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Michael Schulte - Trio-Shows 2021

15/07/2021

Johannes Oerding - Akustik-Set Hannover 2021

12/07/2021

Revolverheld - Live 2021

09/07/2021

Culcha Candela - Live 2021

21/06/2021

Fury in the Slaughterhouse - „Now Or Never“-Tour (2021)

14/06/2021

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

11/06/2021

Lauren Daigle - Tour 2020

03/12/2020

Mika - ‘Revelation’ Tour (2019/2020)

24/06/2020

Stereophonics - ‘Kind Tour’ (2019/2020)

08/06/2020

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

11/05/2020

Alice Merton - „Mint+4“-Tour (2020)

24/04/2020

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

24/03/2020

Cold Chisel - ‘Blood Moon’ Tour (2020)

23/03/2020

Tom Beck - Tour 2020

12/03/2020

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

09/03/2020

Bon Iver - ‘i,i’ U.S. Tour (2019)

05/03/2020

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

04/03/2020

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

28/02/2020

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

27/02/2020

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

25/02/2020

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

24/02/2020

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

11/02/2020

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

10/02/2020

Billy Currington - Stay Up ‘Til The Sun Tour 2019

16/12/2019

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

19/01/2019

Michael Schulte - Trio-Shows 2021

Setlist*

Collide
All I Need
Keep Me Up
Dreaming Out Loud
Waking Up With You
Back To The Start
Bye Bye Bye
You Said You’d Grow Old With Me
Stay
For A Second
You Let Me Walk This Road Alone

Holding Back The Fire

*Geplant waren ursprünglich 14 Songs - „Falling Apart“ und „Someone“ wurden jedoch wegen „zu viel Gequatsche“ gestrichen.

 

(Fotos: Stephan Kwiecinski)

 

www.michaelschulte-music.com

 

Johannes Oerding - Akustik-Set Hannover 2021

Setlist

Kreise
Und wenn die Welt
Alles OK
Traurig aber wahr
Unter einen Hut
So schön
Flieg mit mir
Ungeschminkt
Love Me Tinder
Erster Klasse
Blinde Passagiere
Wenn du gehst
Die Tage werden anders sein (inkl. Snippet „Walking In Memphis“)

„Das Ding“ Kultliederbuch-Set
- John Denver: Country Roads (Seite 12)
- Fettes Brot: Jein (Seite 96)
- Oasis: Wonderwall (vorletzte Seite)

Hundert Leben (inkl. Drum-Solo)
Heimat
Ketten
Alles brennt
An guten Tagen

Immer wenn ich träum’ (Sing meinen Song/Mighty Oaks)
Die guten Zeiten
Ich will noch nicht nach Hause
Für immer ab jetzt (solo)

 

(Fotos: Stephan Kwiecinski)

 

www.johannesoerding.de

 

Revolverheld - Live 2021

Setlist

Das kann uns keiner nehmen
Freunde bleiben
Leichter
Immer in Bewegung
Spinner
Bands deiner Jugend (+ The One and Only - Chesney-Hawkes-Cover)
Ich werd’ die Welt verändern
Sommer in Schweden
Halt dich an mir fest
Immer noch fühlen
Ich werde nie erwachsen
Ich kann nicht aufhören unser Leben zu lieben (Band Introduction 1)
So wie jetzt
Lass uns gehen

Liebe auf Distanz
Abreißen
Ich lass für dich das Licht an

Darf ich bitten (Band Introduction 2)

 

(Fotos: Stephan Kwiecinski)

 

www.revolverheld.de

 

Culcha Candela - Live 2021

Setlist

Intro
Wann dann
Solarenergie
Wildes Ding
Schöne neue Welt
No tengo problema
Berlin City Girl
Du weißt
Lass ma einen bauen
Dinero - Warning - Eiskalt Partyrock
Dance Solo (Change)
Cool mit mir selbst
Hope
Real Life
Genieß mein Leben
Für imma
Von allein

Rodeo
Hamma (Salsa + Original)
Rhythmus wie ein Tänzer
Monsta
Outro

 

(Fotos: Stephan Kwiecinski)

 

www.culchacandela.de

 

Fury in the Slaughterhouse - „Now Or Never“-Tour (2021)

