TPi #276 - Jul/Aug 2023

Sustainability and high production values combine for this pioneering campaign

A spectacular live show with cutting-edge technology at every turn

Talented musicians and crew help realise the synthpop pioneers’ stage vision

EUROVISION SONG CONTEST

A definitive profile on the most-watched music competition of all time

COLDPLAY

HELENE FISCHER

PET SHOP BOYS

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A DIFFERENT KIND OF SUMMER…

Issue #276

July / August 2023

Editor Stew Hume

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk

Assistant Editor

Jacob Waite

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk

Commercial Director Fran Begaj

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk

Account Manager Matilda Matthews

Tel: +44 (0)161 476 8360

It seems weird that we’re into July and I still haven’t been to a festival. However, I don’t want you thinking this means that TPi is taking a relaxed summer… not by a long shot. In the past month, Jacob and I have covered four stadium shows, multiple arena tours and the largest international music event on the planet, not to mention Fran and Phil’s transatlantic tradeshow trips.

Summer 2023 feels like a year unlike any other for the live events sector, with a packed festival season coinciding with more stadium tours than we know what to do with. We appreciate it’s been an incredibly busy time for everyone working on these events, and I would like to take this opportunity to thank all the crews who have taken the time to speak to us in the midst of the summer mayhem. This month, we’re pleased to deliver our f ull technical profile of t he Eurovision Song Contest 2023 [p22]. A bucket-list gig for Jacob and taking place in his own backyard in Liverpool, he visited the site on multiple occasions to speak to the many technicians and creatives involved to discover what it takes to make this spectacle a reality.

Meanwhile, I paid a visit to Berlin to catch Helene Fischer’s tour, which saw the German singer collaborate with Cirque du Soleil in a production that had more tricks up its sleeve than a Las Vegas magician [P62].

Next on t he agenda was a quick flight back to t he UK just in t ime to c atch Coldplay’s Mu sic Of The Spheres Tour. With the band’s ambitious goal to push the boundaries when it comes to touring sustainably, it was fascinating to see how this core mission manifested itself throughout all the departments within the production and what wider lessons that the campaign could pass on to the industry [p44].

Also in this edition, I explore the topic of drones. With the technology becoming increasingly embraced by the wider outdoor event industry over the past year, TPi gathered several experts in t he field to learn more about t he burgeoning field w ithin t he events space [p92].

Finally, I would like to turn your attention to two articles that I’m particularly proud to run in this issue. First is our interview with singer-songwriter Katie Melua and her longtime FOH Engineer, Bryony October, who discussed the realities of bringing their children on the road and explored the wider topic of being a mother while also having a career in touring. Also, during a chance meeting at Prolight + Sound at the Women in Lighting Booth, I got to speak to Raquel Rosildete – the creator of The Colours In-between project, which focusses on how to better light t hose on stage w ith different skin tones [ p110].

Until next time,

Stew Hume Editor

Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk

Account Manager Phil Tucker

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7522 130473 e-mail: p.tucker@mondiale.co.uk

Digital Content Manager

James Robertson

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk

Marketing and Events Manager

Alice Clarke

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7752 392465 e-mail: a.clarke@mondiale.co.uk

Editorial Director Peter Iantorno

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk

Chief Executive Justin Gawne

Tel: +44 (0)161 476 8360 Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk

Accounts

Lynette Levi / Sarah Miller: ar@mondiale.co.uk

Mondiale Group Chairman Damian Walsh

Graphic Design & Production Dan Seaton: d.seaton@mondiale.co.uk Mel Capper: m.capper@mondiale.co.uk

Cover Photo Eurovision Song Contest

Photo: Eurovision Production

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ON THE COVER

EUROVISION SONG CONTEST

Live entertainment specialists unite on the banks of the river Mersey to present a technical spectacle.

EVENT FOCUS

12 XR Studios and Megapixel VR go virtual with Camila Cabello.

14 Martin Audio MLA system debuts at Brazil’s Coolritiba Festival.

16 Liteup illuminates the UK’s Coronation Concert.

20 AC3 Studio deploys Modula Kinetic for Irène Drésel.

PRODUCTION PROFILE

40 EUROVISION VILLAGE

Local production companies come together to present nine days of programming, keeping li ve music fans entertained on Li verpool’s Pier Head.

44 COLDPLAY

A ground-breaking production that pushes the boundaries of sustainability while ensuring that production levels remain high.

62 HELENE FISCHER

One of Germany’s most popular ar tists takes to the stage and the air with Cirque du Soleil.

76 PET SHOP BOYS

Synth pop pioneers return to the circuit with a theatrical show backed by pragmatic crew.

IN PROFILE

84 EM Acoustics makes significant st rides into the live events market.

90 Global Motion reflects on two decades of business.

INTERVIEW

92 Discover the latest developments in t he world of drones.

100 Katie Melua and FOH Engineer Br yony October discuss how they balance life and motherhood on t he road.

FAMILIA: WELCOME TO THE FAMILY

XR Studios harnesses immersive technology tools by Megapixel VR to create a ‘Hispanic Alice in Wonderland’inspired virtual concert to promote Camila Cabello’s latest studio album.

On the eve of the release of her third studio album, Familia, Camila Cabello announced the launch of an online event, Familia: Welcome to The Family. The singer-songwriter collaborated with TikTok and Epic Records to produce the concert with creative direction by Charlotte Rutherford and XR Studios.

XR Studios used a suite of immersive technology tools, created in collaboration with Megapixel VR, which enabled the choreography of animated backgrounds captured in real-time in XR Studios’ LED environment. The wider creative team included Creative Director, Paul Caslin; Camera Director, Sam Wrench, and Silent Partners Studio.

“We found a way to explore the themes of Camila’s Familia album in a visual way that would not have been possible in a standard live performance to create the effect of a Hispanic Alice in Wonderland,” XR Studios President, J.T. Rooney explained.

XR Studios used LED processing platform, HELIOS, to manage virtual content in realtime for a VR shoot in XR Studios’ Hollywood studio location. This enabled Rutherford and Wrench to use multi-camera setups to capture performances in six virtual set pieces, occasionally incorporating dancers.

Production Designer, Liam Moore conceptualised each of the six songs. Silent Partners Studio designed and created 3D graphic set extensions and effects, which XR Studios incorporated into XR environments.

“Our stage and technology are based around what we call ‘set extension’,” explained XR Studios Chief Technology Officer, Scott Millar. “Whenever the edge of the LED comes into the shot, we fill that in with virtual content.”

TikTok’s portrait-style mobile app format set the proscenium for a 9:16 aspect ratio, which XR Studios captured with 6K RED Komodo cameras in native 2:1 format.

Physical props included the corridor of doors as seen in Bam Bam, where Cabello pushed open a door into a cantina setting. As the camera pulled away from Cabello, seated,

XR Studios projected animation of crumbling walls, a glowing floor, and a vertiginous sky. Another prop served as a linking device, seen in Psychofreak, where a giant pair of red lips offers Cabello a portal into an abstract realm of dancing geometric shapes.

Silent Partners Studio spent two months before the shoot digitally modelling in Unreal Engine and Notch. XR Studios then ingested material into disguise media servers in preparation for real-time playback on set via HELIOS. This workflow allowed XR Studios and Megapixel VR technology to feed XR playback to the LED wall using GhostFrame to generate correct perspectives of backgrounds for multiple cameras without visual anomalies associated with frame remapping of images.

“G hostFrame allows us to select which imagery we want to hide, and then through a patented process we dynamically create an inversion of that feed, so people on set only see one source playing,” explained Megapixel VR Product and Project Manager, Scott Blair.

“HELIOS processor has a very consistent web-based, multi-user tool for editing on the fly to get the LED processor up and running,” added Millar.

HELIOS also provided dexterous solutions for managing on-set imagery. “This specialised workflow wouldn’t be possible without HELIOS’ pedigree in colour accuracy,” commented Jeremy Hochman, Founder of Megapixel VR.

XR Studios used Stype RedSpy camera tracking to calculate camera positions. This delivered virtual backgrounds to four cameras – including Technocrane and Steadicam setups – within XR’s 54ft-wide, 35ft-deep, 20ft tall LED volume. XR imagery streamed to the wall and floor sampled 8K outputs, which HELIOS divided into manageable segments.

XR Studios used HELIOS’ Application Programming Interface [API] to enable GhostFrame inside the frustum – or field of view – of each camera.

“T his allows for a comfortable experience in person while enabling crossfades between

multiple cameras,” added Hochman. Taking cues from background imagery, directors and their lighting teams made use of ARRI SkyPanels, moving lights, and ultraviolet lighting – occasionally revealing Día de Muertos-style u/v pigment makeup on performers, in La Buena Vida

“We had to make sure that the spotlight on the talent was never hitting the back wall,” said Millar. “When we had 20 dancers on set, that also dictated the scale of the stage.”

Psychofreak – which featured the performer in a lemon yellow catsuit with four black-andwhite-striped dancers in a kaleidoscope of shifting geometric forms – gave the XR Studios and Silent Partners Studio teams their most creative freedom.

“Set extensions only work when the talent is surrounded, there must be LED underneath the talent on the floor and behind them. We used that to do a trick where the dancers were on stage and we put augmented reality on top of them, leaving Cabello open. As Cabello was dancing, we placed content over the top of the LED content. When we removed that content, we revealed the dancers, who were on stage with her the whole time,” Millar explained.

Dexterity was also a key feature of the production for the filmmakers and the XR Studios team. “We’re working in a new world now where the camera is affected by the LEDs,” Millar affirmed. “Everything is connected in a way it hasn’t been before.”

The connections were made possible by close cooperation with technical support.

“Megapixel VR understood from the start what we needed, they were honest and proactive in development and responded to our requests for both suitable features and the support we needed. The flexibility of the system, the API integration, and the robustness have allowed XR Studios to build our tools to always integrate with HELIOS with confidence and support.”

www.camilacabello.com

www.xrstudios.live

www.megapixelvr.com

Photo: XR Studios

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MLA MAKES ITS MARK AT FESTIVAL COOLRITIBA

Already recognised for its involvement in Brazil’s Rock in Rio festival, Martin Audio’s multicellular loudspeaker array, MLA, recently provided main stage artists at the annual Festival Coolritiba in Curitiba, nearly 500 miles further south, with exemplary sound.

Headliners included Marisa Monte, Sandy, Mano Brown, and the legendary Gilberto Gil. However, it was the influence of Marisa Monte’s sound engineer, Daniel Carvalho, which brought about the change from the originally specified festival system.

He had been piloting the mix on the famous singer’s Portas tour through an MLA, provided by predominant rental company Gabisom (who also service Rock in Rio). Coolritiba was part of their 100-show tour schedule where Marisa Monte was top of the bill.

The results, Carvalho said, were incredible. “For many [engineers] it was their first time with Martin Audio and all technicians loved the sound. The promoter said he wants the same set-up for next year. Everybody agreed that it was the best sound ever heard at the site, including the Gabisom crew.”

Other sound engineers lined up to sing the system’s praises based on their Festival Coolritiba experience.

Maycon Mendes, Sandy’s engineer, said: “Every time I use Martin Audio I am impressed, with the clarity of the highs, the definition of transients and the coverage are impressive and, my master equaliser remains flat.”

Gustavo Mendes, Gilberto Gil’s sound technician, added: “Thanks for the opportunity of using the MLA system, which is for sure the best PA we used in this Gilberto Gil tour.”

Carvalho first encountered MLA when mixing a band at Rock in Rio in 2015. “Someone from Martin Audio showed me the DISPLAY software and introduced me to the system. When the Portas tour came around, I told Gabi from Gabisom, that I would love to try the Martin Audio system. It was love at first hear.

“At a stadium in Belo Horizonte, Marisa’s manager came to the front-of-house and asked, ‘What happened today? The voice is so clear’. I told him it was our new PA and he agreed to use this system from now on.” At Festival Coolritiba, where a crowd of around

20,000 fans assembled, the main PA was rigged as an L/C/R system with 15 MLA and a single MLD down fill at the base of each hang. Outfills comprised seven MLA plus an MLD downfill; there was a delay fill of six further MLA, with six MLA Compact as front fills.

The rig, which Daniel Carvalho also helped design, incorporated a generous array of 32 MLX subwoofers arranged in castellated broadside configuration.

Asked what he loves about MLA, Carvalho is unequivocal. “It is easy to design and deploy. The array processing ensures every position in the house sounds the same,” he added. “It’s very forgiving; when we must make sudden changes at venues without the need to recalculate angles — it’s just a matter of changing the preset of EQ settings and the sound delivers precisely what we need.

“T hanks go to Gabi for placing this muchloved PA in our hands and to Josiel Silva and Diego Talasca for rigging everything so expertly.”

www.coolritiba.art.br

www.martin-audio.com

Sound engineers sing the praises of a debuting MLA system by Martin Audio at the Brazilian music festival.

Photo: Martin Audio

ILLUMINATING THE CORONATION CONCERT

Liteup

On 7 May 2023, a concert was held at Windsor Castle to celebrate the coronation of King Charles III. The event was produced, staged, and broadcast by the BBC to over 100 countries around the world. Liteup worked alongside Lighting Designer, Nigel Catmur and Broadcast Production Director, Steve Nolan to ensure that the evening was enjoyed by the 20,000 live audience on site and millions watching at home.

“T his project required collaboration and choosing people with the right skill sets and personalities for the job, and while there were many challenges, dealing with these and taking them in our stride was also very rewarding,” emphasised Liteup’s Marc Callaghan, reflecting on the feat.

St aged on the East Lawn of Windsor Castle, a Stufish-designed ‘open’ set and stage offered guests a view of the castle’s walls, which were illuminated by projections.

St ar Live built a 95m-wide stage inspired by the Union flag, complete with five runways with 300 sq m of LED ‘crown’ curving around the top. Two sets of upstage risers on stage were separated by a set of steps.

Two side elevated catwalks extended left and right along wings with the front two angled

at 45° and a shorter central thrust at the front, enabling performers to get out into the crowds. The PA towers were lined up with the edges and perspective of the castle building.

Catmur’s overhead lighting design and trussing configuration was based on the idea of an abstract Union flag, which meant his fixtures of choice had to be “versatile, dynamic and impactful as well as weatherised,” using Syncronorm Depence R3 for previsualisation.

With six weeks to spare, Liteup was officially named as lighting technical supplier for the landmark event. “Luckily, we love a challenge!” Gaffer, Liteup Crew Chief and Project Manager, Dan Bunn remarked.

The castle walls, foliage, and trees were illuminated by some 900 lighting fixtures and solutions by Ayrton, Cameo lighting by Adam Hall Group, Martin Professional, Robe lighting and SGM Light.

Cobra units were positioned along the castle walls and used for beam and aerial effects that complemented the projections for the wide shots. Ayrton Domino long throw fixtures were positioned in the castle quadrangle to highlight its round tower feature.

SGM P-5 LED floods were deployed on top of the round tower to light a huge royal

standard flag. Martin MAC Aura XIPs were rigged on each of the four stage roof legs in exposed positions, with some more on the deck of the stage with non-IP rated versions situated in the royal box for key lighting.

Robe FORTE HPs were installed in the roof trusses with some on the six delay towers, the latter complete with rain covers, while iFORTES were rigged on an exposed front. Spiider wash beams were dotted around the roof of the rig with the rest on the delay towers, while iSpiiders were rigged in the more open positions on the front and back trusses.

Combined, these provided all the main stage and wing washes. Completing the Robe count was MegaPointes – which were positioned upstage on the deck utilised for adding multi-layered aerial effects onstage.

An 11-way RoboSpot system ensured key lighting for the multi camera shoot directed by Julia Knowles. BMFL Blade follow spots were rigged on each of the six delay towers with FORTE HPs situated on the mid truss to back light the front sections of the stage. IP-rated iFORTEs follow spots were housed on the lower trimmed back truss.

Operation of the BaseStations, supplied by Pro Spot, took place underneath the dry

deploys 900 Ayrton, Cameo lighting by Adam Hall Group, Martin Professional, Robe lighting and SGM Light fixtures for a star-studded production at Windsor Castle.

Photos: WPA Pool and Chris Jackson (Getty Images)

ride far

with the razor-sharp beam

grandstands. Flat Pro 12 and 7 IP-rated LED PARS were scattered above and around the sides of the stage, along with Zenit W600 washes. OTOS H5 fixtures were used to illuminate the castle’s eastern terrace wall, with some also boosting the lumen factor on the stage floor.

Gemini RGB 1x1 soft-lights and Astra 1x1 battery powered bi-colour floods were on-hand for impromptu pickups onstage where light was needed on demand for the hand-held cameras, and these were also used for a signer who was standing below one of the delay towers.

Liteup also supplied specials requested by Catmur for Pete Tong’s and Robin Schulz’s rollon DJ booths, the latter of which performed

with Take That in their set opener, which involved “lively and animated” Martin VDO Sceptron pixel strips, which were custom fabricated by Liteup. Cirrolite, EFX, Jem and Smoke Factory solutions were deployed for atmospherics on stage.

Sitewide lighting was controlled by MA Lighting grandMA3 software and hardware, with three active consoles and one back up. Data was distributed by a Luminex fibre network, designed, and engineered by Callaghan, utilising components which connected the lighting fixtures by VLANs. Callaghan harnessed ARENEO monitoring software, which he dubbed an “invaluable” tool, to configure and actively check the system remotely from the control position.

Lighting Programmers, Martin Higgins and Dan Street, handled the moving lights, while key and white light elements were programmed and operated by Oliver Lifely using a Compulite Vector console.

Media Server Programmer, Matt Lee used a High End Systems Hog4 console to run Green Hippo media servers feeding the ‘crown’ LED and playback content, announcements, and other information to three IMAG screens left and right of the stage wing walkways. LED Flex by LED Creative was built into the stage

and floor and controlled by Byte controllers. Onstage, lighting rigging required 70 points with a mixture of Lodestar and EXE Rise hoists in tandem with Kinesys DigiHoist controllers.

