needed to cut through against the brightness of the LED wall.”


To achieve this Nyholm enlisted the new, LED-based VL2600 Wash luminaire from Vari-Lite. He positioned the 14 VL2600 Wash fixtures on his rear truss, providing general color coverage across the performance area. Nyholm was first introduced to the VL2600 Wash by the band’s former lighting designer Steve Finch, now with lighting rental provider Siyan Ltd, where he handles the Marillion account for Nyholm.


Setlist (Royal Albert Hall - London, England - November 2019)

Fantastic Place
You’re Gone
Seasons End
Hollow Man
Ocean Cloud
The Sky Above The Rain
The Great Escape

Afraid Of Sunlight
Separated Out
This Strange Engine


(Photos: Alison Toon)


Flying Colors - „Third Tour’s The Charm“-Tour (2019)

Ihre aktuelle Europatour führte die US-Rockband Flying Colors innerhalb einer Woche durch die Schweiz, Deutschland, Holland und England. FOH-Ingenieur und Tourleiter Daniel Schindler entschied sich für eine Salzbrenner-Produktkombination aus Polaris Evolution und Nio Xcel - unter anderem auch deshalb, weil im Rahmen der Tournee eine DVD produziert wurde.


Zum Einsatz kamen ein Polaris-Evolution-System mit 128 Ein- und Ausgängen (Dante), zwei Nexus-Base-Devices (angebunden an Polaris Evolution über XDIP), 5x Nio Xcel 1201, 2x Nio Xcel 1202, 1x Nio Xcel 1101 und 1x Nio Xcel 1102.


Zudem befanden sich am FOH zwei Dante-Recording-Systeme sowie ein Waves-Impact-Server, welcher über MADI/DigiGrid MGO über Nexus angebunden wurde. Das Routing aller Ein- und Ausgänge sowie die Waves-Cue-Anbindung und die Steuerung der DAWs wurde ausschließlich von Polaris-Evolution-Cue-Gruppen übernommen.


Setlist (Essigfabrik - Köln - Dezember 2019)

Blue Ocean
A Place In Your World
The Loss Inside
You Are Not Alone
Forever In A Daze
Love Letter
Peaceful Harbor
Infinite Fire

Cosmic Symphony
The Storm
Mask Machine


(Foto: Salzbrenner Media GmbH)


Charli XCX - „Charli Live Tour“ (2019/2020)

Mit sechzehn Jahren gründete Elliott Mountford seine Lichtdesign-Firma Ti22 mit dem Ziel, Beleuchtung und Videointegration bei Live-Shows anzubieten. Bereits ein paar Monate später gestaltete er seine erste Show in der Wembley-Arena.


Heute ist er neunzehn Jahre alt und hat sich von einem Programmierer zu einem vollwertigen Lichtdesigner entwickelt. Zuletzt war er mit von Liteup gelieferten GLP-Scheinwerfern für Charli XCX unterwegs. So wurden stellenweise fast 100 Stroboskope direkt auf das Publikum gerichtet.


„Wir hatten auf der Europa- und USA-Tournee 34 X4 Bars und 34 JDC1 im Einsatz. Die Show in der Brixton Academy war wesentlich größer: Wir verwendeten insgesamt 96 JDC1 und 36 X4 Bars“, erklärt er. Das Rigg bestand sowohl aus dem Tournee- als auch dem Brixton-Paket.


Mountford hatte zuvor als Lichtdesigner für Skepta, Ghetts, Chipmunk und eine Reihe von EDM-Acts (u.a. Ultra Music Festival, Lost Frequencies, Carl Cox und Solomun) gearbeitet. Anfang des Jahres programmierte und tourte er als Lichtdesigner mit Rapper Santan Dave für LD Tim Routledge.


Als Charli XCX auf der Suche nach einem neuen Lichtdesigner war, befand sie nach mehreren Shows mit Mountford, dass dieser am besten zu ihr passen würde. Er übernahm die führende Rolle und führte zusammen mit Kreativdirektor Jed Skrzypczak einen anderen konzeptuellen Ansatz ein.


Mountford verwendet alle Geräte im Full-Modus, um so viel Kontrolle wie möglich zu haben. „Jedes Pixel ist zugeordnet, und ich habe viel Zeit damit verbracht, sie in Layouts zu setzen und sie in einer korrekten Weise zu gruppieren, um die Fläche, die Pixel und die Stroboskop-Kanäle zu trennen.“ Liteup ist Mountfords regulärer Lieferant. „Wir hatten Cy Doitmant als Chef der Crew und Ben Beverley als Systemtechniker“, sagt er.


Setlist (Izvestiya Hall - Moskau, Russland - November 2019)

Next Level Charli
I Don’t Wanna Know
Vroom Vroom
Cross You Out
February 2017
White Mercedes
Shake It
I Got It
Track 10/Blame It On Your Love
Silver Cross

Unlock It
I Love It (Icona-Pop-Cover)


(Fotos: Luke Dyson)


Billy Currington - Stay Up ‘Til The Sun Tour 2019

“I was on a load out when I received a call from Gene Jung, Billy Currington’s PM, saying that they needed a LD to fly out the next day to start running his show immediately,” recalls lighting designer Landon Bloss. “They booked me a flight and off I went.” He had to learn the music, program, and rig within 48 hours of the first show.


Taking over the rig originally designed by Ian Saunders, Bloss supported Currington’s 90 minute set on the star’s ‘Stay Up ‘Til The Sun’ tour with a fast-moving lightshow that showered a rainbow of colors on the stage. Helping him in this endeavor was a collection of Rogue R2 Wash fixtures supplied by 4Wall Nashville.


“The overriding thing on this tour was to be versatile, so we could cover the diverse range of Billy’s music,” says Bloss. “Ian did an excellent job designing a flexible rig, so I was starting off at a very good place. This rig was built around movers, which made it very adaptable. As far as the general look of the show was concerned, we wanted something that was powerful, but also easy to look at, so nothing too bright or overwhelming. The focus remained on Billy, his music, and his rapport with the audience.”


Featuring six truss fingers that splayed over the width of the stage, the design not only covered a wide area, it also afforded a lot of opportunities to change up the looks of the show by emphasizing different sections of the set. The Rogue R2 Wash fixtures were hung two apiece on each of the truss fingers.


The ‘Stay Up ‘Til The Sun’ tour stopped at a wide variety of venues during its seven month run (comprising more than 60 shows). “We had A, B, and C rigs,” says Bloss. “Our A rig had 14 motors and 8 sticks of truss. The B rig fit on a standard festival stage and lost two sticks of truss. The C rig was ground stacked on base plates.”