Setlist

Letter To Myself
Milk And Honey
1995
Radio Orchid
The Beauty
Replay
Then She Said
Now
When I’m Dead And Gone (McGuinness Flint)
Sorry
All About Us
Cry It Out
30 (It’s Not Easy)
Every Generation Got Its Own Disease
Good Luck On Your Way
Trapped Today, Trapped Tomorrow
This Will Never Replace Rock’n’Roll
Time To Wonder

Stay Clean These Days
Kick It Out
Riding On A Dead Horse

Down There
Won't Forget These Days

Seconds To Fall

 

(Fotos: Stephan Kwiecinski)

 

www.fury.de

 

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)

 

www.robe.cz

 

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
Rescue
When The Saints Go Marching In
Once And For All
Love Like This
How Can It Be
Inevitable
Rebel Heart
Everything
This Girl
Losing My Religion
Tremble
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)

 

www.glp.de

 

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
Underwater
Tomorrow
Platform Ballerinas
Paloma
Lollipop
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)

 

www.ayrton.eu

 

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
Geronimo
Maybe Tomorrow
Have A Nice Day
Mr Writer
Hungover For You
Restless Mind
Local Boy In The Photograph
A Thousand Trees
Traffic
Stitches
Indian Summer
Make Friends With The Morning
Mr And Mrs Smith
Fly Like An Eagle
Superman
Don’t Let The Devil Take Another Day
Handbags And Gladrags (Mike d’Abo cover)
Before Anyone Knew Our Name
Sunny
The Bartender And The Thief

Elevators
Just Looking
Dakota

 

www.martin-audio.com

 

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 Schalltrichter.com.

 

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.“

 

www.sennheiser.com

 

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)

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

Why So Serious

 

(Fotos: Sarah Köster)

 

www.glp.de

 

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
Isolation
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
Blackbird
Open Your Eyes
Metalingus

Godspeed
Addicted To Pain

 

(Photos: Chuck Brueckmann)

 

www.elationlighting.com

 

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
Choirgirl
Rising Sun
My Baby
All For You
Drive
Four Walls
Getting The Band Back Together
Forever Now
Houndog
Land Of Hope
Cheap Wine
Killing Time
Saturday Night
Shipping Steel
You Got Nothing I Want
Merry-Go-Round
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)

 

www.robe.cz

 

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.

 

www.sennheiser.com

 

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
Hated
Beaten in Lips
Aggressive
Afterall
Bad Listener (with drum solo)
Fire
You Never Know
Disease
Body Bag
In Between

 

Motionless in White Setlist (Ft. Lauderdale):

Disguise
Necessary Evil
Thoughts & Prayers
Devil’s Night
Voices
Headache
Reincarnate
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)

 

www.chauvetprofessional.com

 

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)

iMi
We
Holyfields
Heavenly Father
666
715 - Creeks
Lump Sum
U (Man Like)
Jelmore
Faith
Marion
Perth
Salem
Hey, Ma
___45___
33 “GOD”
Blood Bank
8 (Circle)
Flume
Sh’Diah
Naeem

Holocene
RABi

 

(Photos: Graham Tolbert)

 

www.robe.cz

 

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

 

www.chauvetprofessional.eu

 

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
Emotion
Julien
Call Me Maybe
Now That I Found You
Gimmie Love
Feels Right
Fever
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)

 

www.adlib.co.uk

 

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?
Armour
Beautiful Life
Hometown
Water
Can’t Say No
Oh My Love
Darkness
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)

 

www.glp.de

 

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)

Autoterapia
Ruido blanco
Prólogo
Copacabana
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
Despedida
Qué bien
Hambre
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)

 

www.dasaudio.com

 

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)

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

Afraid Of Sunlight
Separated Out
This Strange Engine

 

(Photos: Alison Toon)

 

www.signify.com

 

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
More
Kayla
Geronimo
You Are Not Alone
Forever In A Daze
Love Letter
Peaceful Harbor
Crawl
Infinite Fire

Cosmic Symphony
The Storm
Mask Machine

 

(Foto: Salzbrenner Media GmbH)

 

www.salzbrenner.com

 

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
Click
I Don’t Wanna Know
Vroom Vroom
Gone
Cross You Out
Warm
February 2017
Thoughts
White Mercedes
Official
Shake It
I Got It
Track 10/Blame It On Your Love
Silver Cross
2099

Unlock It
I Love It (Icona-Pop-Cover)
Boys
1999

 

(Fotos: Luke Dyson)

 

www.glp.de

 

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
Details
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

 

www.chauvetprofessional.com

 

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)
Sussudio

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)


Band

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)