“It was a huge honour for all the obvious reasons to be asked to deliver this job,” commented Callaghan, with the logistics of getting the six trucks of lighting kit on site delivered by Stagetruck. A five-day load in period was followed by programming and rehearsing sessions. “This would simply not have been achievable smoothly without intensive pre-planning,” commented Callaghan. The wider visual team included BBC Studios Creative Director, Claire Popplewell; Line Producer, Chris Stent; Production Site and Event Manager, Felicity Pilsworth; Camera Supervisor, Phil Piotrowsky; Executive Producers, Mark Sidaway and Chloe Mason; Series Producer, Chery Ko-Pearson. Network Architect & Systems Engineer, Marc Callaghan; Liteup Crew Chief, Dan Bunn and Rigging Crew Chief, Russell Cobden; Lighting Technicians, Thomas Ramage, Adam Jones, Ryan Harrington, Rob Myer, James Gardner, Adam Martin, Iain Keightley, and David Peters; Production Riggers, James Hubbard, Barnsley Grain, and Tim Williams. www.liteup.co.uk

R

opticalCON® ADVANCED

DUO,

IRÈNE DRÉSEL: LIVE 360°

Irène Drésel transformed Petit Palais into an immersive audiovisual experience, hosted by Radio France. The rising artist and producer of electronic music delivered the interactive show, harnessing a Modulo Kinetic media server by Modulo Pi to produce real-time interactive animations.

Drésel collaborated with Hervé Déjardin, Audio Innovation Project Manager at Radio France, to synchronise video mapping with the electronic music composition. Sound spatialisation was achieved using the L-ISA immersive sound technology from L-Acoustics, with Syva loudspeakers and 12, 21-inch subwoofers distributed around the audience.

The digital creation, projected on two walls of the Petit Palais’ main gallery, was created by Paula Guastella. Video mapping was based on six Epson EB- L1755U projectors, powered by a Modulo Kinetic media server.

Throughout the performance, the visual journey unfolded over 35m long and over 10m high on each of the two walls. Modulo Kinetic was used to handle the soft edge and warping so that the projected media perfectly fit the architecture of the Petit Palais.

In addition to the playback of the media created for the mapping, Modulo Kinetic also generated interactive visuals synced with the live electronic composition. “I was interested in having a tool that could produce generative

content and that would allow us to animate the images in a 360° space with 360° sounds,” Déjardin explained. “Modulo Kinetic is the only tool that allows generating content with a truly reliable solution, and that also easily interconnects with industrialised audio tools.”

AC3 Studio relied on Modulo Kinetic’s projection and simulation study tools to optimise the preparation of the interactive show within a tight timeframe.

“Modelling the Petit Palais, integrating the video-projectors, and simulating the show beforehand allowed us to move forward efficiently and to have a clear idea of what was going to happen once in place,” said Rémi Grosson, Creative Technologist at AC3 Studio.

Real-time generative effects – notably based on particles – were created by AC3 Studio, and embedded into Modulo Kinetic’s 3D engine. The media server’s nodal programming editor was used to design a series of audio-reactive visual effects based on the soundtracks of Drésel’s compositions.

“This allowed us to manipulate video material and use sound to modulate effects. I found it very pleasant to have all these features in one software, and that we didn’t have to make bridges. We could do video processing as well as 3D generation using the same software,” Grosson noted. Additionally, Modulo Kinetic Designer workstation were equipped with a

sound card. The interactive visual effects were triggered according to the performance of Drésel, Déjardin on spatialisation, and Sizo del Givry on percussion.

“We had some bits prepared, but also the freedom for improvisation both for me and for Irène,” explained Déjardin.

Modulo Kinetic received OSC commands sent by Drésel on Ableton to trigger the video sequences, and MADI channels from Déjardin’s Yamaha QL1 console for the effects reacting to the live sound. The audio-reactive visual effects were then generated in real time by Modulo Kinetic, thus mixing with the precalculated mapping.

Thanks to the support of the protocol used by L-ISA, Modulo Kinetic received sound spatialisation information in real time. From this data, the generative effects appeared, came to life, and evolved according to the location and movement of sounds in space.

For an hour, the public could experience a total immersion in the universe of Drésel through seven unreleased titles extended by the interactive mapping. The tracks presented during the immersive live show will appear on the artist’s third album to be released earlier this year.

www.irenedresel.com

www.modulo-pi.com

www.ac3-studio.com

AC3 Studio deploys a Modulo Kinetic media server by Modulo Pi to help power visuals for an immersive live performance in Paris.

Photo: Ludovic Da Silva

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UNITED BY MUSIC (AND TECHNOLOGY): EUROVISION SONG CONTEST

Live entertainment specialists unite on the banks of the river Mersey to create the most watched and technically impressive music competition of all time on behalf of Ukraine…

Words: Jacob Waite

Photos: BBC, Corinne Cumming, Sarah Louise Bennett and TPi

With 160 million viewers and thousands on site, the prowess of the live entertainment industry was thrust into the spotlight in May, as the UK hosted the Eurovision Song Contest 2023 on behalf of Ukraine, welcoming 37 delegations to the biggest music competition in the world. Behind the scenes, collaboration among some of the best technical suppliers and minds the sector has to offer was key to the success and legacy of the operation.

Eurovision has become something of a ‘white whale’ for me. So, walking into Liverpool’s M&S Bank Arena ahead of the first of nine live shows was a truly stupendous experience. With over 600 rigging points, 140 tonnes of steel ground support structure, and 1km of steel truss added to the arena, it is a production unlike any other. The arena alone featured eight miles of cabling, over 2,000 lighting fixtures, 200 custom staging decks with 950 sq m of staging for the main stage and 500 sq m for the green room, as well as 2,000m of secure fencing site-wide.

Technical Directors, Luke Mills and Gary Beestone were engaged by Executive in charge of Production, James O’Brien to manage and

coordinate the technical elements of the arena production, while the EBU and host broadcaster, BBC managed the logistics, camera focus and broadcast elements of the show. Starting work on the project in the first week of December, the duo soon realised that despite their decades of experience, Eurovision presents its own unique set of challenges.

“It may sound naïve, but we didn’t anticipate how much of a competition it is. Each delegation, whether they have a simple or complicated technical performance, gets the same amount of rehearsal time.”

This time pressure was compounded by additional ticketed dress rehearsals on top of the two broadcast semi-finals and final, with an average of 9,000 attendees.

As is to be expected for an event of this nature, the procurement process was transparent and rigorous, yet also extremely efficient. Condensing their usual process due to time pressures, Mills and Beestone sent RFQs based off the preliminary staging design and schematics for the show before the negotiation and value engineering phase until they arrived at the budgetary, appointment

and building phase of the project. “We used our collective experience of who was capable of delivering this project, as well as value for money and service to choose which suppliers were approached.”

The roster featured: Aggreko (power), Britannia Row Productions (audio), Black Skull Creative, Creative Technology (video), ES Global (staging), Faber Audiovisuals (video), LED Creative (LED lighting), Neg Earth Lights (lighting), NorthHouse Creative (content), Ogle Hog (video), Opertec (cameras), QED Productions (video), Riedel Communications, Stage One Creative Services (set construction), Showforce (crewing), Unusual Rigging, Yellow Studio (set design), WiCREATIONS (LED automation) and ER Productions (special effects), among others.

“We have worked with most of the technical suppliers before and their experience was vital,” Mills added. “Every Eurovision pushes the envelope creatively and technically, and we wanted to do that, but we were also aware of the time and budgetary requirements, so we had to ensure with innovation came stability and the ability to deliver the show safely.”

Thankfully, where Eurovision falls within the live events calendar is advantageous by design, according to Mills. “Festival season hasn’t quite started yet, and most stadium or arena tours are in production rehearsals or preparing to go on the road, so it falls at the sweet spot after Christmas where there’s a lot of kit on shelves.”

Following his seven-week residency in Liverpool, Mills reflected on the feat. “The level of detail and coordination required was epic, with a lot of equipment having to fit into one arena. Our biggest technical challenge was the economy of space,” Mills said. “We had to upgrade the roofing to build on the total amount allowable in the roof with a secondary stage truss system ground supported underneath to take even more load in.”

For the roof to withstand the dynamic load required, collaboration among technical suppliers was integral. Technical Designer, Malcolm Birkett created a 3D model which the core departments could access, review, share and disseminate technical information.

The ceiling arrangement, which Mills referred to as a ‘layer cake’ method, featured an ES Global master grid, Unusual Rigging’s

Movecat and static lighting trusses, and an LED ceiling created by a combination of Creative Technology and Faber Audiovisuals, in addition to a WICREATIONS automation system.

The sidewalls were also built collaboratively and assembled by Stage One, with LED panels on the bottom half of the set ground stacked as well as flown with LED Creative neon solutions and lighting fixtures, which had to be accessible during the build, maintenance and derig.

“From a design point of view, we wanted a flexible platform for each delegation to create a unique set, despite sharing the same stage and largely, the same tools,” Mills remarked, noting any additional set piece extras were provided by individual delegations.

In partnership with the UK, Ukrainian-based Opertec brought its wealth of experience and expertise, having been involved in a handful of past Eurovision campaigns. There was also a creative Ukrainian team working alongside Black Skull Creative, Ukrainian floor managers and members of the visual departments.

“Our goal was to make this production as collaborative as possible. It was an extremely humbling experience and speaking to them

about their experiences back home put things into perspective.”

One of Britain’s most multicultural cities, Liverpool took to Eurovision with open arms. “We were welcomed by everyone. The entire city was buzzing – particularly the venue team, who were incredibly forthcoming, accommodating, and helpful. The ACC and M&S Bank Arena was the perfect space,” Mills recalled. “A highlight of mine was successfully navigating the complicated load-in. We achieved something amazing within a short space of time.”

The technical team included Production Coordinator, Sophie Scotchford; Fitup/ Overnights, Gavin Eldridge; Systems, Nick Joyce; Staging/Scenic, Chris Booth; Drafting, Tom White and John Venier; Set Carpenters, Pete Squires and Gibson Arpino.

‘EVERYBODY RELIES ON US’

Although the messaging of this year’s event was ‘united by music’, that could feasibly be rebranded to ‘united by Riedel Communications’ when it came to powering the show’s vast communications network.

Hu Min Lee, Senior Project Manager at Riedel Communications, has been involved in spearheading the delivery of Eurovision’s sitewide communications and accreditation for the past five years. As well as radio infrastructure and accreditation, the team installed turnstiles, fibre cabling, distributed radios and set up MediaNet and media communications for engineers sitewide, including OB vans. “Everybody relied on us, which is why we were the first in and almost the last out of the venue,” Lee remarked.

With 26 communications engineers on site for the final and a further six members of crew brought in for the dismantling, Lee built his team around those with experience of highend projects. “This type of show came with its own language,” he said, citing the international nature of the crew with engineers from the UK, Germany, Portugal, Hungary, Denmark, Croatia, and Switzerland. “There was a mixture of language and experience, which is particularly beneficial for commentator communications.”

This year’s event saw the deployment of around 200 intercom panels and 180 Bolero wireless intercom systems. Lee reflected on the biggest technical revolutions of the company’s 15-year relationship with the EBU

and Eurovision. “We relish providing solutions for our clients and where else better than the Eurovision Song Contest? This was the perfect demonstration of technical ingenuity.”

With AES3, the team had to define and navigate where to put the cabling and matrixing, which is no longer a consideration with the emergence of AES67. Commentators also used to use ISDN codec, which is no longer sought after, so moving to a Z/IP server was another revolution in addition to the development of Bolero. “Having a wireless intercom system with six buttons was a gamechanger to meet the demand for a show like this,” he explained. “This was a project where hundreds of people demand communication in real time, so we couldn’t go fully digital.”

Instead, 170 Boleros – which are half the size of analogue radios required for a show like this – provided the production teams increased flexibility to communicate. “It was a pleasure to collaborate with the EBU, BBC and the Eurovision Song Contest team on this unique event,” he concluded.

‘THEIR SHOW IN OUR HOUSE’ Black Skull Creative, in collaboration with sister company, Black Skull Studio under the

guidance of Creative Directors, Ross Nicholson and Marvin Dietmann, were entrusted with the task of creating performances for Armenia, Australia, Austria, Cyprus, Denmark, Italy, Germany, Georgia and the UK, alongside Jay Revell and Paul Gardner.

Having come second in the competition last year as part of UK entrant, Sam Ryder’s delegation, Black Skull Creative’s Dan Shipton assumed the role of Lead Creative Director. He collaborated with Executive Producers, Lee Smithhurst and Andrew Cartmell, the famed Martin Österdahl and Lead Commissioner, Rachel Ashdown to define what Eurovision 2023 would look like from the UK and Ukraine’s point of view.

“We wanted to reframe the public’s perception of Eurovision. This contest transforms artists into global superstars, and when we look back on the UK’s history with the competition, we perhaps haven’t taken it seriously enough. While that began to change last year, we wanted to build on that with amazing production values. We also wanted to map out how best to honour Ukraine and make it their show in our house,” Shipton said. “We couldn’t have done this without the amazing team involved. We wanted to take production

values to the next level, and on any production, there are many factors restricting what you can do, but the brilliant thing about Eurovision is the fact that you bed into the venue and have the luxury of time to perfect things, which allows space for creativity to thrive.”

In line with this year’s messaging, the stage design concept was created to reflect the ‘united by music’ slogan with the architecture of the set symbolising an open-armed welcoming hug for the people of Ukraine and Europe.

Tasked with heading up a brief which included logistical requirements such as multiple areas to perform, theatrical set pieces providing automation to help transform the stage, and an on-camera greenroom for all the delegations was New York-based design outfit, Yellow Studio.

“We started the design process in Rhinoceros 3D software modelling different concepts by our design team. Once we decided on one approach, an OBJ file was delivered to our renderer who works in Cinema 4D to create all our visuals,” Julio Himede, founder of Yellow Studio, explained. “We are proud that our original concept from the first sketches in Rhino to the final product stayed consistent.”

The fast and furious turnaround between acts was a challenge the stage design had to meet head on, as Himede recalls. “The changes need to happen in a 50-second interval, therefore, the design needs to offer multiple

ways for props, set pieces and talent to come in and out of the main stage. These changes are required to function even if there is a malfunction in the automation and technology integrated in our design.”

Himede commended the “dedicated professionals” who worked on the show for over six months. “Together, we delivered a polished and well executed production,” he concluded. “The ‘united by music’ message relates not only to the delegations competing, but the hundreds of professionals involved, and the friendships made along the way.”

‘WE LIKE TO RISE TO A CHALLENGE’

“Eurovision is on the bucket list of every person who operates in this sector, and with the eyes of the industry and millions watching at home, as well as the short timeframe, it was a daunting prospect which has ultimately paid off for us,” WICREATIONS Key Account Manager and Automation Designer, Geert Stockmans began. “The world remembers the ‘failing sun’ last year, so there was a certain reluctance to depend heavily again on automation technology.”

Due to WICREATIONS’ attention to detail and proven track record on the world’s biggest stages, the firm was entrusted to develop a bespoke automated LED solution using stock rental equipment which met on-stage safety concerns, applicable standards and regulations. “We have gained a high level

of expertise in automating LED screens with attention to detail, pixel alignment, the centre point of gravity control, verticality and perpendicular hanging,” Stockmans explained.

With production initially reluctant on automation due to last year’s failure, screens one and seven could only travel 2m upstage, while two and six could travel furthest, as well as rotate like screens three, four and five. However, no delegations harnessed the 360° manoeuvre due to the short eight-week timeframe between design, installation, and rehearsals with a test build in between.

“The biggest challenge was the timeframe, but we like to rise to a challenge at WICREATIONS,” he said, praising the collaboration among Creative Technology and Faber Audiovisuals for LED product and on drawing level and Neg Earth Lights and Unusual Rigging to ensure all rigging parameters were met. Automation was a necessity to create access to the stage. “There was a lot of flexibility in the stage look and feel, allowing delegations to create their own performance, so the automation had to match this level of flexibility.” Stockmans pointed to this flexibility as important so each performance could be different. “Using our proprietary technology, the crew adapted to requirements very fast without the need to liaison with third parties,” he noted.

WICREATIONS’ wider project staff included: Project Manager, Jasper Rosiers; Safety

Consultant, Blumano; Automation Engineer, Lesly Van Rompaey; Crew Chief, Stano Kusik; Automation Operators, Joey Poortman and Roger Smissen; Automation Assistants, Martin Rumler, Darren Clive Pitt, Fran Bradley, Senne Diels and Tomasz Kadlubek; and Structural Design Engineers, Wessel Fortuin, Ward Van Hassel and Tim Bernaerts.

“This is one of the most watched live broadcast shows in the world and is recognised among industry peers as an ‘industry showcase’,” Stockmans concluded. “We were overjoyed with the outcome and have had several enquiries from creatives about using this system in their shows in the future.”

‘A ONCE-IN-A-LIFETIME GIG’

With 165,000 channels of lighting control, 23,700 individual light sources, and 2,500 moving heads, the lighting team used nine consoles to power 28,000 lighting cues, while 15 follow spots were operated by 10 professionals and five theatre technology students from LIPA and Cheshire College. “This is a once-in-a-lifetime gig, firstly doing

Eurovision and secondly, in the UK with the BBC,” commented Lighting Designer, Tim Routledge. “I stopped taking bookings for 2023 as soon as it was announced that it would take place in the UK on the off chance!”

Routledge assembled a team including frequent collaborators, James Scott of Suluko as Associate LD – who shared the bulk of the planning, communication and waves of changes submitted by all delegations – and Previsualisation and Associate LD, Morgan Evans, who created the initial previsualisation with Syncronorm Depence R3 and on site liaised with all delegations taking their notes from the viewing room.

With all 37 delegations and interval performances using the same ‘toolbox’, the lighting rig had to be dynamic and flexible. “We choose fixtures that are reliable, look great on camera and provide us with a range of looks. We used the rig to create different architectures within the venue and maximise bang for buck,” Routledge said, pointing out the various automated trapezoids dubbed ‘Svoboda 3000’ by the crew, in homage to

Josef Svoboda – which were made up of Ayrton Zonda 9 FX lights edged with GLP FR10 as just one focal point of the lighting design and key to the flexibility of the rig.