Setlist (Arizona Veterans Memorial Coliseum, Phoenix, AZ, USA - 04.10.2019):

Don’t It
That’s How Country Boys Roll
Love Done Gone
Pretty Good At Drinkin’ Beer
Let Me Down Easy
It Don’t Hurt Like It Used To
Do I Make You Wanna
Like My Dog
Hey Girl
People Are Crazy
Must Be Doin’ Somethin’ Right
Bring It On Over
We Are Tonight
Shut Up And Dance
If I Ain’t Got You
Don’t Rock The Jukebox
Good Directions


Phil Collins - Not Dead Yet Tour / Still Not Dead Yet Tour Live! 2017-2019

What Phil Collins has achieved in his life so far is definitely impressive: he is a singer, songwriter, instrumentalist, record producer and actor. He was the drummer and later the lead singer of iconic progressive rock band Genesis, and afterwards became a highly successful solo artist. After being absent from the stage for some years, Collins announced his autobiographic "Not Dead Yet" (2017-2019) / "Still Not Dead Yet Live" (2019ff) tour on 17 October 2016 at a press conference held at the Royal Albert Hall in London. As of 2019, the tour is still running.

Collins’ long term lighting designer Patrick Woodroffe has created a stylish, animated lightshow, which is directed and operated on the road by Roland Greil, who also acted as the associate designer for the show - the two have collaborated on a number of projects in recent years including Adele, and on this one they worked closely with set and scenic designer, Misty Buckley.

Patrick has worked for the artist for nearly 20 years, and this tour celebrated his return from "retirement", starting off with five nights at London’s Royal Albert Hall - which sold out in 15 seconds - and multiple shows in the Lanxess Arena in Cologne and the Accor Hotels Arena in Paris. It also culminated in the former rock supergroup Genesis drummer’s largest ever solo show in London's Hyde Park.

The show - for which Collins is most definitely centre stage - is based around a stunningly elegant and almost timeless - but understatedly modern - stage concept with a flexible and vibrant lighting rig. Two LED screens are an integrated part of the scenery together with some additional "soft" scenic elements like an Austrian gauze, a chic silver curtain and a star cloth adding flourishes of classic stage magic.

A wide dynamic range of lighting looks have been crafted by Patrick and Roland, all taking the music as their base inspiration. Some numbers are classically theatrical, others are full-on pop-tastic, and as the set unfolds it reveals a run of gripping, memorable rock looks and progressive contemporary scenes. Two songs even feature a "ballet" of lights, utilizing 11 fixtures rigged on individual hoists with RSC Lightlocks that move freely above the stage.

Flipping between so many moods, smooth and seamless transitions were essential for the lightshow flow. Forty-seven of Robe BMFLs are rigged between the overhead positions and on two vertical side ladders upstage and are used as key lights, backlighting spots and traditional spots to create tight, precise looks. BMFLs are a huge part of the show and were selected for their "Versatility and elegance, plus the ability to create some very powerful looks," stated Roland.

The 48th BMFL Spot is being controlled via the Robo Spot system and is used as Phil’s main backlight instead of a standard truss spot. There are both physical and aesthetic reasons for this. Firstly, because it is handy to control certain parameters from the grandMA2 lighting desk. More importantly still, it is a very tight rig, so there isn’t the space to rig a classic back truss spot, which would also not be appropriate for the clean and definitive aesthetic of the design. Robo Spot has been developed for exactly this type of scenario -   where a follow-spot operator cannot be placed directly at the controlled fixture. The system can remotely control any Robe BMFL fixture and utilizes an external camera to follow the performer. The PATT 2013s are used for three songs in the set as elegant looking lighting fixtures, as well as a scenic element.

Video is integral to the show, with a balanced mix of special playback content created by Sam Pattinson of Treatment and IMAG directed by Ruary Macphie, while Joshua Keys handles the media servers. The show's styling features IMAG feeds imaginatively treated with colours or shown in sepia, monochrome, etc.

Patrick first specified Robe moving lights on one of his designs in 2007 - Color Spot 2500E ATs for the Genesis "Turn It on Again" world tour. More recently, BMFLs have started making regular appearances in his work including for the AC/DC and Adele world tours. He used Pointes on the Rolling Stones 2014 "On Fire" European tour.

Design Process

Roland explained the essence of the workflow between him and Patrick, which will kick off with initial design ideas from Patrick for which he draws on multiple inspirations and sources. They discuss creating a lighting rig together, thinking about fixtures, visual effects, contexts etc. and including other elements like scenics and video. Based on their conclusions, Roland then concentrates on looking after the details, like lighting positions, fixture choices etc. - maintaining a fluid and ongoing dialogue throughout with Patrick.

Further down the line, Roland handles the technical and administrative elements with the tour production team and different vendors, while Patrick is engaged with the artist directly, managing client relations as well as maintaining a keen eye on the overall evolving picture. Ahead of rehearsals, Roland will break down the proposed set musically and use pre-viz technology to create basic building blocks, so they are well-prepared and can bring a basic show to this stage of the process. This facilitates the best and most efficient use of production rehearsal time - which is always tight and often pressured - where together and in conjunction with the whole production team and the artist, they will refine and finesse the lightshow into a final visual result.

Photos: Manfred H. Vogel

Setlist (update 2019)

Against All Odds
Another Day In Paradise
Hang In Long Enough
Don't Lose My Number
Throwing It All Away (Genesis)
Follow You Follow Me (Genesis)
I Missed Again
Who Said I Would
Separate Lives (Stephen Bishop)
- Drum Trio
Something Happened On The Way To Heaven
You Know What I Mean
In The Air Tonight
You Can't Hurry Love (Supremes)
Dance Into The Light
Invisible Touch (Genesis)
Easy Lover (Philip Bailey)

Take Me Home

Tour Dates - Not Dead Yet Tour 2017/2018

Leg One - Europe

02.06.2017 Echo Arena, GB-Liverpool
04.06.2017 Royal Albert Hall, GB-London
05.06.2017 Royal Albert Hall, GB-London
07.06.2017 Royal Albert Hall, GB-London
11.06.2017 Lanxess Arena, Köln
12.06.2017 Lanxess Arena, Köln
14.06.2017 Lanxess Arena, Köln
15.06.2017 Lanxess Arena, Köln
16.06.2017 Lanxess Arena, Köln
18.06.2017 Accor Hotels Arena, F-Paris
19.06.2017 Accor Hotels Arena, F-Paris
20.06.2017 Accor Hotels Arena, F-Paris
22.06.2017 Accor Hotels Arena, F-Paris
23.06.2017 Accor Hotels Arena, F-Paris
25.06.2017 Aviva Stadium, IR-Dublin
30.06.2017 Hyde Park, GB-London
22.11.2017 Motorpoint Arena, GB-Nottingham
24.11.2017 Fly DSA Arena, GB-Sheffield
26.11.2017 Royal Albert Hall, GB-London
27.11.2017 Royal Albert Hall, GB-London
29.11.2017 Manchester Arena, GB-Manchester
01.12.2017 SSE Hydro, SCO-Glasgow
02.12.2017 Metro Radio Arena, GB-Newcastle
03.12.2017 Genting Arena, GB-Birmingham