Despite having 2,200 moving heads to play with, Routledge believes some of the most impactful looks of the show were when artists emerged out of darkness, harnessing negative space with a stripped-back look. The team referenced Netherlands, Georgia and France as “creatively wonderful” performances, which tapped into a smaller footprint of fixtures to create an impactful set.

Evans harnessed creative tools like Vectorworks and Depence R3 for previsualisation. “It started as conceptual to envisage the set design and lighting together. However, the BBC was interested in the outcome and wanted to share still renders and animations created using Depence R3 on social media,” he recalled. “We ended up revealing more of the lighting rig than would ordinarily be revealed by a host broadcaster.”

Eurovision normally releases still renders; instead this was two-minute animation, which

demonstrated the various facets of production. “We set a high expectation by releasing it so early on that we had to live up to it; I think we’ve set a benchmark for future renditions of the competition,” Evans stated proudly.

Control came in the shape of MA Lighting grandMA3 full size and light consoles with MA3 PUL and PUM processing units. This year’s event also marked the first Eurovision to use MA3 software on such a large scale, with the company on hand to assist. “I was dubious of the leap to MA3 software at first, but it was rock solid,” Routledge commented. “We were able to create effects that were simply impossible to do in other software.”

Morgan collaborated with Syncronorm to fine-tune the deployment of Depence R3 software. “Syncronorm rebuilt and upgraded certain elements of the software to withstand up to 300 universes, making this the largest Depence R3 project to date. Using grandMA3 MVR and viz-keys through the Depence R3 workflow was also a massive benefit.”

With this new update, Syncronorm raised the real-time system performance so that Depence supports up to 1,024 DMX universes.

This made it possible to previsualise lighting, automation, and video with over 3,000 fixtures on more than 300 DMX universes required.

“We are proud to have contributed to this unique project with extensive support for the lighting team,” Syncronorm’s Andre Portmann said. “Depence version 3.1 was developed in parallel with the ESC and specifically made available for pre-programming an ongoing production. The design team was able to rely on the strong performance, realistic render quality, and fixture accuracy of the software. Otherwise, it would not have been possible to realise all delegation shows in such a short time period, making Depence an integral part of the production process.”

Meanwhile, the team was in regular contact with all delegations to discover what equipment they were using in advance – which could often change due to a range of factors. “Because of the volume of changes happening day to day, having a single source of data coming from Vectorworks mean that via the MVR workflow we were able to relay changes quickly and accurately to all team members in a very efficient manner. Depence would be

updated alongside the MA3 sessions receiving updates,” Scott explained.

A separate programming team handled additional notes overnight. “We couldn’t have done this without them, and the long hours of effort they put in to make this a reality. We rented our own ‘roadie kitchen’ to keep morale and spirits high among those long programming days,” Routledge recalled.

Outside of rehearsals, the designers didn’t have any direct contact with the delegations. “Every delegation is in it to win it, so even if they request something we personally would not choose as designers, we take on board their feedback and work with it,” Routledge said.

An added challenge is creating a “cohesive and varied” show, despite the running order being set in stone. “This year, a lot of delegations requested red lighting and heavy smoke, so we strive to present those ideas in a varied or dynamic way by using different fixtures and effects,” Routledge explained.

Gaffer, Chris Rustage and Technical Manager, Brad Purse of LED Creative oversaw the build and deployment of 2,000m of LED product and 80 Byte Controllers spread out

across the arena, as well as set extras for certain delegations and special acts on stage.

By te Controllers, considered LED Creative’s flagship product, received an upgrade for the biggest music competition in the world.

“Pixel tape tends to be low voltage, which incurs problems with the amount of intensity you can get out of it; for big shows we often run into requests from designers for it to be brighter, so we have revamped it with slightly higher voltage for Eurovision,” LED Creative’s Tim Rees commented. “We have received lots of praise from the industry for our work, particularly Israel’s set extra, a ‘cascade of squares’, which looked spectacular.”

The rig featured some of the top lighting sources on the market, including ACME Pixeline IP; Ayrton Cobra, Karif-LT and Magic Blade-R; Claypaky Sharpy X Frame, B-EYE, Scenius Unico, Sharpy Plus Aqua, and Sharpy X Frame; Chroma-Q Color One 100; Robe BMFL Blade, FORTE, Spiider, PAINTE and RoboSpot followspots; Color Kinetics iW Blast TRX; Litepanels Astra; SGM Q-8 and P-2; Martin Professional Sceptron and MAC Aura PXL,

GLP impression FR10 Bar; Astera Helios Tube, Titan Tube, Pixel Brick, AX5, AX9 and mounted HydraPanels; CHAUVET Professional Colorado PXL 16; and Prolights ECL Panel.

Among the array of Robe fixtures on the rig, Routledge proclaimed: “Robe FORTE is the finest moving key light on the market, which we use for its key light and followspot capabilities. It is flicker free, which is ideal for a broadcast show, and its tint channels are unrivalled.”

Wahlberg Lifting Columns were also integrated into the oval stage, which Routledge dubbed as “cost effective” and a “neat” addition, which could hide lighting fixtures or lift them 1.8m into the air. “Using Warhberg Lifting Columns helped us to change the architecture of stage design,” Routledge said, praising the involvement of the lighting supplier. “We were thrilled Neg Earth Lights were on board. They did the UK proud, and they went the extra step –from the preparation and packaging of the kit to their expertise on site and even a little box with biscuits for the crew to have during tea breaks.”

Delivering the 10 Gbps Network System with redundancy on the scale required was

a challenge that Neg Earth Lights’ control department embraced. “Many Zoom calls with the team were spent to develop the correct architecture capable of delivering reliability and speed on a system of this scale,” Lead Project Manager, Damien Jackson said. “This allowed us to extend our relationship with Luminex and collaborate with new partners, particularly NETGEAR, who have provided us with outstanding support.”

Neg Earth Lights invested in NETGEAR M4250 and M4300 AV-Line switches. “These proved to be a great choice; the system monitoring capacities were exactly what we needed, and the switches were rock solid,” Jackson said.

Having been so engrossed in the minutiae of the day-to-day, Scott recalled losing sight of the monumental task at hand, with little period to reflect between the build, rehearsals and showtime. “We kept having to pinch ourselves to remind each other that we were working on the Eurovision Song Contest,” Scott laughed, noting that it wasn’t until the first rehearsal with Norway that the design team realised

the lighting was Eurovision-worthy. “This was the most joyous project I’ve been involved in,” added Routledge.

Despite orchestrating some of the biggest shows in recent history, Routledge found the Eurovision atmosphere to be the best. “It was off the charts and one of the nicest things about working on this project has been receiving well wishes and messages from people who you are inspired by or respect in this industry.”

Part of Routledge’s pitch was the integration of Ukrainian creatives within the lighting team. “We discovered the amazing Zhenya Kostyra, who designs lighting for Dancing with the Stars and The Voice in Ukraine, as well as being the world’s loveliest man. It was one of his dreams to be part of the show and after an awful 18 months, we were delighted to have him involved. He also knew all the Ukrainian camera team including host, Julia Sanina. It was great to have a team of great Ukrainians in the camp who had worked together before!”

The wider lighting team featured: Moving Light Programmers, Tom Young and Alex Mildenhall; Keylight Programmer, Marc Nicholson; Followspot Caller, Louisa Smurthwaite; Overnight Programmers, Adam Marshall and Alex Passmore; Gaffer and Crew Chief, Keith Duncan; Gaffer, Marc Henry; Technical Manager, Joao Magalhaes; Network Technician: Richard Shout; Network Technician, Alan Watkins and Vision Supervisor, Daryl Bidewell. “We’re proud that we had a 50% female crew and a wealth of expertise on site,” Routledge remarked. “The LIPA and Cheshire College students were all brilliant additions.”

Neg Earth’s team comprised: Lighting Technicians, Cara Wiseman, Ed Swygart, Shelley Parker, Chris Taylor, Jonny Nunn, Nick Gregson, Holly Brightman, John Hetherton, Katie James, Jamie Gorman, William Frostman, Adam La Femina and Mary Webb.

“Our warehouse lighting team prepped over 2,000 fixtures in just over a week without waiving the standard of preparation the crew and customers expect,” Jackson added. “It’s been great to witness how everyone, regardless of the size or scope of their role, has embraced the opportunity and thoroughly enjoyed being a part of it.”

‘A WELL-OILED MACHINE’

As custodians of over 150 microphones and 1,200 individual streams of audio, Britannia Row Productions ensured that every note was crisp and intelligible as well as providing sitewide sonic coverage. Josh Lloyd, who assumed the role of System Engineer and Designer, specified the PA system, as well as the nuts and bolts, the consoles of choice and how everything tied together to create a redundant system. He consulted with George Hogan to oversee RF and help execute and programme the network and support on site.

Br it Row supplied signals for broadcast and an RME Madiface XT and Pro Tools playback

system, which Lloyd referred to as “the spine of the show”, delivering timecode that Riedel Communications distributed to CuePilot.

“The flow of this show was unrelenting with certain rules that must be adhered to, like providing up to six microphones or headsets per delegation,” Lloyd explained. “However, technical execution was down to the vendor, audio designer and the constraints imposed by the venue. We designed a system that meets those requirements, while delivering what the BBC and OB vans required.” Brit Row also handled the sound for the picture postcard broadcast VTs between each performance. “The sound effects that came from the OB truck are triggered centrally – by what the cue is – by MIDI that is distributed over the network, which was strange to be using in 2023 but that’s how it works best.”

The other brief was resilience. “Eurovision is a well-oiled machine,” Lloyd said. “A lot of the crew were involved in past editions, and although we had already completed the design, we sense checked with the likes of DiGiCo, who have a history with the contest.”

DiGiCo Quantum 7 and SD12 were the FOH consoles of choice with Quantum 7, SD11 and a Yamaha QL1 monitor console selected for monitors. As in prior years, Shure ADX2FD handheld microphones, ADX1 beltpacks and AD3 plug-on transmitters as well as 40 channels of Shure PSM 1000 in-ear monitors were used by the performers. Stage monitors came in the shape of d&b audiotechnik M4, M2, V-SUB and D80 amplifiers.

“A lot of processing was done over IP; using niceties such as iPads for Wave Tool make it comfortable for those working backstage,” Lloyd added. “IT and networking are increasingly important as a sound engineer. We had to deliver from an IT perspective as much as the nuts and bolts.”

Digital Specialist Engineer, Rob Priddle managed the digital infrastructure, analysing any issues and checking the sound levels in the room to meet BBC guidelines. “This was one of the biggest shows on the planet with three series of ProTools and RF spanning the entire arena. Most people have two antennas at the side of stage, while this stage had 26 around the whole room, so even the studios and dressing rooms are mapped,” Priddle noted.

Shure mic feeds were processed digitally by DirectOut Technologies PRODIGY.MP units running for media conversion. “They’re a wonderful box; with this event, we used them in a redundant ‘fall over’ mode for contingency. We had one for Pro Tools, another for RF, and a pair which handled PA,” Priddle said.

The L-Acoustics PA system featured the brand-new L2 and L2D loudspeakers, as well as familiar L-Acoustics architecture in KARA II, K2, A15 Focus, A15 Wide, KS28, KS21, 5XT, LA7.16, LA12X and LA4X. “As a TV event, the PA doesn’t have as much room in the roof as lighting and video. The design has been done to give maximum thought to the broadcast.”

Stage Designer, Julio Himede with Lighting Designer, Tim Routledge; Riedel Communications Senior Project Manager, Hu Min Lee; Britannia Row Productions System Engineer and Designer, Josh Lloyd with Account Handler, Tom Brown; Opertec’s Ukrainian camera team.

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The control system and outboard racks also boasted L-Acoustics P1, M1.K2, Andiamo 2XT SRC, Ex Box BLDS, and Ex Box MD; Antelope Isochrome Trinity, Rupert Neve RMP-D8, RME 1610; DiGiCo SD- Racks and Orange Boxes; Optocore DD2FR; Waves Extreme servers; Ferrofish A32 converters, Klark Teknik DN1248 splitters and NETGEAR 4250 switches.

“We had an incredible team on site that makes this show tick, but what people often forget is the incredible operations team, warehouse staff and all those vital people back in the office who rose to the challenge and delivered additional requests,” Lloyd said. “They do all the work and don’t get the glory.”

Lead Project Manager/Account Manager, Tom Brown and Jono Dunlop; Crew Chief, Pete McGlynn; FOH Engineers, Adam Waller and Tom Gelissen; Monitor Engineers, Dan Ungaretti, João Escada and Phil Down; Playback Engineers, Eduardo Puhl, Jonny Keating and Leaf Troup; RF Technicians, Andy Lillywhite, Beth O’Leary, Dom Eve, George Hogan and Josh Podbury; System Engineers, Alizée Tricart and Sergiy Zhytnikov; Patch Technicians, Eluned Ashwood and Gabriel Stott; and System

Technicians, Dan Fathers and Jonathan Santonja made up the wider audio team. Brown commented: “To be entrusted to deliver the sound for a show as technically complex as the Eurovision Song Contest was a pleasure. We are proud to be involved.”

‘A SHARP AND VIBRANT DISPLAY’

Seven ROE Visual Black Quartz LED towers, two larger outer towers measuring 4m by 10m and five inner towers measuring 3m by 10m were supplied by Creative Technology. The towers attached to a bespoke automation system supplied by WICREATIONS. The systems not only allowed for upstage and downstage tracking of all seven towers but also rotation up to 720° of the inner towers.

Two curved LED side walls enveloped the stage with custom fabricated metalwork created by Stage One. “Black Quartz is an impeccable looking screen and with 10-Bit processing, which is ideal for a live broadcast. Utilising 4mm products for most of the surfaces within the arena made for a sharp and vibrant display that could be appreciated both within the venue and watching on TV,”

commented Graham Miller, Head of Music/ Entertainment at Creative Technology UK.

Working closely with sister company Faber Audiovisuals, with assistance from Project Manager, Steve Ackein, a two-part LED floor made up of over 700 panels of ROE Black Marble covered the large oval, catwalk, and upstage sections of the stage.

A disguise ‘digital spike system’ – which depicted the precise markings on the LED stage for every change of set, instrumentation, and artist, removing the need for tape marks on the floor – was deployed to display plans for the show crew for prop positioning and LED extras. Each display was managed and controlled by Screens Producer, Chris Saunders of Ogle Hog, who harnessed six disguise vx 4 (director) and four gx 3 (editor) media servers, supplied by QED Productions.

Nort hHouse Creative designed and created broadcast graphics, on-screen branding, and performance visuals for six opening and interval acts. “It was fun to bring such a vast range of styles and techniques to this element of the show, combining rendered and realtime graphics along with camera-overlays,”

NorthHouse’s Tom Bairstow commented. “There’s something so uniquely epic about Eurovision, but this year’s show served a much bigger purpose than previous years by helping to unite nations amid conflict. It was special to be a part of it.”

Saunders made extensive use of the editing workflow within disguise workstations to design, layer and process the video content for each act. Designer software also allowed the video team to quickly switch between different asset iterations with the help of its content versioning feature, as artists finessed their content during rehearsals. A total of 1,250 digital spiking marks lit the stage throughout the show, with the help of the customdeveloped stage management solution.

The turnaround time between acts was just 50 seconds. The graphical annotations, which were rendered within disguise hardware and controlled wirelessly via an iPad, were created in the venue by the stage management team based on plans submitted by the delegations. “It’s a fantastic system,” Saunders said. “It’s useful for presenter and performer positions, photography amid rehearsals and the lighting team even used it to focus lights.”

Around 41 sq m of ROE Visual Vanish 8mm LED panels were supplied to create a ceiling with six flown elements – for the desired curved effect with facia masking provided by Stage One. Creative Technology provided multiple set extras for many of the acts including UK entrant, Mae Muller, who began her performance on an 8m by 2m LED riser on custom dollies.

The technical team and stage crew had the challenge of bringing the additional screens onto stage, joining them together and ensuring everything was working ahead of the live performances in less than 90 seconds. For Loreen’s winning performance, a 2.5m by 2.5m flown LED screen was built into a custom frame with automation by Unusual Rigging to create a moving ceiling; this was rolled onto stage and fully active within just 30 seconds.

Ot her LED elements for two interval acts included five custom LED risers of assorted sizes for Welcome to Our House – performed by Alyosha and produced by Freckled Sky – and three sections of tracked LED for Be Who You Wanna Be. For signal distribution, a bespoke fibre hub was at stage right, linked to 24 processors with over 2km of fibre providing full redundancy. An in-house developed LED processing feedback system was used to monitor faults and system warnings.

St age One managed the complex scenic package and worked closely with Creative Technology, Faber Audiovisuals, Unusual Rigging and WICREATIONS to integrate extensive lighting, LED, pyro and cabling.

The team coordinated the fabrication and assembly of structures such as sweeping curved arms and giant oval lighting boxes, the main stage and satellite stage, the green room, scrutineers’ boxes, and more. Reflecting on

Broadcast Technical Producer, James Bonnar; Digital Specialist Engineer, Rob Priddle; Riedel Communications Project Manager, Thurid Wagenknecht; CuePilot Business Development Manager, Danny Hodgetts; Lead Creative Director, Dan Shipton of Black Skull Creative.

11,000 individual parts and assemblies, over 550 drawings for manufacturing and 12,800plus hours in production and construction, Stage One Managing Director, Tim Leigh said: “It was great to play a part in such a large broadcast event. To see the names of our Project Managers, Graham Davy and Ben Fletcher, as well as the rest of our crew listed on the end credits was fantastic.”

As well as handling the rigging requirements of the show, Unusual Rigging was also contracted to supply the aerial rescue cover. The team had approximately 10 weeks of pre-production time for this huge-scale event. “Knowing exactly what we were working towards from day one was a huge benefit given the sheer quantity of work involved,” said Senior Production Rigger, Paul Rhodes.

The set design required nearly 600 motors, including 72 automation hoists, giving a total static load just shy of 140 tonnes. “We stock a large quantity of chain hoists in our warehouse and were able to supply all the standard motors from our in-house stock. We also have lots of Kinesys equipment, however it was decided that on this project we would use a Movecat system,” Rhodes explained.

Unusual recommended an outdoor selfclimbing roof system, installed by ES Global,

to take some of the load out of the venue roof. “This is such a heavy show,” explained Rhodes. “We had to look at ways to take some of the stress off the arena’s main roof. There were four large clad lighting arcs, each weighing five tonnes, three scenic ovals that hung over the stage thrust, with the inner oval on computerised hoists, not to mention the vast amount of flown LED and lights.”

Unusual Rigging helped to install the infrastructure for seven 10m-high video and lighting towers that revolved and tracked up and down the stage. “The space above the stage was incredibly compact due to the temporary structure and as such achieving the required trim height was by far the biggest challenge of this project. Concealed above the LED ceiling were cable management trusses, lighting trusses, track screen trusses and trussing for the LED ceiling. This all had to be installed systematically and all squeezed into a 3m gap,” Rhodes reported.

Unusual also had the task of operating the inner oval, lighting pods, on-stage lighting trusses and LED ceiling prop, which was used for one of the acts. “We feel incredibly privileged to have worked on such a prestigious event, with the eyes of the world on it, and we’re proud of our performance.”

‘A COLLABORATIVE PRODUCTION’

CuePilot has been woven into the fabric of Eurovision since its maiden inclusion nine years ago on the recommendation of founder and then Video Director for Eurovision Song Contest 2014, Per Zachariassen.

“It would be difficult to imagine them not using CuePilot for a show of this scale,” said CuePilot Business Development Manager, Danny Hodgetts. “Although it was used primarily for cameras in the beginning, now every visual element of the show from cameras to lighting, graphics, pyrotechnics and staging uses CuePilot in some form.”

The music is broken down into a timeline with seconds or bars and beats, so when a member of the crew adds a cue, it appears on the timeline. The crew also has the option to personalise colours, but it’s a collective system that encourages collaboration within the same timeline. “Eurovision is such a collaborative production, so managing the workflow of constructive feedback from every creative from every delegation was much easier through CuePilot,” Hodgetts added.

“The camera crew liked it because it provided them with a fool-proof timeline of their charge, including a countdown, illuminated in front of them. It also sped up the revision

We’re proud to have set the stage for the 2023 Eurovision Song Contest

“Stage one, with an incredibly professional team, turned our design planning into an absolutely detailed implementation plan.”

– Matthias Kublik, Art Director Eurovision Song Contest 2023

process and is much more sustainable than printing off reams of paper.”

The broadcast of the contest was watched by over 160 million viewers worldwide, with over eight hours of live TV and 50 live feeds. A total of 29 commentators broadcast live from the arena, with less than 50 seconds to strike and set between performances.

“Every host country’s approach to broadcasting is different – from electrical standards to the way we run our playback network to physically producing the programme,” Broadcast Technical Producer, James Bonnar said. The biggest challenge, Bonnar believes, is the scale of the project.

“It’s only when you witness the scale of it – from the delegation to the prop stall and catering for 1,000 people two meals a day, the visiting media, and everything else – that you realise how big of an event Eurovision is,” he recalled, praising the project’s vast communications network as key to the success of the event. “Riedel Communications is fantastic. They are the commonality to every year of Eurovision and a great source of information and technical resources, which we couldn’t have done without.”

Aggreko power was another crucial component of the contest, with a MW of UPS power, 60 miles of cabling around the arena, 150 distribution boards, and 5,000 man-hours

dedicated to power works. “We’ve tried to be sustainable as much as we can with this production. We would have loved to have used fewer power generators, but the venue doesn’t have back up power and it’s an important show. However, for the broadcast compound, we are running off national grid power with generators as a back-up,” he concluded. “It was a pleasure to be involved in the most-watched Eurovision to date with such capable support on site.”

Showforce supplied stage, production, and backline crew, as well as plant operators, international crew chiefs and crew managers. The firm worked alongside ES Global and Stage One to construct the stage, while assisting with the set-up of dressing rooms and brand activations. In total, 1,335 trucks were unloaded and loaded over the course of two months, with over 200 crew involved in the event’s de-rig.

Showforce worked with its sister company, THE Production TEAM, as the recruitment arm of the Spendlove Group, to vet and interview around 1,000 candidates over two months.

“The successful delivery of this event is testament to the hard work shown by every team member involved in making this happen, from back-office operations to the crew onsite,” said Showforce Head of Operations UK & Europe, Becky Meers. A mammoth 2,345 crew shifts were fulfilled, and 22,380 hours amassed by Showforce staff between 28 March to 20

May. “As a local company, we’re lucky to be part of a city that delivers incredible events, so we knew Eurovision was going to be special. The reality far exceeded our high expectations and the sense of pride we all felt in playing our part in delivering it will be something that stays with us for a long time.”

www.eurovision.tv

www.bbc.co.uk

www.ebu.ch

www.aggreko.com

www.britanniarow.com

www.blackskullcreative.com

www.ct-group.com

www.cuepilot.com

www.er-productions.com

www.esglobalsolutions.com

www.faber-av.com

www.led-creative.co.uk

www.negearth.co.uk

www.showforce.com

www.syncronorm.com

www.northhousecreative.com

www.oglehog.com

www.opertec.tv

www.riedel.net

www.stageone.co.uk

www.showforce.com

www.unusual.co.uk

www.yellowstudio.com

www.wicreations.com

EUROVISION VILLAGE

With Eurovision fever in full swing, Liverpool’s Pier Head became the picturesque backdrop for nine days of eclectic programming with some of the sector’s best on hand to provide production support.

Taking place a stone’s throw from the contest, Liverpool City Council staged Eurovision Village – a hub for Eurovision fans and locals to experience the joy of live music on Liverpool’s Pier Head. Production management was provided by Events Design Company, led by Josh Keogh. The wider production team included Adlib (audio, lighting and video), ES Global (staging), Marshall Day Acoustics (noise management), PS Events Crew, Roadphone NRB (communications), STS Production Services (backline), UK Events Group (SFX) and UK Rigging.

Programming from Liverpool City Council reflected the host city’s slogan ‘United By Music’ and included performances from Ukraine’s former Eurovision winner Jamala, alongside BBC Philharmonic Orchestra, the English National Opera, popular Ukrainian artists, as well as local and international artists to keep the party going throughout the nine days of celebrations.

“It’s fantastic to have provided an opportunity for artists to perform in front

of a multinational crowd. We had a variety of Ukrainian artists and creatives who have collaborated with us to make this possible. It’s an honour to host for a country that has been through so much,” Keogh noted.

“It’s amazing to work with a company which encompasses so many disciplines within one line of communication, and being able to adapt as we go with Adlib-owned kit to fulfil requirements such as the live recording was brilliant,” continued Keogh, citing Adlib’s approach to their role in the project.

“W ith over 80 acts performing across the nine days, many things can change, so having this experience to overcome challenges to deliver a series of amazing shows was essential,” Adlib Project Manager, Nick Whitehead added. “With 40 years as a reputable company, Adlib can provide a complete service.”

According to Lighting Designer and TPi Award-winning Operator, Dave Smith, the aim was to “strike a balance” between “eye candy” and a “normal gigging show” after dark. “The

workhorses on stage were the Martin Aura PXLs and MAC Ultras, as well as two long throw Robe BMFLs on a RoboSystem for followspots. For effect lighting, I selected SGM Q-8s because they are a powerful IP-rated strobe, Martin VDO Atomic Dots are also a great strobe for added ‘sparkle’ on stage.”

An MA Lighting grandMA3 full size console along with a backup grandMA3 light was chosen, with a generic busk file set up by Lighting Programmer, Tom Webber and Smith, having designed the system on Capture software at Adlib’s previsualisation suite.

Smith and Webber were joined by Lighting Crew Chief, Kevin Byatt; Lighting Project Manager, Mike Blundell; and Lighting Technician, James Bailie. “The reception from visiting engineers was brilliant,” stated Smith. “As a young lighting designer and operator, it was great to be trusted with a high-profile event such as this, and I have a great sense of pride for my home city.”

Video Crew Chief, Rob Bickerstaff stated: “We had a standard festival setup at the front

Words: Jacob Waite

Photos: Adlib and TPi

and delays, plus a VIP section, which received an SDI feed with video and embedded audio.”

Adlib supplied outdoor-rated, Unilumin LED panels with climbable screens and a high wind rating, ideal for a site next to the Mersey. “We added several bracing trusses behind the screens to account for the weather, which is always very unpredictable on this site,” Bickerstaff explained.

The LED was driven by NovaStar processors and a Barco E2 Gen 2, which allowed the video team to take in and distribute signals at 4K up to 60m away from the control cabin to FOH and side stage using Lightware Visual Engineering fibre and Theatrixx fibre transmitters receivers. Adlib’s new Cobalt camera system captured the action on stage with two Panasonic UC400 cameras on 90x lenses and three Panasonic UE160 PTZ cameras.

The video team comprised: Project Manager, Nick Whitehead; Video Director, Tom Wearing; Video Server Technician, John Haggart; Video Racks Engineer, Kieran Bruton; Record Engineer, James Williams; and Camera

Operators, Ash Dawson, Stephen Webster, Scott Nolan and Will Sutcliffe.

Adlib’s content division was entrusted with creating motion graphics, which were used onsite between acts and across Merseyside, with integration between video and audio a core element of the production.

‘EVERY ENGINEER LEAVES WITH A SMILE ON THEIR FACE’

Adlib System Technician, Billy Bryson used his experience of this site to deploy a system on Liverpool’s waterfront.

“Utilising 3D models from past shows we’ve delivered on the Pier Head, we could work closely with Events Design Company to tweak the site layout to ensure delay positions were acoustically optimal. Infrastructure running to these locations was shared between audio and video to serve delay hangs, LED screens and equipment at the VIP bar.”

The loudspeaker system featured L-Acoustics K1 and K2 in the main hangs with flown KS28 subs. This was further

complemented by ground stacked KS28 subs, K2 side hangs, and A10s plus A15s for fills. To ensure adequate coverage across the whole waterfront site, Adlib deployed two sets of K1/ K2 flown delays.

According to Bryson, the combination of K1 and flown KS28 allowed the team to keep the low-end SPL attenuation over distance to a minimum. “Maintaining good low-frequency coverage meant we could keep the overall SPL at a good level throughout the whole village. The K1 delay hangs ensured that everyone got to experience the show in full. Every engineer left with a smile on their face,” he said. “Being able to extensively model the system design in Soundvision before the show, coupled with tools such as L-Acoustics’ Autoclimate, lead to consistent results across the site throughout the nine-day duration.”

Adlib provided a DiGiCo SD5 at monitors, an SD7 Quantum at FOH and a utility SD11i handling presenter channels, changeover DJs, and shout systems. “Being able to move audio between DiGiCo MiniRacks at FOH, Monitors

and the Video cabin independently of the main consoles was extremely useful,” he explained.

On stage, Audio Crew Chief Robyn Hannah, handled the audio advance for the many acts coming through the stage including RF coordination, working closely with Ofcom. “When it comes to RF on stage, we know what works in the area,” Hannah said. “It’s been a process to collate and coordinate RF needs for the Eurovision Village, particularly with the Eurovision Song Contest and all other activations around the city happening at the same time.”

Due to the logistics of the stage and site, few visiting engineers brought touring packages, meaning Adlib was more hands-on than in a typical festival setup. “It was great to get stuck in,” Hannah said. “This was unlike any other project and one I’ll always remember.”

As an inner-city festival, t raffic and noise management was vital. “To build a site like this, you must close roads, facilitate parking, and situate the stage in a sensible location given that a canal runs through the middle of the

site,” Keogh noted. “Marshall Grey monitored the sound across the city. We sat between 92 to 94dB, depending on the act. We also tried to limit the impact for those who live and work within the area,” Keogh concluded.

Alongside Robyn Hannah and Billy Bryson the audio team featured: FOH Engineer, Chris Snow; Monitor Engineer, Chris Smethurst; Stage and Patch Technicians, Kenny Perrin and Sam Cooknell; as well as Stage and QLab Technician, Joe Baker.

Ex tending her thanks to the crew who worked tirelessly across the event, Adlib’s Project Lead, Leah Coyle enthused: “Liverpool is the perfect host for Eurovision; the number of activations and events across the city has been staggering, including the Eurovision Village. As a local company, we are incredibly proud to play a part in such a historic moment for our city. It’s been a great way to k ick off festival season.”

‘AN AMAZING MOMENT FOR LIVERPOOL’

PS Events Crew provided site, production, and hospitality crew for Eurovision Village, opening

FOH Engineer, Chris Snow with System Technician, Billy Bryson; Lighting Operator, Dave Smith; The wider production team; Showforce crew at M&S Bank Arena; PS Events Crew.

ceremony and art installations across Liverpool as well as power and draping crew in M&S Bank Arena with 30 members of crew on the load inand -out of the Pier Head site.

The team also doubled as hospitality staff for the opening ceremony at Liverpool’s historic St. George’s Hall. “I was walking around with food on a tray because I like to be handson, even as a company director,” PS Events Crew’s Phil Stevens remarked.

Of t he 108 PS Events crew members on site at Eurovision Village, 90 were regular PS Events staff. “ I couldn’t be prouder to be a part of a project like this. The crew had an added spring in their step. It was an amazing moment for Liverpool,” Stevens concluded.

ES G lobal provided the ground support truss structure, stage deck, ramps and treads, commentary booths, camera platforms, access stairs and the cable gantries inside the arena. It also provided the main stage, FOH structure, accessible viewing platform, delay towers and video screen support for Eurovision Village. The company provided a 16m LT stage for the main stage and ES Global Decking

system for the accessible viewing platform. ES Global LT truss was used to combine the two delay towers with the two-video screen supports to maintain good sightlines across the site, as well as building FOH.

“It was an honour to be involved in such an iconic event – Liverpool welcomed us warmly and looked glorious,” commented ES Global Head of Staging, Mark Hornbuckle.

“Eurovision showcased the UK events industry at its best, with the arena providing a stunning platform for the show. It was the perfect springboard for our busiest ever staging season.”

The wider Eurovision Village crew comprised: Stage Managers, Dean PendletonBrown, and Matt Weeks; Backline Technician, Connor Hanmer; and the stage crew of Gareth Stevens, Dylan Howells, John Welsh, Gary Grant, Jason Stickland, Oliver Price, Steph Mitchell and Alice Winter; as well as Artist Liaisons, Evie Oliver and Emily Buckland.

“T his monumental event would not have happened without the Culture Liverpool team at Liverpool City Council, who’s ground-

breaking approach to welcoming the Eurovision Song Contest is an example to all cities and will leave a legacy for many years to come,” Adlib’s Dave Kay commented.

It ’s been well-documented in the past dozen pages that it takes an army to create a spectacle like the Eurovision Song Contest and the Eurovision Village.

Having spent the past few weeks chatting to some of those involved, I can attest that this year’s event will go down as an illustration of the technical ingenuity, cross-border collaboration, and hard work that the very best in t he live entertainment sector has to offer. Over to you, Sweden.

www.adlib.co.uk

www.eventdesign.co

www.esglobalsolutions.com

www.marshallday.com

www.pseventscrew.co.uk

www.roadphone.co.uk

www.ststouring.co.uk

www.titaniumfireworks.com

www.ukeventsgroup.com

www.ukrigging.net

COLDPLAY: MUSIC OF THE SPHERES WORLD TOUR

With the goal of significantly reducing its carbon output, Coldplay’s recent touring campaign has got people talking. Over a year into the cycle, TPi catches up with the crew to discover the steps taken by the production to be as sustainable as possible and how they have managed to uphold high production values while doing so.

Words: Stew Hume

Photos: Anna Lee (@annaleemedia) and TPi

Call it a lack of preparation; but personally, when I go and cover a show, I don’t like to read too much about the production before speaking to the crew. My justification for this is that I like to give those who have toiled away for weeks, months or years the chance to highlight the most interesting elements of the show from their perspective and not influence their interview with my own views. I bring this up because there was no way of avoiding reading about The Music Of The Spheres World Tour when it first hit the road in March 2022 –and for good reason. This is a production that is addressing the challenge of making largescale touring more sustainable and doing so in a public forum.

Being a more sustainable touring act is not exactly a new concept and something we’ve followed with interest over the years in TPi, but suffice to say, this tour has taken things to a new level and yet still managed to create a show that lived up to the band’s established reputation as one of the world’s best stadium performers. Before a single confetti cannon was fired or the 60,000 PixMob LED wristbands flickered with light, TPi found itself in the centre of Manchester’s Etihad Stadium with Production Manager, Chris Kansy to learn how far sustainability went within this production and to pose the question; how might this tour influence the wider industry?

LET’S GO BACK TO THE START…

“I certainly didn’t have to do too much of the heavy lifting in the early days of this show,” chuckled Kansy, as he walked us around the site, pointing out all the notable moments of the set as final preparations were made. With the initial production being overseen by Bill Leabody before hitting the road with Jake Berry, Kansy was busy getting Roger Waters’ latest show on the road [see TPi #275] and only took over the

PM role recently. “I’ve filled in with these guys on a number of occasions and was happy to be back on board,” he reflected.

“W ith the album called Music Of The Spheres, you’ll notice in the set and even the LED screens, there are no real straight lines, and everything is rounded. That theme is present throughout the show, and we have some very special moments from the custom-made LED spheres to these giant circular inflatables that are attached to dancers that then filter out into the audience at the end of the night.”

There didn’t seem to be an element of the show, where sustainability wasn’t considered.

“This is the first tour where the entire production is being run off batteries – second-hand BMW i3s to be exact,” stated the PM. “Paul Traynor, who has been the band’s touring electrician for years, made this entire system possible and it’s incredible.” Along with the batteries, the tour also featured several other power generation solutions – from a kinetic dance floor that turned fans’ movement into energy, along with a selection of bikes at the back of the arena that fans could jump to turn their pedal strokes into power. “We even have wind turbines up on the top of the delay towers, and during the day, we lay out a solar sheet which powers our Wattsun storage batteries,” enthused Kansy.