Leg 2 - Latin America

22.02.2018 Estádio do Maracanã, BR-Rio De Janeiro
24.02.2018 Allianz Parque, BR-São Paulo
25.02.2018 Allianz Parque, BR-São Paulo
27.02.2018 Estádio Beira-Rio, BR-Porto Alegre
06.03.2018 Auditorio Citibanamex, MEX-Monterrey
07.03.2018 Arena VFG, MEX-Guadalajara
09.03.2018 Palacio de los Deportes, MEX-Mexico
10.03.2018 Palacio de los Deportes, MEX-Mexico
13.03.2018 Jockey Club del Perú, PE-Lima
15.03.2018 Estadio Nacional Julio Martínez Prádanos, CHI-Santiago
17.03.2018 Estadio Centenario, UR-Montevideo
19.03.2018 Estadio Presidente Perón, AR-Córdoba
20.03.2018 Campo Argentino de Polo, AR-Buenos Aires
23.03.2018 Coliseo José Miguel Agrelot, PR-San Juan

Leg 3 - North America

05.10.2018 BB&T Center, USA-Sunrise
07.10.2018 Capital One Arena, USA-Washington
08.10.2018 Wells Fargo Center, USA-Philadelphia
09.10.2018 TD Garden, USA-Boston
11.10.2018 Scotiabank Arena, CAN-Toronto
13.10.2018 Prudential Center, USA-Newark
14.10.2018 Barclays Center, USA-Brooklyn
16.10.2018 Bell Centre, CAN-Montreal
18.10.2018 Quicken Loans Arena, USA-Cleveland
19.10.2018 Nationwide Arena, USA-Columbus
21.10.2018 Target Center, USA-Minneapolis
22.10.2018 United Center, USA-Chicago
25.10.2018 Oracle Arena, USA-Oakland
27.10.2018 MGM Grand Garden Arena, USA-Las Vegas
28.10.2018 The Forum, USA-Inglewood

Leg 4 - Oceania

19.01.2019 Suncorp Stadium, AUS-Brisbane
21.01.2019 Quodos Bank Arena, AUS-Sydney
22.01.2019 Quodos Bank Arena, AUS-Sydney
23.01.2019 Quodos Bank Arena, AUS-Sydney
25.01.2019 Adelaide Oval, AUS-Adelaide
28.01.2019 RAC Arena, AUS-Perth
29.01.2019 RAC Arena, AUS-Perth
01.02.2019 AAMI Park, AUS-Melbourne
02.02.2019 AAMI Park, AUS-Melbourne
04.02.2019 AMI Stadium, NZ-Christchurch
06.02.2019 Mission Estate Winery, NZ-Napier

Still Not Dead Yet Live! Tour 2019

Leg 5 - Europe

02.06.2019 Ernst Happel Stadion, A-Wien
04.06.2019 Groupama Stadium, F-Lyon
05.06.2019 Mercedes Menz Arena, Stuttgart
07.06.2019 Olympiastadion, Berlin
08.06.2019 Ceres Park, DK-Aarhus
10.06.2019 Bergenhus Festning, N-Bergen
12.06.2019 Friends Arena, S-Stockholm
14.06.2019 HDI Arena, Hannover
15.06.2019 HDI Arena, Hannover
17.06.2019 Mediolanum Forum, I-Mailand
18.06.2019 Letzigrund Stadion, CH-Zürich
20.06.2019 Goffertpark, NL-Nijmegen
21.06.2019 Rhein Energie Stadion, Köln
22.06.2019 Rhein Energie Stadion, Köln
24.06.2019 Olympiastadion, München
25.06.2019 O2 Arena, CZ-Prag
26.06.2019 PGE Narodowy, PL-Warschau

Leg 6 - United States

23.09.2019 American Airlines Center, USA-Dallas
24.09.2019 Toyota Center, USA-Houston
26.09.2019 Amalie Arena, USA-Tampa
28.09.2019 Infinite Energy Arena, USA-Duluth
29.09.2019 Spectrum Center, USA-Charlotte
01.10.2019 Little Caesars Arena, USA-Detroit
02.10.2019 PPG Paints Arena, USA-Pittsburgh
04.10.2019 Keybank Center, USA-Buffalo
06.10.2019 Madison Square Garden, USA-New York
07.10.2019 Madison Square Garden, USA-New York
09.10.2019 KFC Yum Center, USA-Louisville
11.10.2019 CHI Health Center, USA-Omaha
13.10.2019 Pepsi Center, USA-Denver
15.10.2019 Talking Stick Resort Arena, USA-Phoenix
17.10.2019 Chase Center, USA-San Francisco
19.10.2019 T-Mobile Arena, USA-Las Vegas

(to be continued)


Phil Collins (lead vocals)
Leland Sklar (bass)
Daryl Stuermer (lead guitar)
Ronnie Caryl (rhythm guitar)
Nicholas Collins (drums, piano)
Brad Cole (keyboards)

Arnold McCuller (vocals)
Amy Keys (vocals)
Bridgette Bryant (vocals)
Lamont van Hook (vocals)
Luis Conte (percussion)
Richie "Gajate" Garcia (percussion)

Vine Street Horns
- Harry Kim (trumpet)
- Dan Fornero (trumpet)
- George Shelby (saxophone)
- Luis Bonilla (trombone)

Tour Promoter Germany: Peter Rieger Konzerte (PRK)

Cro: Stay Tru Tour 2018

Hinter der inzwischen wirklich überall bekannten Pandamaske steckt einer der vielseitigsten und erfolgreichsten Künstler Deutschlands – Cro, oder mit bürgerlichem Namen Carlo Waibel, hat nicht nur der deutschen Rapszene ein neues Gesicht gegeben, er ist zudem auch Designer, Produzent und Regisseur.

Nach einer innerhalb von Minuten ausverkauften Clubtour zum neuen Album kehrte er im vergangenen Herbst nochmals auf Hallentour zurück – und sprengte auch da erwartungsgemäß alle Vorverkaufsziele.

Für das Licht- und Setdesign sowie das Operating der Tournee sorgten der Designer Clemens Loeffelholz von Colberg und der Lighting Director Manfred Nikitser, das Operating am Pult übernahmen Markus Buck und Otto Schildknecht.  