Although this was a tour of new technology and solutions, the band and production once again put its faith in several tried-and-tested suppliers including STAGECO, TAIT, Solotech for audio, Upstaging for lighting, PRG for video, Strictly FX, Clair for walkie talkies and show communications, Mission Control for backline, audio communication and global RF licencing. Trucking is provided by Stagetruck and freight by Global Motion. Crew travel is handled by TAG and Beat the Street, orchestrated by Production Coordinator, Eme Boucher. New faces on the supplier roster include ZAP Concepts, which

oversees all energy solutions on the tour, while EPS provides the energy floor, with Smart Power providing the bikes. Eat To The Beat keeps the band and crew fed throughout the cycle.

HIGHER POWER

Traynor, who wore two hats as the band’s Stage Manager and Tour Electrician, was originally brought in when the band began asking how they could go about creating the most sustainable show the world had ever seen.

“We started working on what would become this power solution around 18 months before the first show,” he recounted. “It was a rather intimidating task as nobody had ever tried anything on this scale. The closest we’d seen was in the festival market with some batterypowered solutions, but a Coldplay stadium show needs around 1.2 Megawatts of power.”

Due to the enormity of the task, Coldplay’s management were keen to bring in experts from the suitability field including Luke Howell from Hope Solutions along with TPi Award-winner, ZAP Concepts.

“After Chris did the interview with the BBC in 2019 and said they would take a break from touring until they were more environmentally beneficial, I was asked to join the management team to help them work out how that might become possible,” explained Howell. After gathering data from previous tours, Howell was able to create a baseline of impacts and look at where the team needed to focus its attention.

“Paul Traynor and I focused on power while I also worked with Bill Leabody on other aspects including freight with Global Motion, creative and design with Misty Buckley, steel and staging with TAIT, lighting design with Sooner Routhier and various other tour elements.”

The entire show is powered by repurposed BMW i3 batteries, which can be charged from mains, onsite renewables as well as generators.

“We are touring with generators run by HVO fuel, which we use to charge the batteries each day,” explained Traynor. “We’ve had this system on the road for over a year and we’re tweaking constantly to make it better. We had the generators as a redundant system, however, due to the reliability of the batteries, we are now only using them for charging. ZAP is monitoring our power output constantly, so we know how much we are using, and can make changes accordingly, if required.”

Setting up camp just outside the stadium wall, in a makeshift office by the generators, TPi caught up with ZAP Concepts’ Tim Benson. “Power was always going to be one of the first things this show needed to tackle in a bid to become more sustainable as it is the second largest carbon footprint after audience travel when it comes to live shows,” began Benson. “When Paul first approached us to collaborate, he provided what their expected power loads were, and from there, we devised the system that we now tour with.” Benson went on to explain that one of the initial issues the team faced was creating a system that would be modular and mobile enough to travel the globe.

On a regular show day, the i3 batteries are charged three times a day by the generators. “We can turn the generators on for a short time to recharge the batteries, making them more fuel efficient compared to more ‘traditional’ generator shows, where they would be running 24 hours a day.”

During the show, a pair of energy floor platforms flanking two FOH tents welcomed around 70 people on each surface and as fans moved up and down on the floor, their vertical force generated power, which was stored in Wattsun Batteries. “There are 44 modules on the platforms which each connect to

SUSTAINABILITY STARTS WITH US. ALL OF US.

This year we’ve made huge progress towards offering sustainable LED wristbands that enhance fan experiences while minimizing our environmental impact. For Coldplay, Music of the Spheres Tour we even launched our 1st compostable plant-based wristband which we reused and refurbished during the tour saving up to 80% of new production!

We are proud of our journey so far, but we know it’s just the beginning. Join us in designing a brighter future.

generators that can produce 5.8W for each step. The company that creates them – Energy Floors – has installed them in airports and shopping malls where the kinetic energy can power large LED screens, although this is the first time they’ve been used in a touring capacity,” explained Crew Chief, Edwin Van Eekhout.

In total, the production owns six of the platforms which are kept in pairs. “We have another pair in North America and Asia; later in the year, we’ll ship these over for those shows,” interjected Kansy.

It was not the only kinetic dance floors that were turning fans’ enthusiasm into power, with Coldplay fans also encouraged to jump on stationary bikes to generate power for the tour. “The power we store on the Wattsun Batteries powers our C stage,” explained Kansy. “It is also used to provide power to the stage underworld for backline as well as the FOH team before they plug into the main system.”

This fan-generated kinetic power can also be stored for later use to help power a show in a neighbouring city. “Since we started working on this show, I’ve had a few calls from bands and productions looking to learn more about what we are doing, who were waiting to see if we would fall at the first hurdle. However, we have always been an open book, and in my mind, the work we’ve done here will aid in the industry as well as sharing the results and lessons learned from this tour,” Traynor explained.

Howell furthered: “In terms of impact reduction, the 2022 leg of the tour data has

now been assessed and validated by MIT and we achieved a 47% reduction in our direct CO2 impacts versus the previous tour on a showby-show basis. We still have a way to go, but it’s been very encouraging to see the wider industry want to do more and do better. There are still gaps that need to be plugged and I hope the tour has given smarter people than I the impetus to create new solutions that we can use in the future and on other tours.”

A SKY FULL OF STARS

With TPi now clued-in as to how this production was run, we quickly turned our attention to the creative elements of the show. Like previous live incarnations, the band opted to tour without a roof and – as alluded to by Kansy earlier – with the tour being titled The Music Of The Spheres World Tour, there was a lack of any straight lines in the set pieces.

Lighting Designer, Sooner Routhier picked up the story: “I was brought into the initial design conversation for Music Of The Spheres by [Show Designer] Misty Buckley and [Manager] Phil Harvey in the winter of 2020 and began working on the promo shows,” began Routhier. “We did this one particular show outside Whitby Abbey in 2021, which was one of the highlights of my career.”

Promo completed, the decisions were made as to how the stadium show would take shape while also being conscious of the band’s wish to be as environmentally friendly as possible.

“We had the benefit of having a massive team with a huge knowledge in sustainable practices

helping us through the process. Also, as we were performing outside, most of our fixtures were IP65 or 66 rated – lessening the amount of maintenance and need to ship extra parts or fixtures.” The LD also noted how everything fixture wise – bar the follow spots – either contained an LED or laser source, making it a power-efficient rig.

Routhier pointed out CHAUVET Professional Strike M fixtures, used as blinder and floor lighting solutions, as surprisingly powerful additions to the lighting rig. “I remember when we first programmed the show in rehearsals, we were astounded by the amount of power for an LED fixture.”

CH AUVET Professional Strike Ms featured on the B-stage and around the band on the main stage with Claypaky Xtylos fixtures situated in an arch above the main LED screen. Aryton Perseos and Dominos line the front of the main stage. ACME PIXEL LINE IPs lit the edge of the stage with ACME Thunderbolts used to illuminate underneath the central LED screen and on the delay towers, while Robe BMFL LT handled followspot duties.

“A ll of our IP-rated fixtures have held up throughout the run despite some rather challenging weather conditions,” stated Lighting Operator, Shaheem Litchmore, reflecting on a particularly ‘wet’ show, in São Paulo, Brazil. “It’s great that we don’t have to cover anything when challenging weather comes in.”

As well as the numerous fixtures, there was another selection of LED products that

Litchmore was in control of during the show – 60,000 more to be precise. As fans filtered into the stadium, each was given a PixMob LED wristband, which helped turn the crowd into an enormous canvas of light. This was not the first time the band had used LED wristbands, although it was the first tour the production had used PixMob as its go-to solution. “This was the first time I’d worked with PixMob and I wasn’t too familiar with the brand before this tour,” admitted Litchmore. “We worked with the team during promo and they taught me how to program the system, which was quite a learning curve as it’s quite a different process to programming lighting.”

Pi xMob Co-Founder, Vincent Leclerc shared his thoughts on the collaboration. “Around 2019, Phil Harvey came to us with the initial idea of being the most sustainable tour possible. From this conversation, we underwent a huge R&D process to find materials that would be environmentally friendly to prevent the wristbands simply ending up in landfill.” The result was a wristband that is made from sugar cane that has the look and feel of plastic but that is compostable.

As if the R&D process to create this compostable wristband solution wasn’t rigorous enough, the Coldplay production has

pulled off something even more impressive –convincing fans to hand these bands back at the end of the night. Before the band played, an opening VT explained that they would have to hand them back at the end of the night. “We get at least 85% of them back each night although some shows it’s close to 95%,” enthused Leclerc. Four PixMob representatives on the tour not only deployed the system but oversaw the upkeep of all the bands and led the charge of the greeting staff who handed them out at each city. “Our team oversees around 50 staff who are brought in to distribute. During the day, they help clean the bands, recycle the batteries, and fix any broken wristbands.”

The system transmits an infrared beam across the audience which the wristbands react to. “The fact we use infrared over a radio signal means you can really target specific areas in the crowd not only to turn them on and off but what colour they should be emitting. You can even create shapes when the beam is fired through a gobo,” stated Leclerc, referring to a heart symbol that was created within the grandstand during the show.

Another notable highlight was during the track, Fix You, a star field on the LED screen is mimicked by PixMob wristbands, while a hit of pyro is triggered prompting the audience’s

eyes to lift skyward. This, and all other PixMob looks were controlled by Litchmore’s MA Lighting grandMA3 console and a monitor to the right of him, where he could watch and reference the looks playing out in real time.

“I keep all my lighting cues for the rig and all the PixMob programming on the same show file, which means everything is streamlined. As the tour has gone on, we’ve added more dimensions to the looks we achieve with the wristbands. It’s such a bespoke technology that there are lots of tricks and tips to it and it’s been a fun learning experience. I’m so used to just looking straight on at a stage from FOH, but now I’m looking around all the time. It’s certainly a cool feeling to light up 60,000 wristbands at once and seeing the excitement when they first hit is truly special.”

EVERGLOW

Screens Director, Joshua Koffman and Camera Director, Ant Barrett, discussed the extensive video package provided by PRG.

“We have 14 cameras out in the field for the show,” began Barrett. “This is made up of four Blackcam Rail Systems and a Tower-Cam provided by Vis-à-vis. There are also three long lenses – two at FOH and one on a delay deck at the back of the field – as well as two

RF handheld cameras. We also have three Panasonic PTZ robo cameras and a small Blackmagic Studio camera mounted to the drum kit.” Koffman elaborated: “The goal was to keep the number of people on or around the stage to a minimum. Usually, you might have someone shooting from the pit, but the fact we use rail cameras means there isn’t a barrier between Chris and the audience.”

The rail camera system was from Blackcam System with all the cameramen being overseen by Drew Welker. “We have some really talented operators on this tour who have been getting some incredibly dynamic shots,” stated Barrett. “We used to have the Blackcam operators backstage but then we realised it made more sense, where possible, to have them out in the field at the end of their camera rail in a small shelter so they are obscured from view.”

Barrett directed camera shots from a Grass Valley Korona, which he dubbed a “really solid” system. “I’m calling a lot of shots during the show but now we are so far into this cycle, the team already knows the elements they need to shoot quite well. At the same time, they are all aware that this is a live show and things can change and they need to be ready for that. It’s not the same every night and Joshua is always having to re-program elements of the show as the band and the creative team are constantly giving feedback to keep pushing the show.”

This flowing state of the Coldplay show seemed to appeal to Koffman. “I’ve worked with

some bands who were strictly choreographed night after night, but here the set list changes every day. We have similar layouts we go back to, but there’s always a little tweaking and it can be very organic. For example, at the end of Yellow, we never know if Chris will finish the song on the main stage or the B-stage – it’s all just how he feels on the night.”

The set design boasted several surfaces of LED, including an upstage semi-circle as well as two circular LED screens for IMAG with an additional two either side for the 270° view of the show. “We didn’t want to use any masking to turn a square into a circle for the screens and PRG provided us with these custom edges,” enthused Koffman. “When the sun goes down, they appear to be floating circles in the sky.”

The LED was ROE Visual CB8, with all the content being driven by seven disguise gx 2cs. “Our server setup is designed to have a decent level of redundancy and we are using a lot of Notch effects on the IMAG. Each IMAG screen has one dedicated server as we wanted to provide as much performance to each screen as possible to avoid any lag of low frame rates.”

Content houses that worked on the tour included Studio Flint, Fray Studio, Luke Halls Studio, Victor Scorrano, NorthHouse Creative, Impossible Brief, Hello Charlie, Pilar Zeta, Conner Griffith, Mixed Emotions London, and Interrobang. “The band has a large back catalogue of content from previous tours, and we frequently use that as inspiration,” stated

Production Manager, Chris Kansy; Stage Manager and Touring Electrician, Paul Traynor; Crew Chief, Energy Floor, Edwin Van Eekhout; Assistant Stage Manager and Inflatables Crew Chief, Michael Viehmeyer; ZAP Concepts’ Rob Scully and Tim Benson.

Leo Flint of Studio Flint. “Although some of the content may seem familiar, it has all been reimagined for this show. Much of the content is delivered in components to allow Josh to adapt it as the band evolves their live performance,” he added.

“Due to the circular screens, we did a lot of previsualisation in Unreal Engine to ensure everything we created worked with the shape of the LED,” said NorthHouse Creative’s Tom Bairstow, who echoed Koffmon’s earlier point that built-in flexibility was necessary to the video delivery for this tour.

“T he goal is to give Joshua a video package that can be tweaked when needed, and he is an absolute wizz when it comes to working and reworking the show and continually coming up with fresh looks. He’s got a creative approach to being a tech.”

As well as the ROE LED screens and the LED floor for the B-Stage, four inflatable LED spheres with built-in LED strips were hung just above the main screen. The spheres were a custom creation from PRG Projects. “There were some other LED spheres on the market, but they would have taken up four trucks alone, which was never going to happen – especially as with all departments we were trying to be as sustainable as possible.”

The solution was to have inflatable spheres – two 3m wide and the other two 5m – which could quickly inflate. “All four of the spheres when deflated go into a custom set cart and are not too heavy,” said Koffman. “They take no more than 15 minutes to set up!”

SPARKS

Assistant Stage Manager and Inflatables

Crew Chief Michael Viehmeyer oversaw the deployment of 11 inflatables ranging from 2.5m to 3m wide.

“T hese inflatables are walked out by local dancers at the tail end of each show,” explained Viehmeyer. The spheres were all in the shape of planets, building on the wider theme of the cosmos. The spheres also contained LEDs that interacted with the PixMob system. “Each city we go to, we give the dancers a 30-minute lesson on how to move with the spheres, then we have them back for each night we play.”

The spheres were filled with helium. “It’s certainly harder to come by in recent years and therefore we are trying to reuse as much of the gas as possible,” stated Viehmeyer. “We have two machines that are essentially dive compressors. From the 11 balloons, I can reclaim enough gas to refill nine the next night.”

In w hat had become a common talking point among the crew, flexibility was also the name of the game for the Strictly FX team. “The effects are ever evolving on this tour,” stated SFX Crew Chief, Michael Barrett-Bourmier, who gestured to Laser Operator Ashley Neal, who was in the middle of programming a new laser look.

“We’ve worked with the band for a long time and the band and creative team see special effects as malleable and are always looking to alter and change some of the looks mid-tour. However, when it comes to pyro, some ‘gags’ have to be signed off three months ahead.”

Years of relationship-building meant they were

Camera Director, Ant Barrett with Screens Director, Joshua Koffman; Lighting Operator, Shaheem Litchmore; Strictly FX Crew Chief, Michael Barrett-Bourmier and Laser Operator Ashley Neal; Audio Technician and FOH Assistant, Alex Hadj; System Designer and FOH Technician, Tony Smith; Audio System Technician, Dominic Thorne with Audio Crew Chief, Nick Mooney.

PROUD TO BE SUPPORTING COLDPLAY’S MUSIC OF THE SPHERES WORLD TOUR

STATE-OF -THE-ART COMMUNICATIONS

able to always achieve what the bands were looking for, according to Barrett-Bourmier. “We shoot all our pyro via a Fire One system, having moved away from black powder, which is more in line with the band’s environmental goals. It is also a much safer effect as the chemicals are less volatile and we can even recycle the cardboard tubes post-shows. We’ve been looking into every decision we make to try and ensure we’re as sustainable as possible.” It’s also worth noting that confetti used for the tour was biodegradable.

Neal programmed the lasers using Pangolin BEYOND software. “We’re mostly using X-Lasers on this one apart from a very large Arctos Laser that sits just above the video screen.” Also, in a custom mirror ball created by TAIT, the Strictly team placed eight custom 10W audience scanning lasers. “With that laser we’ve created some amazing looks that you simply can’t do with other fixtures such as cone patterns that we’re firing on the walls around the stadium,” stated Neal.

The team fluctuated between 10 and 14 for each show. “The pyro team alone is five strong as wherever we can, we fire the shots up in the roof, so it’s nice and far away from the stage,” stated Barrett-Bourmier. “There’s a lot of logistics when it comes to designing, rigging, climbing, and relocating the products each day of a show and its quite time intensive to get everything set for each day. But when you hear the gasps from the crowd, it certainly makes all that time worth it.”

HYMN FOR THE WEEKEND

Once again holding down FOH duties for the tour was Daniel Green, working alongside System Designer and FOH Technician, Tony Smith. Having not spoken to Green or Smith since TPi last covered the band on their A Head

Full of Dreams tour in 2016, we were keen to know of any changes to the audio delivery.

“We were really happy with A Head Full Of Dreams and when we launched this latest campaign, we began coming up with a plan of what we might be able to do for this tour,” stated Green. “We made some major changes to our playback system, separating all the band’s setups rather than having one central playback control. In line with the band’s goal for the tour, we also reduce weight as much as possible with our rigs to cut down on the carbon footprint.”

For Green, this saw him significantly reduce his outboard gear, putting a greater reliance on a Waves effects workflow. “We also used to tour with a rather large backstage studio, which was significantly reduced for this campaign.”

One of the major changes from the last world tour was the d&b audiotechnik system with the band moving from the J-Series onto the SL Series with a main and side hangs of GSL, with KSL on the 270° and delays, as well as SL-SUBs both flown and on the ground.