Loeffelholz von Colberg und Nikitser waren auf der Suche nach einem ebenso simplen wie effektvollen Set und entschieden sich dabei ganz gezielt für die JDC1 Hybridstrobes und die neuen KNV-Module von GLP. „Wenn ein Design einfach sein soll, dann müssen einzelne Lampen mehrere Funktionen erfüllen können“, so Clemens Loeffelholz von Colberg. Dazu kommen noch ein paar ganz typische Anforderungen für Rap und Hip Hop, nämlich viele Farben, Strobes für die typischen HiHat-Sounds und das richtige Durchsetzungsvermögen. „Da ist das JDC1 aktuell einfach die beste Wahl, da es in meinen Augen zurzeit das beste Hybridstrobe auf dem Markt ist.“ Und Manfred Nikitser ergänzt um seine Beweggründe: „Ich denke, wenn es um LED geht, dann hat GLP gerade die Nase vorne. Insbesondere, wenn es um Innovation und Möglichkeiten geht. Ich fand es schon immer sehr spannend, Lampen wie Videoelemente zu nutzen, und da gibt es schlicht nichts Gleichwertiges im Moment. Es passt alles – die Farben, die Helligkeit, die Effekte.“ Besonders angetan war er dabei von den Möglichkeiten, die das JDC1 ihm bietet. „Es schaut einfach immer anders aus, ich kann jedes Pixel einzeln ansteuern, die Kacheln oder die Röhre einzeln oder gemeinsam nutzen“, beschreibt er die Möglichkeiten des JDC1. So setzten die beiden – ganz getreu ihrer Idee, jede Lampe multifunktional anzuwenden – die Hybridstrobes von GLP nicht nur als Strobe ein, sondern zusätzlich auch noch als Washlight und Blinder. „Eine echte Effektschleuder“, so Manfred Nikitser kurz und knapp. „Die JDC1 waren in den Towerkonstruktionen montiert und haben so die Bühne hell gemacht. In den Breaks haben wir sie einfach nach vorne gedreht und als Blinder genutzt. Das war fast immer mehr Impact, als wir brauchten.“

Ebenfalls mit im Gepäck waren die neuen KNV-Module von GLP. „Wir brauchten etwas, womit wir die charakteristische Maske inszenieren konnten. Für die Augen war da etwas gefragt, was praktisch seamless blieb und zudem auch noch genug Power hatte, um durch das Plexiglas davor zu stroben. Da ist KNV mit seiner Bauform, dem Output und seiner Reihenbauweise schlicht das Mittel der Wahl“, beschreibt Manfred Nikitser die Aufgabenstellung und die passende Lösung. „Beide Lampen, sowohl die KNV als auch die JDC1, sind einfach top“, fasst Loeffelholz von Colberg zusammen. „Mit dem Output und Impact denkt man natürlich sofort an die großen Shows, aber dennoch sind sie auch im kleinen Rahmen hochinteressant.“ Und Manfred Nikitser fügt noch an: „In meinen Augen ist das JDC1 wirklich das erste, sinnvolle Colorstrobe, das keine Wünsche offenlässt. Sinnvolle Features, eine klare Programmierung und vielseitig einsetzbar. Kurz und knapp: Der Hammer. Vor einem Jahr noch hätte ich gesagt, eine dynamische Show nur mit Strobes ist unmöglich. Aber da kannte ich das JDC1 noch nicht.“

Gespannt sein darf man auf die nächsten Projekte der Beiden. Ganz sicher ist dann aber auch wieder Material von GLP mit am Start. „Bei OKKID hatte ich schon JDC1 dabei“, erinnert sich Clemens Loeffelholz von Colberg.„Zur Zeit ist RIN mit seinem Album  Megatron noch auf Tour und spielt auf einer komplett mit impression X4 Bars unterleuchteten Bühne mit durchsichtigem Boden. Bei den Lampen von GLP finde ich es nämlich auch sehr spannend, andere, ungewohnte Formen wie zum Beispiel eine Bar einzusetzen. GLP arbeitet da zuletzt mit den impression X4 Bars, den KNV Modulen und auch dem JDC1 sehr architektonisch. Das macht es für mich als Setdesigner immer wieder sehr interessant.“ 

Fotos: Stephan Kwiecinski



my life
Hi Kids
Bad Chick
I Know
kapitel 1
forrest gump
fake you.
noch da
slow down (with Ace Tee)
Turn up
Hey Girl / King of Raop / Kein Benz
Meine Gang (mit Dajuan)
Tag & Nacht (Danju)
Einmal um die Welt


Lange her
Victoria's Secret
Bye Bye





Tour Dates


Stay Tru Tour 2018


09.06.2018 Mahnkesche Wiese, Stralsund

18.08.2018 Afrika-Karibik-Festival, Volksfestplatz, Aschaffenburg        

08.11.2018 ISS DOME, Düsseldorf        

09.11.2018 Barclaycard Arena, Hamburg

10.11.2018 Max-Schmeling-Halle, Berlin

11.11.2018 Festhalle Frankfurt

15.11.2018 Wiener Stadthalle Halle D, Wien

16.11.2018 Olympiahalle, München          

17.11.2018 Arena Nürnberger Versicherung, Nürnberg

22.11.2018 Samsung Hall, Zürich

23.11.2018 Hanns-Martin-Schleyer-Halle, Stuttgart

29.11.2018 ÖVB-Arena, Bremen    

30.11.2018 TUI Arena, Hannover        

01.12.2018 Arena, Leipzig



Scorpions: 50th Anniversary World Tour

Für die aktuellen Shows der Scorpions in Lyon, Hamburg, Köln, Berlin, Leipzig und Frankfurt kam kinetisches Equipment von Movecat zum Einsatz. Insgesamt wurden 59 Motoren installiert, davon zehn MC D8+ 1 to., neun MC Eco 1 to. und vierzig MC D8+ 0,5 to. Satis + Fy Live Entertainment & Touring Support in Werne hat die Shows für die Scorpions realisiert und das Movecat Equipment aus ihrem umfangreichen Mietpark bereitgestellt.

Dazu Andreas Fiekers vom Lighting & Rigging Department bei Satis + Fy: „Wir sind mit dem Material zufrieden und konnten damit die Produktionen der Scorpions in Hallen mit jeweils rund 10.000er Kapazitäten optimal betreuen“. Eingesetzt wurde das Material für die Positionierung von Beleuchtungs- und Beschallungsequipment sowie die Bewegungen der seitlichen Leitertraversen.

Fotos: Ralph Larmann, Stephan Kwiecinski (folgen!)