“Every time d&b releases something new, it always feels like a major step forward,” Green reflected. “The d&b sound is still in the heart of the system, but I’ve been very impressed with the rear rejection of the boxes and the band have even commented on the change it’s made on stage.”

The production also brought in d&b XSL side-fills for vibe. “It’s also great that the techs in the underworld are not getting blasted as much,” stated Green. “It’s a bigger sounding system that feels more dynamic and the subs have really improved.” Smith had his say on the new system: “It’s been a remarkable change in many ways,” he commented. “The efficiency has been increased by around 50% and the tonality along with ArrayProcessing with the SL

Series is really good, with the increased rear rejection meaning there is less rear energy, giving Dan more control.”

As for control, Green was once again using DiGiCo SD7, although this time with the Quantum engine along with a few changes to his outboard setup. “We’ve moved over to the Rupert Neve Designs RMP8s RMP8s Pre Amps and RND 5254, MBC with a Chandler Curver Bender on the master buss.” stated Smith. “Another major change is the incorporation of the DirectOut Technologies’ PRODIGY audio processor. We’re using the MC as an AD convertor along with an optocore DD2FR, with the PRODIGY.MP for system EQ.”

Also giving his input on the Prodigy was Dominic Thorne, Audio System Tech . “As far as I’m aware, the PRODIGY.MP is the only thing on the market with this scope of inputs and seamless fallback control. The potential for almost any DSP routing and endless level of control is also out of this world.”

The audio team put its faith in Solotech for the UK run. “Solotech, under the former brand of Wigwam, has worked closely with Coldplay for years, and we are especially proud to be working on the Music of the Spheres World Tour,” commented John Probyn, Solotech’s Head of Live Productions Europe.

“We’ve had a relationship with those guys for a very long time and they always provide great crew and impeccable support,” enthused Smith. For the US run, the team was looked after by Firehouse.

Under the main stage, there were several familiar faces, with Chris Wood holding down monitor duties on a DiGiCo SD7 Quantum, ‘Mystic’ Nick Davis looking after the audio patch, ably assisted by Suzy Mucciarone and James Smallwood, and Ali Viles as RF Engineer for the tour. “The RF brief was to enable any

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band member to perform seamlessly anywhere in the stadium at any time,” outlined Viles. “We have three stage locations in the stadium and the band walk between them through the audience playing instruments or singing, so coverage has to be extremely thorough.”

To deliver this, the RF Engineer utilised products from several manufacturers, including Shure Axient AD2 handhelds for vocals, Sennheiser 6000 Series for wireless instruments and Wisycom MTK952 IEMs.

“I have been very impressed with Wysicom over the past few years,” enthused Viles. “The IEM packs are a true dual-diversity receiver, giving the user significantly more robust RF reception than many other products on the market. The wide tuning range of the Wisycom IEM system has also been advantageous on this tour, meaning that we no longer have to carry multiple sets of IEM hardware to ensure we can access all available spectrum wherever we are in the world – something that is imperative with the global nature of this tour. As a result, we are carrying less IEM hardware than we would need to with any other IEM product, moving us further towards a more sustainable and environmentally conscious solution.”

To deliver stadium-wide RF coverage, the team relied on a Wisycom RF over fibre backbone, comprising 20 discrete single mode fibres that link between the stages at either end of the stadium. “This system enables us to deliver coherent RF coverage of multiple IEM channels throughout the stadium and also enables us to run remote receiver antennaes around the stadium back to our main receiver rack through a Wisycom diversity antenna matrix,” Viles explained.

“At the start of this campaign, we researched a variety of battery technologies to

find the best solution to power the radio mics and IEMs,” he added. “Rather than relying on Lithium technology, which is problematic for air freight and has questionable sustainability issues, we opted for a rechargeable NiMH battery package for all radio mics and IEMs due to the inherently safe nature of NiMH batteries and ease of recyclability. To date, this simple change has saved us from sending almost a tonne of alkaline batteries to recycling, which is a huge success both ethically and financially.”

Mission Control looks after the global RF licencing and compliance for the tour’s radio mics, IEMs, wireless cameras, wireless pyro, walkie talkies and wireless comms. The company also designed and supplied the tour with a bespoke monitoring and comms system for the audio and backline team.

Based around Riedel Artist 1024 Martix, the system enables the backline techs and the audio crew to control their own audio mixes from over a dozen locations around the stadium and communicate seamlessly, listening to their own discrete IEM mixes on Wisycom MPR50-IEM packs. The whole system runs at 96kHz, delivering a high-resolution, super-low-latency listening experience that the crew require and has been a game changer for the backline team, enabling them to work more autonomously both during the show and beforehand when tuning, editing or programming as things change during the day.

Finally, TPi had time to speak to Dan Roe and Laurie Jenkins from Tour Pro, responsible for designing and building a great deal of the backline as well as maintaining it out on the road. Roe spoke of the company’s involvement with Coldplay. “The band previously incorporated playback, keyboards and drum electronics together in one setup. However,

due to the complexity of the new show and need for flexibility, the decision was made to split these systems into their own separate racks. Rebuilding everything allowed us to introduce new technology that enables us to better integrate with other departments and deliver the show the artist wanted.”

As Jenkins described: “Chris’s pianos are completely custom built. With the initial aesthetic from Misty Buckley, we enlisted Ben from Deadbuni and Hutch from Hutchinson Creative to bring the technical side to life. Taking four standard Kawai upright pianos with midi rails, we changed the outer woodwork and added a series of surface-mounted LEDs, along with an LED rail that tracks the notes played on the piano; all LEDs can be controlled by DMX. Neil Cole, Chris’s piano tech and tuner, keeps them all serviced daily as they are out in all elements.

“A ll the other keyboards are completely custom and built to each band member’s specifications. For example, Jonny Buckland prefers weighted keys but finding a 49-key weighted is not possible, so we converted some 88-key StudioLogic controllers and housed them in custom shells.”

As w ith many touring artists today, midi and automated control plays a vital role. “Putting this show together while the world was still in lockdown highlighted the need to have the backline systems as automated as possible. With the uncertainty surrounding live music during COVID-19, it was important we were set up for all eventualities,” Jenkins said. “Implementing the iConnectivity RTP midi network has enabled the playback team to send midi anywhere in the stadium.”

Roe continued: “The band is playing across three stages and traditionally running midi over

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these distances would involve line drivers and a lot of copper. But through integrating the midi network with the audio team’s fibre network, we are able to route midi to and from any instrument on stage and any backline location.”

The guitar rigs were designed and built by Matt Tag – AKA @TheGuitarButler - combining pre-existing analogue equipment with a new midi switching system. With racks on the main stage and C-stage being operated by RJM Mastermind GT controllers, which could also be automated, receiving program changes from the RTP network.

THE HARDEST PART

Feeding between 250 to 300 people each day were the 13-strong crew from Eat To The Beat. Along with the daily challenge of keeping everyone fed and watered each day, the ETTB team also fully embraced the band’s sustainability mission. “Sustainability is ingrained into every job that we do now,” commented Head of Events Kim Joyce. “What’s been great on the Coldplay tour is seeing how everyone has embraced sustainability and come together to strive for positive change. We’re working closely with the production team to ensure that our numbers are accurate so

we’re not over ordering or cooking too much food. This really keeps the amount of waste to a minimum, and if there is any leftover food, it is donated to local charities.”

Joyce continued by stating that local promoters had also been very helpful in putting them in touch with sustainable suppliers in each city. “We’ve also completely eradicated single-use plastics from our service on this tour. We use either cans or cartons of water where it’s impossible to have water machines.”

She continued: “As with all these things, change doesn’t happen overnight – it’s been a collaborative process and it’s evolving as the tour progresses. On the whole, people are more on-board with recycling and the venues have clearly tried to improve their waste management, too.”

MUSIC OF THE SPHERES

As the day pressed on and stage time got closer, TPi settled into FOH, and along with 60,000 eager fans, watched an opening VT where the pre-recorded voices of the band explained to the crowd the sustainability goals of this tour, giving a mention to many of the elements the various departments had discussed during the day. Putting themselves

in the firing line to tackle some of the major issues that touring has on the environment is certainly admirable and there is no doubt that many lessons learned during Music Of The Spheres will have an impact on the industry as the community of production personnel looks for smarter ways to put on amazing shows for fans around the world with less of an environmental impact.

www.coldplay.com

www.soonerrae.com

www.stageco.com

www.taittowers.com

www.solotech.com

www.upstaging.com

www.pixmob.com www.prg.com

www.missioncontrolltd.com

www.clairglobal.com

www.tour-pro.co.uk

www.strictlyfx.com

www.energy-floors.com

www.zapconcepts.com

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HELENE FISCHER: LIVE 2023

TPi travels to the German capital to witness one of the country’s most popular artists take to the stage and the air. With Cirque du Soleil assuming the creative lead, this production boasts spectacular moments and cutting-edge technology in abundance.

Words: Stew Hume

Photos: Sandra Ludewig and TPi

Although German superstar Helene Fischer may not yet be an international household name, it is likely that if you work within the live events sector, you’ll be familiar with her work due to the incredibly ambitious production levels on her live shows. The singer has featured in TPi Magazine several times – most recently during her 2018 tour with a focus on the production’s dynamic staging automation and set build. So, when we discovered that her upcoming tour would see Cirque du Soleil taking the creative lead on a 270° production, we couldn’t book our tickets quickly enough. Suffice to say, we were not disappointed.

The production seemed to have a new gag up its sleeve with each song, from aerial acrobats appearing from the mother grid and an impressive water feature that could create images within the falling liquid, to a robot that had the singer spinning around the floor of the Mercedes Benz Arena among the crowd – and that is just scratching the surface.

A few hours before doors opened for the singer’s third night in Berlin, TPi was greeted at the stage entrance by Production Manager, Sebastian Pichel and Production Coordinator, Jeremias Klein. Before I had a chance to grab my dictaphone and camera, Pichel asked: “Are you good with heights?” After confirming I didn’t have an issue, despite being slightly bemused by the question, I was shepherded into the arena. However, instead of heading to the comfort of the production office, we made our way to a lift at the rear of the stage. Before I knew it, we were walking on the flown mother grid, several metres up. With sweaty palms, I clicked ‘record’ and began this unusual interview.

Pichel explained that he was “wearing two hats” for the show – Production Manager

and Live Nation representative. “It has been advantageous with my knowledge from the Live Nation side as I know all the venues very well,” he stated, highlighting the logistics of overseeing the enormous set as it moved from city to city. “Helene falls into the genre of Schlager and it’s quite common for promoters to also produce the show.”

This was not the first time that Fischer had worked with Cirque du Soleil, although it marked the first time the company assumed a much more all-encompassing involvement in the creation of the performance. “Once they had a design, we sat down to select suppliers to help bring the show to life,” stated the PM. “Although this is a local show with dates in Germany, Austria and Switzerland, we were keen to select international suppliers used to dealing with large-scale productions.”

The show included a staggering 31 trucks and a mother grid structure that came in at 74 tonnes – the maximum that most German venues can accommodate without the need for ground support.

“Solotech made a lot of sense as a global supplier of audio, lighting and video,” continued Pichel. “We also had suppliers providing their own crew rather than the production bringing on all the personnel. It means that if anyone must leave, each supplier is responsible for replacing them, which makes life much easier for us.” He went on to express how happy he’d been with the “high-calibre international touring personnel” involved in the show.

WICREATIONS provided staging and automation, ER Productions supplied special effects, Crystal oversaw the deployment of a unique water feature, with Dart Rigging and Lüz Studio providing video content and ShowTex

providing draping. Pieter Smit supplied coach services, while EFM Global aided with logistics.

One advantage the production had in its favour was that Fischer was playing multiple nights in each venue as most crew agreed that a back-to-back schedule simply would not work with this scale of production.

“Our local crew call is 100 for our load-in and out,” emphasised Pichel, who reported that so far, all venues have been able to meet these numbers of local crew – something that has been a struggle across the globe in recent months. “On each load-in day, we tend to start at around 11am and it’s around a 12-hour build,” he described. “It’s also a five-hour load-out before we move to the next city.”

Working hours were a major concern for the PM. “This is a tough gig for the crew, so from Wednesday to Friday when the stage is set, we don’t tend to want them back until 2pm most days, meaning that we don’t go over a 60-hour working week.”

Back on terra firma, TPi caught up with the familiar face of Tour Manager, David Salt. “I got the gig after four Zoom calls last year,” explained Salt, admitting that initially he hadn’t comprehended the scale of the production. “There are a lot of moving parts. When we started rehearsals at AED Studios, there were around 185 people on-site. There was only so much accommodation at AED, so we had to work out the logistics of getting everyone on and off site, which was a job in itself.”

Due to the scale of the show, moving equipment from Cirque’s Canadian HQ to Belgium for rehearsals in AED was quite a task – as was transporting the custom costumes made for the singer that had to be sent to a hotel in Munich. Jack Swildens, Project Manager for

Bringing water on stage

© Photo : Sandra Ludewig

EFM Global, commented on the company’s part in the move. “Working to an explicit schedule, we flew the tour freight to Belgium and the show apparel to Germany. Helene Fischer was in Munich for a matter of hours, so it had to be at the hotel waiting.” EFM then returned the costumes to Canada where they were adjusted for the tour.

Due to the 360° approach to the production, the fact that Live Nation was responsible for the whole tour meant that the in-house team dealt with everything from hotels to flights. “It really is planes, trains and automobiles in this office,” joked Salt, who was quick to praise the support of Assistant Tour Manager, Lizzy Winter and Backstage Coordinator, Fenja Möller. “Without them, this job would have been a nightmare.”

Af ter taking a break in the summer, the tour is due to resume in mid-August. “We’re pulling the pieces together in August, which also includes a period where the Cirque team has to do a process called validation,” explained Salt. “It takes a full day to make sure everyone from the acrobatic side is up to speed with the show then after a few dress rehearsals, we’re back on the road until October.”

SETTING THE STAGE

Starting work on this project in January 2022, Simon Lachance, Technical Design Director, spoke to TPi about the early days of the design process after being contracted by Cirque du Soleil to work on the show.

“Cirque’s travelling shows are very different to rock ‘n’ roll touring, and it was an interesting collaboration, melding two approaches,” he

began. “The goal with this show was always to push boundaries. Live Nation wanted to put something on that was extraordinary, whereas Cirque was keen to create something special for the concert touring world – something it has not done for some time.”

Although this might not be your standard Cirque show, Lachance explained how he enjoyed the challenges of working within a different field. “The creative process within Cirque is very different and it was amazing to take all its experience and filter it into this project. There are constraints when it comes to live touring, but constraints lead to creative solutions, and we managed to push the limits.”

Matt Horton, Head Acrobatic Rigging, picked up the story: “One of our biggest concerns is that the show’s mother grid stays consistent for all the venues,” he stated. “If the height were to change for whatever reason, the entire programme would have to change due to the nature of the stunts. Thankfully, we have an amazing rigging team who ensure the height of the show is perfect down to the last millimetre.”

Due to the variety of venue sizes, the production created three different staging options – an A, B and C rig – that all have different trim heights. “There are too many performance winches and acrobatic elements that everything has to stay consistent for the show height,” the PM chimed in.

Horton outlined his daily schedule. “I come in at the top of the load-in and oversee the riggers hanging the heavy steel and stabilise everything to make sure it’s safe. When the catwalk is in place, my team and I busy ourselves

with installing the ropes and Cirque systems. We then go about a rigorous test with the automation department to make sure we’re happy with the winches. Then we bring in the artist for validation. They then inform us if there is anything different from the previous show and we adjust accordingly.”

WICREATIONS was responsible for building this giant flown mother grid along with all staging and automation elements. “It was an interesting show for us in that although it was Cirque that first came to us with the request, we were dealing with three clients – Cirque, Helene’s Manager and Live Nation,” began Raf Peeters of WICREATIONS. “The production preferred to deal with one vendor due to the complexity of the show. In the same way Solotech were overseeing audio, lighting, and video, we were brought in to take care of all staging, automation and set elements. It also made things simpler for some inter-department collaborations such as the SFX elements with ER Productions along with working with Crystal incorporating the water effect in the mother grid and the stage.”

If t he show wasn’t complex enough, Peeters highlighted the difficulty touring a show through Germany and with the new regulations that are now in place in the country thanks to the new safety norms in the DIN EN 17206 legislation.

“T he new regulation has defined better what SIL3 requirements are needed for stage machinery and when it comes to automation you now need a very specific safety-related control system,” stated Peeters.

“T hankfully, our company has been working in accordance with these regulations for some

time now, putting us in a good place. It also made us able to take care of some very specific requests from the Cirque.”

Crew Chief, Pieterjan ‘PJ’ Nouwynck was tasked with overseeing the build from day to day. Due to the scale of the show, PJ had a team of seven with two additional crew members aiding with the load-in and -out. “It’s a beast of a stage and everyone involved can be very proud of their contribution,” he remarked.

There were three different types of lifts – an upstage chain hoist lift, a mid-stage toaster and a downstage scissor lift. “The mid-stage personal lift needed to be compact and lightweight whereas the upstage lift needed to be able to deal with 1.2 tonnes of weight.”

WICREATIONS also provided an automated video screen that functioned via an actuator system that revealed and hid the band as well as acted as an entrance for Fischer’s husband, who performed a few aerial acts with her.

Meanwhile, there were eight performance winches in the roof, along with a further five to move a kinetic ring element used in the opening act of the show. “We also have two winches downstage on the mothergrid for the B-stage for several moments,” explained PJ.

While PJ was going through the elements of the B-stage, TPi couldn’t help but ask, where

exactly was the B-stage? “It is ‘created’ during the intermission of the show,” explained Peeters. “Cirque was keen for there to be a ‘human move’ where the B-stage would be built. It took a great deal of planning and coordination with the security staff to ensure we could move the stage into place, as it must be aligned perfectly with the roof. We’re happy with the outcome.”

The show marked a first for WICREATIONS in delivering everything as a total package. “Usually there is another vendor involved doing the staging or winches. WICREATIONS is not just a fabrication company but it has mechanical and structural engineers working full time. It is a different approach to others in that we can jump on any engineering issues immediately and give customers a confident answer to anything that involves the structural integrity of a show.”