Going Out With A Bang
Make It Real
The Zoo
Coast To Coast
70s Medley:
- Top Of The Bill
- Steamrock Fever
- Speedy's Coming
- Catch Your Train
We Built This House
Delicate Dance
Acoustic Medley:
- Always Somewhere
- Eye Of The Storm
- Send Me An Angel
Wind Of Change
Rock'n'Roll Band
Overkill (Motörhead)
Drum Solo (Mikkey Dee)
No One Like You
Big City Nights

Still Loving You
Holiday (occasional)
Rock You Like A Hurricane

Tour Dates

50th Anniversary Tour (last leg 2016)

20.11.2016 Zénith de Dijon, F-Dijon
23.11.2016 Lanxess Arena, Köln
25.11.2016 Arena Leipzig, Leipzig
27.11.2016 Festhalle, Frankfurt
29.11.2016 Barclaycard Arena, Hamburg
02.12.2016 Mercedes Benz Arena, Berlin

Crazy World Tour 2017

18.06.2017 Graspop Metal Meeting, B-Dessel
24.06.2017 Life Festival, P-Oswiecim
12.07.2017 Campos del Malecón, E-Torrelavega
14.07.2017 Stone & Music Festival Albergue El Prado, Mérida, E-Badajoz
15.07.2017 Festival Marés Vivas, POR-Vila Nova de Gaia
17.07.2017 Festival de Nîmes, F-Nîmes
19.07.2017 Festival Guitare en Scène, F-Saint-Julien-en-Genevois
23.07.2017 Schwörfestival, Ulm
14.09.2017 Santander Arena, US-Reading
16.09.2017 Madison Square Garden, US-New York
19.09.2017 Place Bell, CAN-Laval
22.09.2017 Molson Canadian Amphitheatre, CAN-Toronto
23.09.2017 Allstate Arena, US-Rosemont
25.09.2017 1st Bank Center, US-Denver
26.09.2017 Usana Amphitheatre, US-Salt Lake City
29.09.2017 Veterans Memorial Arena, US-Spokane
30.09.2017 Tacoma Dome, US-Tacoma
03.10.2017 Grand Sierra Resort, US-Reno
04.10.2017 Oracle Arena, US-Oakland
07.10.2017 The Forum, US-Los Angeles
08.10.2017 Talking Stick Resort Arena, US-Phoenix
11.10.2017 Freeman Coliseum, US-San Antonio
12.10.2017 Pavilion at The Music Factory, US-Dallas
14.10.2017 BB&T Center, US-Ft. Lauderdale
15.10.2017 Amalie Arena, US-Tampa
28.10.2017 Iceberg Arena, RUS-Sochi
30.10.2017 Basket-Hall, RUS-Krasnodar
01.11.2017 Olimpijski, RUS-Moskau
03.11.2017 Ice Palace, RUS-Sankt Petersburg
05.11.2017 KRK Nagorny, RUS-Nizhnij Novgorod
07.11.2017 Ufa-Arena, RUS-Ufa
09.11.2017 KRK Uralez, RUS-Yekaterinburg
11.11.2017 Sport Palace, UKR-Kiev
22.11.2017 Spektrum, NOR-Oslo
24.11.2017 Scandinavium, S-Gothenberg
25.11.2017 Ericsson Globe, S-Stockholm
27.11.2017 Hartwall Arena, FIN-Helsinki
29.11.2017 Royal Arena, DK-Kopenhagen
03.12.2017 Ostravar Aréna, CZ-Ostrava
05.12.2017 Arena Stožice, SLO-Ljubljana
07.12.2017 Kombank-Arena, SER-Belgrad

Tesla: Tour 2017

American heavy rock band Tesla has cultivated a loyal fan base over the last 30 years, playing an unpretentious, blue-collar style of music that hard rock audiences love. For an ongoing tour that started in January, band lighting designer and creative director Ignacio “Iggy” Rosenberg is using an Elation rig to complement the band’s big rock sound and surprising (to some) long list of hits.

“The main thing was they were venturing into having more of a production for the first time in years, so we were trying to be cautious about spending too much, but also giving them as much of a show as we could,” commentedIggy, who has been working with the band for the past three years. “This was a great tour to understand the concept of providing something that was inexpensive, but not cheap.”

Working from a short production timeline, Iggy chose Platinum FLX hybrid moving heads, ACL 360 Matrix LED moving head panels and Protron3K Color strobes to light the show, along with other gear. “They’re a straight up rock band, so much of the lighting tends to follow the drive of their songs,” he says. “That being said, the more they saw and liked, the more freedom they gave me to keep pushing things. They’re a fantastic group of guys and definitely know what they don’t like or don’t want to see.” What the band does like are the high impact looks from Platinum FLX hybrid movers that Iggy has located about seven feet off the ground on amp carts. “They really have been a surprise since I had never seen them before,” the LD says of the 20,000-lumen multi-functional fixture that can operate as a beam, spot or wash light.

Teamed with the Platinum FLX fixtures on the amp carts are Protron Color LED strobes, which have a varying role in the show. Located behind a rather expansive drum kit on riser boxes along with some of the Protron strobes are Elation ACL 360 Matrix LED moving head panels, which the LD says he uses more as a set piece than lighting. “We couldn’t pixel-map them because of the fast turnaround, but it’s in the books for the future,” he explains.

Supplying the Elation gear for Tesla’s shows is production services company Sure Sound & Lighting of Grand Island, Nebraska, whose Larry Suhr and Jeremy Wannthe LD thanks “for putting up with my endless demands.” Tesla will be playing dates across North America through the rest of the year.


Into The Now
The Way It Is
Hang Tough
Heaven's Trail (No Way Out)
Mama's Fool
Acoustic Set
- Cumin' Atcha Live / Truckin' (Grateful Dead)
- Paradise
- Signs (Five Man Electrical Band)
What You Give
Save That Goodness
Edison's Medicine (Man Out Of Time)
Song & Emotion
Love Song
Little Suzi (Ph.D.)

Modern Day Cowboy

Tour Dates

01.02.2017 Arcada Theatre, US-St. Charles
03.02.2017 Hard Rock Hotel Casino, US-Sioux City
04.02.2017 Mystic Lake Casino, US-Prior Lake
07.02.2017 The Pageant, US-St. Louis
08.02.2017 Pabst Theater, US-Milwaukee
11.02.2017 Hobart Arena, US-Troy
12.02.2017 Louisville Palace, US-Louisville
14.02.2017 Ryman Auditorium, US-Nashville
16.02.2017 Packard Music Hall, US-Warren
17.02.2017 Firekeepers Casino Hotel, US-Battle Creek
18.02.2017 Star Plaza Theater, US-Merrillville
21.02.2017 The Fillmore, US-Detroit
23.02.2017 Arvest Bank Theatre, US-Kansas City
24.02.2017 Choctow Casino, US-Pocola
25.02.2017 Choctow Casino Resort, US-Durant
28.02.2017 Brady Theatre, US-Tulsa
02.03.2017 ACL Live At Moody Theater, US-Austin
03.03.2017 Aztec Theatre, US-San Antonio
04.03.2017 House Of Blues, US-Houston

mit Def Leppard und Poison

08.04.2017 SNHU Arena, US-Manchester
12.04.2017 Mohegan Sun Arena, US-Uncasville
14.04.2017 Royal Farms Arena, US-Baltimore
15.04.2017 Nassau Coliseum, US-Uniondale
17.04.2017 Van Andel Arena, US-Grand Rapids
19.04.2017 Resch Center, US-Green Bay
21.04.2017 Xcel Energy Center, US-St Paul
22.04.2017 Sanford Premier Center, US-Sioux Falls
24.04.2017 Wells Fargo Arena, US-Des Moines
27.04.2017 Bridgestone Arena, US-Nashville
02.05.2017 Tuscaloosa Amphitheatre, US-Tuscaloosa
03.05.2017 Lakewood Amphitheatre, US-Atlanta
05.05.2017 John Paul Jones Arena, US-Charlottesville
24.05.2017 Pinnacle Bank Arena, US-Lincoln
29.05.2017 Broadmoor World Arena, US-Colorado Springs
31.05.2017 Brick Breeden Fieldhouse, US-Bozeman
07.06.2017 Spokane Arena, US-Spokane
09.06.2017 White River Amph, US-Seattle
10.06.2017 Moda Center, US-Portland
12.06.2017 Save Mart Center, US-Fresno
14.06.2017 Citizens Bank Arena, US-Ontario
16.06.2017 Sleep Train Amphitheatre, US-San Diego
17.06.2017 MGM Grand Garden Arena, US-Las Vegas
19.06.2017 Asana Amphitheatre, US-Salt Lake City
22.06.2017 Hollywood Casino Amphitheater, US-St Louis
24.06.2017 Hollywood Casino Amphitheater, US-Chicago
25.06.2017 Klipsch Music Center, US-Indianapolis

Metallica: World Wired Tour 2017

Metallicas World Wired Tour rollt momentan mit Vollgas durch die größten Stadien und Festivalgelände in Nordamerika und elektrisiert die generationenübergreifende Fangemeinde der Kultband. Für die klangliche Sättigung der Venues, die oft mehr als 50.000 Zuschauer fassen, ist ein massives Meyer Sound Leo Family Beschallungssystem von VER Tour Sound mit auf Tour, und zum ersten Mal überhaupt - der viszerale Effekt des neuen VLFC Very Low Frequency Control Element.

Diese neue Technologie im Zaum zu halten ist die Aufgabe des FOH-Ingenieurs "Big Mick" Hughes (Foto), der seit 33 Jahren für den Sound der Band zuständig ist. Hughes gefällt am Meyer Sound System die Linearität des Systems, wenn er den Pegel unter summierenden SPL-Beschränkungen halten muss. „Du wählst die Lautstärke, die du willst und die Tonalität ändert sich nicht, ganz im Gegensatz zu einigen anderen PAs, die du pegelmäßig an einem gewissen Sweet Spot halten musst. Es ist die einfachste PA der Welt, wenn Du leiser sein musst.“

Mit seinem weltweiten Konzert-Debüt auf der World Wired Tour ist Meyer Sounds neues VLFC Very Low Frequency Control Element ein starkes Tool um nur eine Oktave - und zwar diejenige, die die untere Schwelle des Hörens begrenzt - von 32 Hz bis 14 Hz wiederzugeben. Zwei end-fired Arrays mit jeweils 21 VLFCs erzeugen eine intensive "Schockwelle". "Wir verwenden die VLFC als Spezialeffekt um das realistische Erlebnis einer Explosion zu schaffen, die man mehr in der Brust fühlt, als man sie mit den Ohren wahrnimmt", erklärt Hughes. „Wenn die Pyro für Songs wie 'One' abgefeuert wird, vervollständigen die VLFC Arrays den visuellen Effekt. Man erlebt den Blitz des Lichts und dann bekommt man die Erschütterung dieser massiven Unterschallwelle zu spüren, man kann definitiv fühlen, wie viel Luft bewegt wird.“

Eine noch breitere Front aus 85 1100-LFC Low-Frequency Control Units, die den Bereich von 28 Hz bis 90 Hz wiedergeben, liefern den hörbaren Teil des tiefen Basses der Show. Diese werden je nach Venue als geflogene Arrays, end-fired Arrays neben der Bühne und an den Delay Towern eingesetzt. Das Hauptsystem besteht in der Standard Stadion Konfiguration aus vier Main Hangs mit je 18 Leo Line Array Lautsprechern. Die hinteren Bereiche der Venues werden von drei Delay Türmen mit je acht Lyon-M Main Lautsprechern über acht Lyon-W Wide Coverage Lautsprechern beschallt. Zwanzig Leopard Lautsprecher sind auf der Bühne als Front Fill verteilt, weitere 12 kommen an den Delay Towern zum Einsatz. Zusätzliche UPQ-1P Lautsprecher werden nach Bedarf für diverse Fills verwendet.

Die World Wired Tour bietet außerdem die bei weitem umfangreichste Implementierung der Meyer Sound Galileo Galaxy Netzwerkplattform. Insgesamt 14 Galaxy-Einheiten und zehn Extreme Networks Summit X440 Series Switches sind über ein redundantes Glasfasernetz mit dem IEEE-entwickelten AVB-Protokoll verknüpft. Sowohl Galaxy als auch die Switches wurden nach den AVB Standards von der Avnu Alliance zertifiziert. Die drei Galaxy 816-Network Processors am FOH sind der Mittelpunkt und übertragen Streams zu den Galaxy Einheiten, die bei den linken und rechten Main Arrays und an den drei Delay Towern positioniert sind. Vor jeder Show wird das umfangreiche Material sorgfältig von VERs Systemingenieur Christopher Nichols aligned.

Alle Aktivitäten am FOH drehen sich um Big Micks bevorzugte Midas XL-8 Konsole mit einem TC Electronic D2 Delay, einem Vintage Korg DRV 3000 (für "Master of Puppets") und einem BBE Sonic Maximizer (für Toms) im Outboard. Ein 10EaZy Pegelmesssystem nimmt dabei dauerhaft einen der Bildschirme der Midas ein. Auf der Bühne kommen Shure Super 55 Deluxe Vocal Mikrofone zum Einsatz, Ulrichs Kit wird von einem Sortiment von DPA, Audix, Shure und Audio-Technica Mikrofone abgenommen. Die Gitarren laufen direkt über Fractal Audio Preamp-Prozessoren.