PREPARATION IS EVERYTHING

Due to the complexity of this set build, the production drafted in the help of Wonder Works to aid in the technical drawings of the show. “Our first conversation was with Cirque du Soleil’s appointed Technical Design Director, Simon Lachance, to start creating CAD drawings for the show,” stated Rebekah Hanbury.

“W ith the three different highlight configurations, we ended up creating three

different CAD packages for each. In these CAD drawings, we outlined not only set build but also all the aerial looks and SFX.”

Esteniah Williams oversaw the creation of these complex CAD drawings. “We ended up creating some large files showing all the various moves in the rig as it was useful for the entire team to see every moment during the show. It was an interesting challenge as there were a lot of ideas to bring together and it required constant communication.” As well as providing an imperative service in terms of visualising the look of the show, Wonder Works went one stage further using its animation team in the office to create a sneak preview of the show before it hit the road. “We took Esteniah’s CAD drawings and used Rhinoceros 3D: Rhino to give Live Nation a video file, so fans could see what was in store for this incredible production,” Hanbury said.

“B ringing in Wonder Works was one of the best moves we made,” enthused Lachance. “Their knowledge of the European market was vital and their detailed plans of all the key moments of the show was vital when it came to storyboarding to keep everyone in the loop.”

LET THE WATER FLOW

Within the entertainment world, if there was a list of elements most productions would wish

STADIUM TRIO

to avoid, many would give the top spot to water. However, over the years, Cirque du Soleil has bucked this trend, incorporating water into several of their acts. Helene Fischer’s latest production took this to a new level with a water effect that could create images within a cascade rain effect produced by Crystal.

“Crystal has been providing fire effects for the touring industry for a long time,” began the company’s Business Development Director, Ysabel Vangrudenberg. Up until this point, Crystal had supplied its fire and water effects as a manufacturer, selling them to other suppliers or productions. “We design and build our products in-house and can offer tailor-made solutions for the creative teams and quickly answer the demand,” continued Vangrudenberg. “We already worked for Helene Fischer tour in 2017 for which we designed and built a unique water dress.”

The effect deployed for this production was what the Crystal team refer to as a Pixel Fall. Looking after the system on the road on behalf of Crystal was Astrid Coral and Stijn Lerat. “It’s much more than a waterfall or water curtain; it’s a display on which you can have images,” outlined Coral.

“T he PLC of the system interprets the pixels of the image stored onboard and transfers the information to the solenoid valves. These 800 small solenoid valves integrated into the circular Pixel Fall system in the mother grid reproduce

the images with the water, playing with the speed and frequency of the opening and closing of the valves.”

Cr ystal took a more hands-on role with this tour, acting as a direct supplier and providing a crew to look after the system on the road. “As much as we had supplied tours with equipment, we never took to the road with a project,” Vangrudenberg explained. “The preparation and complete integration of the effect and the team was a significant difference. There were certainly some challenges, but it has been a successful learning curve for us, and being on tour has allowed us to understand the challenges productions face in more depth and enable us to design even better tourable systems for the future.”

Both Coral and Lerat were new to the world of touring. In fact, Coral’s last job saw her install a water feature in Vietnam – the largest of its kind in Asia. “It’s been an adjustment, but we’ve learned a lot through the tour and our build times are always getting quicker,” she commented.

The circular Pixel Fall system comprises five modules that can be quickly assembled and dismantled. “It’s also a closed system, therefore we do not lose water and can use the same water each day,” added Vangrudenberg. “The Pixel Fall is connected to the water tanks that contain the pumps and to the electrical cabinet located under the stage by three hoses. Power and data cable looms of 100m running through

the underworld up to the catwalk with two sets of cables and hoses have been delivered to allow the advanced setup and save time.”

In each city, the production was dealing with 4,000 litres of water that was reused each night and headed to 33° C to avoid adversely affecting the health of performers on stage.

Understandably, the effect required a great deal of collaboration with WICREATIONS. “For Crystal and WICREATIONS, each detail counts to guarantee the best possible effect that will give goosebumps to the audience,” stated Vangrudenberg. “We worked with WICREATIONS to integrate our system into the made-to-measure stage. We’ve also ran tests in their warehouse before fully integrating with all vendors. It was a must-do to ensure a wellintegrated and tourable system.”

NOT FORGETTING THE ROBOT

Before moving on to speak to the audio, lighting and video teams at FOH, TPi had one more stop on the tour of the set, and that was the robot arm in the middle of the arena... Yes, you read that last sentence correctly!

David Evans, one of the automation team, was there to explain how this element came to be utilised on the tour. “It’s a fairly off-theshelf Yaskawa robot arm that you would find in any production line,” began Evans. “You’re more likely to see a spindle motor or paint gun attached to these, but we’ve opted to put a

platform on ours and we strap in Helene for one of the songs during the show.” During this moment, the singer glided through the air with a full 360° of motions controlled by Evans.

The robot was supplied by Ulik Robot Circus. “With the dolly, it all comes in at 2.5 tonnes, so it must sit right on the back of the truck,” continued Evans. “We’ve risk assessed the system in accordance with EM 17206 –the latest standard for stage machinery. As the robot is designed to work in a precision manufacturing setting, the programming is accurate to about a hundredth of a millimetre. When you program the moves of the arm, it is designed within a 3D space and can only ever move within its predetermined parameters.”

Evans explained that the performer is kept safe by a position-based safety controller. “We utilise a safety controller that allows us to create a 3D world whereby we can plot the positions of the stage, the barriers, the floor etc; and so long as we build everything in the same place every show, the system will never permit a collision between the performer and those objects.”

He also cited additional safety controls, integrated in accordance with the EN 17206 Risk Assessment; and a substantial 3-phase UPS protects against power loss in the arena. “We also have a rescue harness that comes down if we had to stop the act and get her off the arm manually. Helene has also been a huge help in integrating the arm, giving us a lot of helpful feedback and memorising the robot

choreography so she can lean into the turns and reduce the stress on herself”

LIGHTING DESIGN

Making his second appearance in this month’s issue, Tim Routledge was brought in to create the lighting design for the show operated by Lighting Director, Dave Wolstenholme. As this production was one part pop show and onepart theatrical circus, Routledge explained the duality of designing for two shows in one.

“We often found that we’d design the show based on the music then would adapt in rehearsals to also emphasise the theatrical dancers,” he explained. “One of the biggest challenges I had was due to there being so much aerial activity in the roof, there were not many options to hang lights in the mother grid.” This required Routledge to find other solutions including fixtures hung off a dasher truss.

One advantage Routledge had in his corner was Wolstenholme, who had toured with Cirque in the past and was very familiar with their world. “I’ve worked with Tim and Lighting Programmer, Tom Young on ELO for several years and with my previous work with Cirque, this was a perfect storm of a show – a shiny pop show with numerous aerial looks.”

Sat at FOH behind an MA Lighting grandMA3, Wolstenholme detailed the design process. “We had a two-week delay just before opening when Helene had an injury and when we got back to the final few days of preparations, Tim was already on Eurovision

Production Manager, Sebastian Pichel; Tour Manager, David Salt; Head Acrobatic Rigging, Matt Horton; Automation Crew Chief, Pieterjan ‘PJ’ Nouwynck.

[which you can read more about on page 22]. I was helping with the final adjustments with the creative team. Thankfully, for the most part we were in a good spot from extensive rehearsals before the postponement.”

As one might expect with such a prevalent water feature on the show, many of the fixtures selected were IP rated. “As well as being able to deal with the water effect, having so many of our units being IP rated has meant we don’t have to do nearly as much maintenance,” commented Wolstenholme.

While the lights all stood up to the punishing environment, Wolstenholme explained how there was a learning curve in that they needed to also deploy IP-rated DMX cable. “There was also a mandate on the tour to only use LED fixtures, which has been great for me due to the consistency of colours.”

Key light was achieved by Robe iFORTE units hung in the diamond mother grid as well as on the dasher truss. “They have been working really well as general key light as well as illuminating the acrobatic looks.” The lighting department used nine RoboSpots to control some of the iFORTE to ensure Fischer was kept illuminated throughout the show.

Also on the diamond structure were GLP FR10s and hundreds of Martin VDO Sceptrons

to emphasise the architecture of the rig. Elation

Professional Proteus Maximus provided beam effects on the roof and the floor. Meanwhile, Robe Spiiders created a selection of looks in combination with the blow-through LED video wall and a sizeable amount of ACME Lighting PIXEL Line IP fixtures. “This has become one of my favourite fixtures in some of my latest designs,” Routledge said. “They create really clean lines within a stage.”

The production also utilised LED Creative tape. “Using LED Creative’s Byte Controller has been amazing as it works as an inbuilt server so we can do a number of effects such as chases without it chewing up our universe data,” Wolstenholme stated.

To light the water feature, CHAUVET

Professional Storm BeamWash 2s overhead and Colorado Panel Q40s Professional IP units were placed on the stage and shot upwards during those moments with Astera AX2 wireless bars covering the B-stage. “The fact they are battery powered and controlled wirelessly meant we could still maintain the control of the look within the need of extra cabling,” he added.

‘Ravey looks’ on the C-stage around the robot were achieved by a litany of GLP JDC1s. Lastly and providing Fischer with that all-

important audience light were SGM Q7s. “She’s really keen to see the crowd and there is quite a lot of interaction, so to be able to light the whole arena was essential,” stated Wolstenholme, going on to praise Solotech’s involvement.

“Having everything from audio, video and lights coming from one place has been nice. If we need something specific, there’s every chance one of the audio companies might also be able to help us out and being able to have one truck come over to aid all three departments if we need anything has also proved useful on several occasions.”

VIDEO INNOVATION

Like most other aspects of the production, the video element of the show certainly pushed boundaries. “We’ve got two new disguise gx 3s to deal with all the various Notch effects,” explained Media Server Programmer, Dan Bond. “One of the most exciting elements on the video side for this show was the use of Ai live background remover, which has been interesting to experiment with.”

Taking real-time camera information, Bond could cut out the outline of the singer, with that information then sent to the LED screens. The blank space around the singer’s images was then filled in by Robe Spiiders on the rear wall.

“It’s another example of what can be achieved when video and lighting are working on the same system,” enthused Bond. “The only thing that holds these collaborations back somewhat is the complex networking that is needed to be achieved and getting two systems to talk to each other. It’s becoming necessary to have a technician on the road where that is their sole job.” Content was created by Lüz Studios and prior to the tour, Bond travelled to the company’s Canadian HQ to work on the show. “I spent several days programming with the Lüz team, with us all taking it in turns to program certain songs. They also brought in a Notch team to create the various effects. It was a great collaboration.”

ROE Visual Vanish 8 was used for the show. “It’s a nice screen and the automation on it has been very effective – the WICREATIONS team have done a great job,” Bond closed.

SPECIAL EFFECT INTEGRATION

ER Productions was brought in to provide an integrated special effects package to sit alongside the already complex staging setup. Speaking about the company’s role in the production was ER’s Mark Payne. Having been approached about the show in early January 2022, Payne worked closely with Cirque Du Soleil’s technical team including Simon Lachance and Tracey Rivard along with Tyler Scallon from Live Nation.

It was an extensive package including ER’s own AT 30W Lasers and eight Kinekts. Also on

the rig were six MagicFX Confetti Stadium Shot MK3s, nine Sparkstats, and 12 Galaxis G Flame units. ER also supplied six 2m custom flame wall units along with a bespoke flame ring around the water pool in the centre of the stage.

“The pool could be filled and drained with water when required. In its drained state, valves can be opened and we could flood the pool with low fog via our HP XLs in seconds,” stated Payne. “To prevent water ingress into the flame ring channel, there was a small drainage channel between the pool liner and the flame ring sections.”

Although WICREATIONS spent a lot of time getting the pool level, the splashing of the dancers during their routine had the potential to cause an issue. “We simulated splashing on the prototype at WICREATIONS, which caused the flame to extinguish. To solve this problem, we needed to purge the water from the flame ring channel. We introduced nitrogen, which is non-flammable, to purge the system. When a section was extinguished, we could quickly activate a solenoid via the console to open the nitrogen valve and blast the water from the flame channel. This would be followed by switching back to propane and reigniting the ring – all done in less than one second.”

As t his was such a busy show with multiple performers on the stage, safety was of the utmost priority for Payne. “We drew a detailed map of all the safety zones around each piece of equipment, and performers movements on stage,” stated Payne. “Our Crew Chief John

Robot Operators, David Evans and Antti Sairenen with Pauline the Robot; The Water FX team of Astrid Coral and Stijn Lerat; Media Server Programmer, Dan Bond; Lighting Director, Dave Wolstenholme.

Thurston worked closely with Helene Fischer, Cirque du Soleil and the creative team. During the early rehearsal period and for the flame songs, all performers walked through each cue, making sure everybody knew what was happening.” In addition, ER spotters positioned stage left and right, armed with E-stop breakers made sure all was clear before arming the system. The crew were also linked with a private radio channel and prior to each cue, spotters would check the area was clear and the equipment was in the correct position and focus before giving the all clear to Operator Jimmy Boucher, who launched effects from an MA Lighting grandMA XT Compact.

It wasn’t just flames, confetti and lasers that ER provided, with the SFX supplier also playing a vital role in the dress gag. During this section of the show, Fischer wore a dress with fabric that extended to both edges of the stage and then billowed in the ‘wind’ with content mimicking the movement on the LED screen creating an illusion that the dress was made of endless fabric. “The Red Dress moment was also an interesting point in the show as it linked lighting, video, the costume department and us as we provided 12 RE5 Fans to aid in the look.”

BRAND NEW AUDIO SOLUTIONS

Our last stop was Fischer’s audio team who were working with the latest sound system to hit the market, L-Acoustics L-Series. As well as being smaller, lighter, and simpler to deploy, L2 and L2D elements provide substantial audio benefits with significantly enhanced power density, consistency over the audience area, and improved rejection.

The system was driven by the new LARAK III platform, which provides 48 channels of amplification and DSP in a 9U touring rack package, enabling high-resolution control and power to each L2 and L2D speaker.

“I’m very happy with the new system,” stated Pichel. “One of the biggest issues we had with the show was always going to be weight and where you’d traditionally hang a PA is the heaviest part of the set. So, having a much lighter system has been a huge benefit. It’s also taken up significantly less truck space.”

System Engineer, Ulf Oeckel shared his thoughts on the new system. “It’s a big step forward in terms of SPL per kilogram,” he began. “The boxes have an impressive output and that’s before you get onto the speed of deployment and the significant weight savings.”

Oeckel has been involved with L-Acoustics for several years and explained how his role as a field engineer is to continue to send information and findings amid the pilot phase of its deployment. “The homogeneity the system has had over the audience has been a highlight,” stated Oekel. “There is a significant improvement of evenness and the balance between the lows and highs. It has really surprised me.”

As well as the impressive sonic output, Oekel explained that due to the speed of deployment of the new system, just three crew were needed to hang it. “We have three of us putting up the system including myself with a left and right PA tech,” he enthused.

Solotech’s John Probyn, Head of Live Productions Europe, was “thrilled” for the company to have been a key partner on Helene Fischer’s tour. “The complexities of the production required a 360° delivery, making us a natural fit for the job,” he commented. “We were especially proud to be the first to use the new L-Series Progressive, Ultra-Dense Line Source by L-Acoustics on tour.”

Having worked with the artist and band for 16 years, Monitor Engineer, Holger Wild now only mixes for Fischer with Monitor Engineer, Jürgen Erhard, looking after the band. “The

most important thing for a monitor engineer is working with an artist that trusts you will do your best. Helene understands how Alex [Spengler, FOH Engineer] and I work and listens to us for the reasons why the audio quality is never going to be as good while she’s flying in front of a PA,” he said.

Holger and Erhard mixed on Yamaha PM7 consoles, while Spengler harnessed an Avid S6L desk at FOH. “The way these desks work with each other makes our workflow more seamless,” stated Wild.

Ultimate Ears UE11 monitors and Sennheiser 965s were once again the performer’s brand of choice for in-ear and microphone solutions, respectively. “She really likes them and they are brilliant,” Wild stated simply. All wireless elements were taken care of by Wisycom.

Although my teenage failings in German language class meant that I found myself unable to discern what was said during audience interactions, thankfully, the internationally shared language of showmanship meant I was gripped from start to finish, wondering what gag or special moment would happen next.

Despite spending the day at the Mercedes Benz Arena, there were still moments I wasn’t quite prepared for – most notably when Fischer partook in a particularly daring trapeze act. This was certainly a production I’ll remember for a long time.

www.helene-fischer.de

www.livenation.de

www.solotech.com

www.wicreations.com

www.er-productions.com

www.crystal.fr www.dartnet.de

www.luzstudio.net

www.pietersmit.com www.efm.global

PET SHOP BOYS: DREAM WORLD TOUR

Synth pop pioneers return to the touring circuit with a theatrical stage show backed by a talented group of musicians on stage and a pragmatic crew behind the scenes.

Words: Jacob Waite

Photos: Martin Thompson Photography and TPi

No stranger to a tour itinerary, Pet Shop Boys have been enthralling live audiences with their signature blend of genre-defining hits for the best part of 40 years. Fresh from their co-headlined Unity Tour with New Order, the Dreamworld Tour descended on Primavera Sound before arriving at OVO Arena Wembley for a sold-out show – fittingly in the same suburb as the duo’s first ever live show.

“Like I said the last time TPi visited us on 2017s Electric Tour [TPi #211] ‘You never say no to the Pet Shop Boys’ – we do everything in our power to figure out a way for a dynamic production like this to work to present a fantastic experience for audiences,” began Thomas Stone, now assuming the role of Tour Manager, following the retirement of Andy Crookston. “I’m filling some big boots, so I’ve brought on Gareth Russell to handle the bulk of production management duties.”

Vocalist, Neil Tennant and keyboardist, Chris Lowe teamed up with Production Designer, Tom Scutt; Stage Director, Lynne Page; Lighting Designers, Bruno Poet and Matt Daw; along with video content design outfit, Luke Halls Studio to develop the show.