Der erste Teil der World Wired Tour startete am 10. Mai im M&T Bank Stadium in Baltimore und wird am 16. Juni im Commonwealth Stadium in Edmonton, Alberta beendet. Von den 26 Terminen der Tour sind 12 in Stadien von NFL-Teams, der Rest der Konzerte findet in Baseball- oder Fußballstadien, auf Festivalgeländen oder in anderen Venues mit einer Kapazität von 50.000 Zuschauern statt. Die einzige Ausnahme ist das Nassau Veterans Memorial Coliseum, eine kleinere Arena, in der Metallica zur großen Eröffnungsfeiern nach umfangreichen Renovierungsarbeiten spielen. Die Tour geht im September mit Konzerten in europäischen Indoor-Arenen weiter und führen die Band dabei unter anderem nach Köln, Mannheim, Hamburg, Wien, Stuttgart, Genf, München und Leipzig.

Photos: Jay Blakesberg


The Ecstasy of Gold (Ennio Morricone) (Intro)
Hardwired Intro
Atlas, Rise!
For Whom The Bell Tolls
Creeping Death
The Unforgiven
Now That We're Dead
Moth Into Flame
Wherever I May Roam
Halo On Fire
Hit The Lights
Sad But True
Master Of Puppets
Fade To Black
Seek & Destroy

Nothing Else Matters

Enter Sandman

Tour Dates

26.10.2016 Coliseo de Puerto Rico, PR-San Juan
29.10.2016 Parque Bicentenario, ECU-Quito
01.11.2016 Hipódromo De Los Andes, COL-Bogotá
03.11.2016 Estadio Cementos Progreso, Guatemala City
05.11.2016 Estadio Nacional, CR-San José
18.11.2016 House of Vans, UK-London
29.11.2016 Opera House, CAN-Toronto
15.12.2016 The Fonda Theatre, US-Los Angeles
17.12.2016 Fox Theater, US-Oakland

11.01.2017 Gocheok Sky Dome, Seoul
18.01.2017 Le Sports Center, Beijing
20.01.2017 Asiaworld-Expo, Hong Kong
22.01.2017 Indoor Stadium, Singapur
03.02.2017 Royal Arena, DK-Kopenhagen
07.02.2017 Royal Arena, DK-Kopenhagen
09.02.2017 Royal Arena, DK-Kopenhagen
01.03.2017 Foro Sol, MEX-Mexico City
03.03.2017 Foro Sol, MEX-Mexico City
05.03.2017 Foro Sol, MEX-Mexico City
25.03.2017 Interlagos Racetrack, BR-São Paulo
31.03.2017 Hippodrome San Isidro, ARG-Buenos Aires
01.04.2017 Parque O'Higgins, CHI-Santiago
10.05.2017 M&T Bank Stadium, US-Baltimore
12.05.2017 Lincoln Financial Field, US-Philadelphia
14.05.2017 MetLife Stadium, US-East Rutherford
17.05.2017 The New Coliseum, US-Uniondale
19.05.2017 Gillette Stadium, US-Foxborough
21.05.2017 Mapfre Stadium, US-Columbus
04.06.2017 Busch Stadium, US-Louis
07.06.2017 Sports Authority Field at Mile High, US-Denver
11.06.2017 NRG Stadium, US-Houston
14.06.2017 Alamodome, US-San Antonio
16.06.2017 AT&T Stadium, US-Dallas
18.06.2017 Soldier Field, US-Chicago
05.07.2017 Camping World Stadium, US-Orlando
07.07.2017 Hard Rock Stadium, US-Miami
09.07.2017 SunTrust Park, US-Atlanta
12.07.2017 Comerica Park, US-Detroit
14.07.2017 Festival D'Ete de Quebec, US-Quebec
16.07.2017 Rogers Centre, US-Toronto
19.07.2017 Parc Jean-Drapeau, US-Montreal
29.07.2017 Rose Bowl, US-Los Angeles
04.08.2017 University of Phoenix Stadium, US-Phoenix
06.08.2017 Petco Park, US-San Diego
07.08.2017 AT&T Park, US-San Francisco
09.08.2017 CenturyLink Field, US-Seattle
14.08.2017 BC Place, US-Vancouver
16.08.2017 Commonwealth Stadium, US-Edmonton
02.09.2017 Royal Arena, DK-Kopenhagen
04.09.2017 Ziggo Dome, NL-Amsterdam
06.09.2017 Ziggo Dome, NL-Amsterdam
08.09.2017 Accorhotels Arena, F-Paris
10.09.2017 Accorhotels Arena, F-Paris
12.09.2017 Halle Tony Garnier, F-Lyon
14.09.2017 Lanxess Arena, Köln
16.09.2017 Lanxess Arena, Köln
22.10.2017 The O2 Arena, UK-London
24.10.2017 The O2 Arena, UK-London
26.10.2017 The SSE Hydro, UK-Glasgow
28.10.2017 Manchester Arena, UK-Manchester
30.10.2017 Genting Arena, UK-Birmingham
01.11.2017 Sportpaleis, B-Antwerpen
03.11.2017 Sportpaleis, B-Antwerpen

01.02.2018 MEO Arena, POR-Lissabon
03.02.2018 Wizink Center, E-Madrid
05.02.2018 Wizink Center, E-Madrid
07.02.2018 Palau Sant Jordi, E-Barcelona
10.02.2018 Pala Alpitour, I-Turin
12.02.2018 Unipol Arena, I-Bologna
14.02.2018 Unipol Arena, I-Bologna
16.02.2018 SAP Arena, Mannheim
27.03.2018 Jyske Bank Boxen, DK-Herning
29.03.2018 Barclaycard Arena, Hamburg
31.03.2018 Wiener Stadthalle, A-Wien
02.04.2018 O2 Arena, CZ-Prag
05.04.2018 Sports Arena, H-Budapest
07.04.2018 Schleyerhalle, Stuttgart
09.04.2018 Schleyerhalle, Stuttgart
11.04.2018 Palexpo, CH-Genf
26.04.2018 Olympiahalle, München
28.04.2018 Tauron Arena, P-Krakau
30.04.2018 Leipzig Arena, Leipzig
02.05.2018 Telenor Arena, N-Oslo
05.05.2018 Ericsson Globe, S-Stockholm
07.05.2018 Ericsson Globe, S-Stockholm
09.05.2018 Hartwall Arena, FIN-Helsinki
11.05.2018 Hartwall Arena, FIN-Helsinki

Snarky Puppy: European Tour 2017

Award winning lighting designer Francis Clegg applied his imagination and magic to the latest Snarky Puppy tour, where his penchant for creating interesting and different visual environments is perfectly suited to the band’s improvisational instrumental jazz-pop sounds. Colour Sound Experiment was delighted to be the lighting and video supplier for the tour. The west London based company has worked on other projects with Francis, part of creative practice design Mirrad, including most recently, Giggs and Kano. “You know that a design will look fresh and alternative when Francis’ name is on it,” commented Colour Sound’s H (Haydn Cruickshank).

Francis worked on Snarky Puppy’s 2015 UK tour, their first with full production. He finds the fluidity and organic nature of the music and performance very inspirational. Every show is unique, and that provided a clear starting point for the visual design which also had to be infinitely flexible. A key is being able to operate on the fly and apply accents, punctuation and nuances, sometimes very subtly as and when they are happening with the music – almost like another instrument. There’s no set list at Snarky Puppy gigs and if they do play the same piece of music two nights running, it won’t be the same arrangement so it’s absolutely a ‘buskers paradise’.

This tour also took the production levels up a notch with the addition of a remote operated robo-cam (utilising Panasonic AW-UE70 4Ks) system which was also operated by Francis along with lighting and the live mix, who took the challenge of multi-tasking in his stride. Also informing the design was the itinerary, which included a wide variety of venues across the UK and Europe. The rig had to be scalable, and the final designs included an A rig for the UK dates and a smaller B rig for Europe.

Video and video sharing media channels have been prominent in the distribution of Snarky Puppy’s live material so the band are used to cameras, so with an average of 10 musicians onstage for a performance, Francis also wanted a neat way of featuring solos and came up with the idea of individual rotating screens and the camera system. The band are also somewhat of a cult act amongst serious musicians – so knew he needed to have some more technical shots with the cameras, revealing specific angles related to the instrument and players, so camera positioning – two upstage and two downstage on mic stands - was done with this in mind. Projection also fitted as an appropriate aesthetic for the overall look and a solution that was flexible enough to be fitted into the smaller venues.

Onstage in the full set up - were 10 x 2 metre wide super-light screens custom made by Hangman, arranged in two rows of five on two separate trusses. These were all rigged on Robe MediaSpinner 50 ATs, which proved a neat solution, with a Portman P1 retro lamp on the reverse side of the screen, chosen for complete contrast and for their way-cool, highly distinctive flower-like appearance and warm tungsten output. The projector was a single Barco 30K positioned at FOH and the four Robo-cam signals were fed into a Green Hippo Amba media server via a 4-in-1-out Quad-Split from Decimator Design, allowing any camera to be flexibly assigned to any screen.

Francis controlled them using a Panasonic AW-RP50 remote camera controller stationed at FOH, a compact unit which enables presets, live control and other functions. In terms of lighting, the brief was to make it big, sumptuous and exciting without being too poppy or ostentatious – but with musical intensity and flow of the show, there were plenty of massive moments. Francis approaches the inventive structure of the music with one basic signature lighting look for each piece of music, within which he has a number of pictures and effects to hand that can be added, subtracted or layered in a similarly fluid and musical way. This very rhythmic way of running lights requires a lot of concentration. When it came to lighting and architecture around the space he opted for four raked upstage/downstage finger trusses, with four towers at the back extending the line of the fingers down to the floor at the back.

Twenty Robe Pointes were rigged on the fingers and towers and provided a great diversity of aerial looks, prism effects, beams, frosts, colour flips and all the other things. The wash fixtures were 30 x Chauvet R2s, 16 rigged in the air and 14 placed on the floor, and their task was to wash the band and the stage and help highlight the soloists as well as facilitate and augment the various camera angles and ensure clarity for the more technical shots mentioned earlier. Some ETC Source Fours were added for key lighting, which was also important for the camera shots and eight Robe LEDWash 600s were available on the front truss for additional and support washes. A set of tungsten blinders highlighted the audience, all run from an Avo Quartz main console.

“It was essentially a bit of ‘back-to-basics’ approach to lighting” explained Francis, “defining areas of the stage, creating an ambience and mood throughout the set and underscoring some fantastic musicianship”. He says the biggest challenges were the expectations. “It’s a different audience to a rock, pop or dance crowd, very demanding, so it had to be an attractive yet thoughtful show that was totally cutting edge!” Zak Nicholson worked alongside Francis as a technician on the tour and they were joined by a Colour Sound crew of John Lahiffe (Afghan John) and Jasper Johns who ensured everything went together smoothly and efficiently for the popular tour which included a highly charged performance at London’s Brixton Academy.

Photos : Louise Stickland

Setlist (O2 Brixton Academy London)

Beep Box
Grown Folks
Ready Wednesday (Preceded by Bill Laurence Piano Solo)
Thing Of Gold
Big Ugly
What About Me?


Tour Dates

20.04.2017 Budapest Spring Festival, H-Budapest
21.04.2017 Teatro Colosseo, I-Torino
22.04.2017 Auditorium Santa Chiara, I-Trento
23.04.2017 Palazzo Dei Congressi, I-Pisa
24.04.2017 Estragon Club, I-Bologna
26.04.2017 Casa Da Musica, POR-Porto
27.04.2017 LX Factory, POR-Lisbon
28.04.2017 Vicar Street, UK-Dublin
30.04.2017 Town Hall, UK-Cheltenham
02.05.2017 02 ABC, UK-Glasgow
03.05.2017 Sage, UK-Gateshead
04.05.2017 02 Apollo, UK-Manchester
05.05.2017 02 Academy, UK-London
06.05.2017 The Tramshed, UK-Cardiff
07.05.2017 The Lighthouse, UK-Poole
09.05.2017 AB, B-Brussels
10.05.2017 Rockhall, L-Luxembourg
16.05.2017 L'Aeronef, F-Lille
17.05.2017 Le Rocher De Palmer, F-Cenon
18.05.2017 L'Olympia, F-Paris
19.05.2017 La Coorperative De Mai, F-Clermont-Ferrand
20.05.2017 Palais Congres, F-Lyon
22.05.2017 Batschkapp, Frankfurt
23.05.2017 Substage, Karlsruhe
24.05.2017 Kaufleuten, CH-Zürich
25.05.2017 E-Werk Freiburg
26.05.2017 Zeppelin-Haus, Friedrichshafen
28.05.2017 National Forum of Music, P-Warschau
29.05.2017 Huxley's, Berlin
31.05.2017 Muffatwerk, München
01.06.2017 E-Werk, Köln
02.06.2017 Elbjazz Festival, Hamburg
03.06.2017 Vega, DK-Kopenhagen
04.06.2017 Train, DK-Aarhus
05.06.2017 Paradiso, NL-Amsterdam
06.06.2017 Paradiso, NL-Amsterdam
07.06.2017 Muziekgebouw, NL-Eindhoven