Stone worked alongside the team to transform the production design from paper to the stage. Stone and Russell’s primary responsibilities involved ensuring the production was ‘show ready’ before doors opened to swathes of hardcore Pet Heads. “This is a show with high production values within budgetary constraints, so we eke out as much as we can to create a spectacle

that fans will remember,” Stone underlined. “Importantly, this production design is scalable and tourable.”

Vendors included: CSE Crosscom; Flying Saucers Catering; Freight Minds; Neg Earth Lights for rigging, lighting, and automation; Phoenix Bussing; Really Creative Media (RCM) for video; Sarah Vallins Travel, Solotech for audio; Stagetruck; and TAIT for staging and set design. “We challenge suppliers to get the best show within the set parameters. Our relationship with account handlers allow us to ask those awkward questions and call-in favours where required,” Stone explained.

As well as staying true to longstanding relationships, Pet Shop Boys tours are renowned for providing a pathway for new talent to progress. In 2010, the duo presented the My Generation Award at TPi Awards. On this tour, the team provided Production Assistant, Georgia Keavey and Junior Set Carpenter, George Fenton an opportunity to hone their craft on the road. “As individuals in senior positions, we’re conscious of demonstrating a pathway for those looking to make their first steps in the industry and providing them with the tools to get started,” Russell stated.

“I was provided an opportunity at a young age, so we try to do the same where we can,” Stone added.

“I didn’t know this role existed until I started,” commented Keavey, who was affectionately referred to as ‘tour mum’ by the crew. “I see myself as the intermediary between production, tour management and the artist,

Tour Manager, Thomas Stone and Production Manager, Gareth Russell; Junior Set Carpenter, George Fenton; RCM’s Bjorn Parry, Jake Stebbings, Jamie Cowlin, Chris Williams, Roberto Esquenazi Alkabes and Dylan Marsh; Head of Wardrobe, Frank Strachan.

handling logistics, hotels, travel and overseeing the day to day. I’m referred to as the ‘tour mum’ because my role and approach is maternal. I’ve spent the past few weeks straddling the varying demands of New Order and Pet Shop Boys, which has been a challenge. However, having toured with them for months, I’ve learned the nuances of how the camp operates and I’m enjoying every minute of this colourful, busy, and enjoyable tour.”

Head of Wardrobe, Frank Strachan oversaw the shopping, fittings and put the wardrobe together under the creative direction of the band and Scutt. “Neil and Chris have such a good idea of what they want and how they want the show to flow. The evolution of the costumes on both sides of the show are relatively simple – big, bold pieces that you notice, but not huge changes for us. Neil keeps the same jeans and top, most of the time and we change the top layer. He refers to this as ‘a show of coats’.”

Headwear, masks, and hats have been a mainstay of Pet Shop Boys’ live shows ever since the release of 1993s Very. “They always have amazing hats, and this show is no different. Tom [Scutt] created the iconic masks, which are genius and work nicely.”

St rachan added: “What I love about this show is every person I talk to is so excited about it. I enjoy seeing fans lose their inhibitions or turn up dressed head to toe like Neil or Chris.”

The show closes with an iconic Pet Shop Boys look from the beginning of their career with Neil draped in a long, black coat and Chris donning his signature ‘BOY’ cap, leather jacket and grey hoodie. “It’s simple but effective, and a beautiful way to end the show, despite being a thick heavy coat for Neil to wear,” he laughed. “It’s great to be back with the crew. The social aspect backstage is amazing; I feel at so ease in anyone’s company, which is a testament to the team built by Tom and Gareth.”

‘GOOD NIGHT FOR ALL INVOLVED’

RCM has toured with and supplied Pet Shop Boys video requirements for over a decade, with a headline Glastonbury appearance last year marking the 10th anniversary of their partnership. representing a radical departure from convention, the production design moved into an LED-based show from 2022, with the Dreamworld Tour including IMAG and an automated wall featuring over 200 sq m of blow-through ROE Visual V8T LED panels and 5,500 nits-emitting FantaLED PixelBrick LED products on Chris’s keyboard riser.

“W hen a show goes out for a reasonable time, we end up with custom racks and systems for them and they come back in for pit stops and refinements. After the US leg last year, we streamlined the control package,” commented RCM’s Nick Dew.

“T his show is very theatrical, which is fun – I feel right at home,” Media Server Engineer/ Video Technician, Roberto Esquenazi Alkabes said – flanked by Video Crew Chief, Jake Stebbings; Racks Engineer, Bjorn Parry; LED Technicians, Dylan Marsh and Chris Williams.

“M y day typically starts at 8am, where we gauge what the power situation is, set up our video racks and build the upstage wall. Once that’s up and going, we build the mid-stage wall, IMAG screens and 16 rotating screen arrays created by TAIT [to reflect 16 beats in a bar], which we need to power and cable individually, as well as the PixelBricks in front of Chris’ riser and cameras, so it’s a busy day.”

The pre-rendered video content featured few live elements with dynamic content and effects, which was laid on top of the IMAG feed. Video processing was achieved by Brompton Technology processors for the PixelBricks, Colorlight processors for the arrays and ROE Visual Evision processors for the IMAG, midstage and upstage screens. Two video matrixes and three disguise solos, two with SDI card

inputs, the others with 4K Displayport outputs powered visuals.

“T he visual content and see-through screen is engaging and there is a cohesive storyboard from start to finish, which makes for an eyecatching show,” Dew remarked.

Two primary cameras were situated at FOH for the IMAG feed with four Mark Roberts Motion Control robotic cameras on stage capturing the action.

“I ’m trying to make the look of the show less formulaic and make the cameras breathe and sing more, rather than it being a static show. It’s a fun night out, so I want to reflect that in the type of shots we’re getting,” said Video Director, Jamie Cowlin, who was linking up with the band for the first time since assuming Camera Operator responsibilities on 2009s Pandemonium Tour. “Automation helps punctuate some of the looks we strive for and breaks up the canvas of the show. This is a ‘greatest hits’ show with massive anthems, which I grew up listening to, so it’s a good night out for all of us involved on and off stage.”

‘SYMMETRY AND CHOREOGRAPHY’

“It’s always a pleasure operating the lighting for Pet Shop Boys,” Lighting Director, Jon Barker said, undertaking his third tour under the creative direction of Poet and Daw. “The blending of video and lighting is visually appealing on this tour. There’s lots of depth and interaction between the visual departments to reflect a very theatrical design.”

According to Barker, the show breaks into four acts. First, the band is in front of the screen with teases of light through the translucent screen. In act two, there is a reveal where the video rises on Kinesys. Act three sees the return of the screen with Neil traversing the length of the stage, backlit by video with no light, before the screen rises for a big on-stage moment. During the encore, the screen lowers

PET SHOP BOYS DREAMWORLD

THE GREATEST HITS LIVE TOUR

GOING THAT EXTRA MILE ...

again for the final two songs. Barker operated the show on MA Lighting grandMA2 hardware and software with two full size consoles and two NPUs. “This tour was put together prepandemic, so we specified a universal system we’re all literate in,” he explained.

He identified Martin Professional MAC Aura XB wash lights and Ayrton Khamsin spot fixtures as the ‘workhorses’ of the rig, split across two trusses. Left and right ‘lighting ladders’ (three per side) comprised Ayrton Ghiblis with GLP JDC1s and Line 500s providing additional ‘punchy and strobey’ looks. Each custom TAIT array was lined with VDO Sceptron 10s and boasted Wahlberg Design DMX winches and built-in GLP JDC Line and Astera Helios units.

Spotlights came in the shape of GLP JCD1 Strobes. TMB Solaris Flare Jr panels fit in perfectly within the head of the on-stage lampposts to recreate streetlight effects.

The set was trimmed low, around 9m from the stage to account for the automation looks. Lighting fixtures were colour matched with the video, with colour presets programmed into the console by Daw.

“T here’s a lot of symmetry and choreography built into this production design, which is a convention of Pet Shop Boys live shows. This show grows over time and is very dynamic. There are some nice reveal moments, I like the cut through of the lighting

fixtures through the LED screen.” Two MDG theONE units, smoke dollies and Viper foggers provided a base layer of atmospherics for the visuals. Ideally, the untraditional hot weather in the UK aided the strength of haze despite the improvement to AC systems in venues post-pandemic. “Too much haze reduces the brightness of the screen, so I find more machines at lower intensity is the perfect balance. It’s A Sin is a particularly smokey track, which looks great,” Barker noted.

He went to to praise Neg Earth Project Manager, Lindsey Markham; Crew Chief, William ‘Frosty’ Frostman; Dimmer Technician, Jake Saunders; and Lighting Technicians, Matty Barnes and Holly Brightman, who oversaw two Robe Forte followspots.

‘THE BACKBONE OF THE SHOW’

FOH Engineer, Holger Schwark has mixed and designed the sound of Pet Shop Boys live shows since 2006. “We first moved onto DiGiCo consoles in 2009 and haven’t looked back. For this tour, we used DiGiCo Quantum 338s. I love the ergonomic nature of the console, its surface, lighting, the accessibility, and readability of the new OLED displays. I enjoy mixing the show on this console –particularly the custom fader layers, which ensure I get the things I need at my fingertips.”

When Schwark began mixing Pet Shop Boys, there were fewer musicians on stage,

which meant there was more on track. “This show has always been on multitrack, with single instrument tracks or stems. It could feasibly be vocal to track, but it wouldn’t sound as good, due to factors like the acoustics of arena venues. Depending on how much low-mid a venue can take – I can create more excitement in the mid-range and upper mid-range with the vocals sitting on top.”

Pet Shop Boys live shows have always had different layers of keyboards on separate tracks, as Schwark points out. “The addition of the band on stage from 2016 onwards has been great fun for us as an audio team. A lot of what Neil and Chris play is very similar to the original releases – they sample themselves from the original multitrack records, so we hear audio that sometimes has been programmed and put together 20 to 30 years ago. There’s a lot of audio history on this show with a blend of old and new material,” Schwark added.

“In preparation for this show, we match the sound stems. Two percussionists play a combination of drum sounds like snares and hi-hats, and trigger loops on electric drum kits. Although that could be created using multitrack, it has a different energy when it’s performed live – it’s more fun and the micro timing of live instrumentation adds another layer of energy to the show. Keyboard sounds are split between Chris, Clare Uchima and multitrack, with playback providing most

kickdrums from track – which I appreciate as a mixer because it provides a fundamental base to work from.”

Schwark harnessed snapshots for everything that is consistent such as tracks and electronic signals for percussion. “I use snapshots as a starting point per song, while everything Neil sings is mixed by riding the faders manually,” he commented. “I often use EQ to sweeten some of the tracks, which date back decades.”

Although the show is crammed with hits, some of the songs are not performed in their original tempo and are constantly updated and modernised, while staying true to the used audio elements and artistic preference within

and AVID MADI interfaces to run AAX-DSP plug-ins with minimal latency in Pro Tools, along with recording the shows for virtual soundchecks. I get everything I need with these systems.”

Wembley marked t he crew’s first show with a d&b audiotechnik GSL system. The PA featured 18 GSL8 and GSL12 loudspeakers per side on the main hangs, 14 KSL8 on the side hangs, eight KSL-SUB as flown subwoofers, a sub array of 15 SL-SUBs, a centre cluster of two V8 and V12 per side with eight Y10P loudspeakers as f ront fills, powered by D80 amplifiers w ith A rrayProcessing.

“T he rear rejection is sent from heaven and provides me w ith flexibility to t ailor t he mix to

I have heard in this room, which can be acoustically challenging.”

While the industry has endeavoured to make the stage a controlled space for monitor levels by removing guitar amps and replacing them with Kempers and shields around drum kits, Schwark theorised that by cutting all the sound on stage, there is a radical departure of visceral feeling for performing artists, which is why he decided to incorporate four Meyer Sound Ultra-X40 speakers on stage to create directional audio and the feeling of hitting a traditional drum kit, despite the musicians on stage using an electric one.

“It creates more depth for the front few rows of the audience – it sounds bigger, powerful and 3D. For this tour, we switched to Shure Axient Digital to lessen the latency for the realtime feel of monitoring. All this digital gear can stack up latency, and the more real-time it feels – the better the performance is,” he concluded.

“A lthough I’ve inherited this setup, it is one that I would have chosen myself. DiGiCo is my console of choice because I can personalise the desk to my workflow,” Monitor Engineer, Lewe Redlin said, who was also mixing on a Quantum 338 console. “Each IEM mix is individual with the band using a mixture of JH Audio Roxanne, 64 Audio and Ultimate Ears in-ear monitors. There are also four ambient microphones, which I bring into focus when the audience responds.”

Redlin described Pet Shop Boys as “a huge part” of his formative years. “It’s a fun show to mix and it’s a cool, tight-knit camp, which is very relaxed. Solotech is also a great supplier and source of comfort. I like working with [Project Manager] Martin Connolly and they provide a great service and support on the road,” he said, praising the on-site support of System Engineer, Joseph Pearce and Audio Technicians, Jonny Buck, and Jackson Akers.

Playback and Keyboard Technician, Alan Pollard walked TPi through the raft of band-

owned gear, including Logic Pro X playback software and two systems with DirectOut Technologies MADI redundancy switchers, which allowed him to distribute timecode to FOH and displayed a musical score for Chris and instrumental changes for the musicians on stage. Dubbed by the crew as the ‘backbone’ of the show, everything that made a sound came from Pollard’s rig, aside from vocal microphones and Neil’s acoustic guitar, which was switched in and out by Backline Technician, Sara Ferrero.

The rig featured Roland plug-ins, remote screens, keyboards, and mice for programming during rehearsals with 80 lines of MADI to cover the whole band, minus vocals. “I grew up listening to Pet Shop Boys, so it’s an honour to be working with them,” Pollard remarked.

‘CONTINUED INVESTMENT IN THE ARTS’ Stage Manager, Ross Burkin, helped orchestrate truck movement as well as navigating the load-in and -out.

“Every gig is different, especially when you’re turning up at festivals with four trucks worth of sensitive kit which isn’t meant to be left outside. We regularly battle the weather and problem solve as we go along. This venue is tight in the wings, but we have the luxury of space for the load-in and -out, which is ideal.”

In regular contact with all department heads, Burkin found the tight-knit nature of the camp as a key component to the success of the tour. “Gareth and I have worked together for the past five years, so we understand each other’s workflows. There’s a good working and friendship dynamic within this camp, which is important as you spend a lot of time together.”

Having been kept busy amid the pandemic with Amazon and supermarket deliveries, 17-year Stagetruck veteran Lead Truck Driver, Neil Wilson Gray, supervised the movement of six trucks worth of equipment driven by Andy Rackham, Dougie Miller, Jon Pridmore, Neringa

Nark and Lukas Derblich. Fresh from three festivals in Europe with a UK show every other day, including one overnight from Liverpool to Leeds, Gray admired the lengths production had gone to ensure that routing was as pain free as possible.

“B rexit has had an undoubted effect on touring. We had to stop at either side of customs in Calais and Dover to do the carnets, following a show in Paris, so the days overnighting from London to Europe are long gone. After London, we’re off to Dublin, which requires another carnet, so there’s lots of paperwork involved, but it’s good to be back, seeing old and new faces. There’s a nice family dynamic on this tour,” Wilson Gray commented.

Looking out from FOH as the band wrap up another successful show, it’s clear that the duo’s latest touring campaign is not only an homage to Pet Shop Boys’ back catalogue as a pioneer and omnipresent component of electronic music, as culturally significant hits like It’s A Sin and Being Boring have also garnered a newfound importance among a younger and socially conscious audience amid an era of streaming.

This was something that was picked up on by Stone, who believes the show is not only reflective of the duo’s 40-year career but a testament to their “continued investment in the arts,” he concluded: “The Pet Shop Boys appreciate the hard work that the crew put in, and every single member of this camp goes above and beyond.”

www.petshopboys.co.uk

www.csecrosscom.co.uk

www.flyingsaucerscatering.com

www.freightminds.com

www.negearth.co.uk

www.phoenix-bussing.co.uk

www.rcm.tv

www.solotech.com

www.stagetruck.com

www.taittowers.com

EM ACOUSTICS: SCIENCE IN THE SERVICE OF ART

Borne out of a collective passion for music and technology, EM Acoustics was founded by high school friends, Ed Kinsella, and Mike Wheeler in April 2002. Now famed for creating solutions which move air particles for multiple markets, the Cranleigh-based company began life as a fledgling rental, recording and manufacturing outfit. “After 18 months, we realised we didn’t have enough kit to be a rental company and not enough demand for recording work, so we decided to focus entirely on the loudspeaker design,” Wheeler recalled. It would go on to be a wise decision some 21 years later with the company having registered its most profitable year to date.

Af ter spending most of his university holidays working for a local loudspeaker manufacturer, simultaneously selling his own formative creations to his student union in the early 2000s, the idea of creating a loudspeaker company was something which appealed to Wheeler. “After talking my student union into investing in my loudspeakers, I naively thought – with the confidence that you can only get aged 21 – that I understood everything about how the industry operated, but I couldn’t have been more wrong…”

Wheeler now devotes the lion’s share of his time at EM Acoustics to overseeing the

engineering and drawing of creations, as well as the operational side of the business, while Kinsella focusses on acoustic design.

“W hen you start something like this from scratch, your face is so close to the grindstone, you don’t always notice how far you’ve come,” Kinsella said. “It is nice to take stock and realise how we’re diversifying the business model to cater for a range of markets, which helps inform the core business.”

Like most companies, work ground to a halt in the summer of 2020. Wheeler recalled the sudden realisation that any back-up or parachute ideas the company had amid the COVID-19 pandemic were no longer viable.

“Sadly, we had to make people redundant, which I hope I will never have to do again. While we take the business seriously, we don’t take ourselves too seriously, and everyone who works here is considered a friend. Having to let close to half the company go at that point was not fun.”

There was, however, the luxury of time imposed by the lockdown. With an unprecedented amount of freedom, EM Acoustics improved internal processes, explored new revenue sources, and experimented with technical solutions for the aerospace industry. The product that emerged

from that research now represents a significant part of the company’s success and helps fire the broader R&D process.

“As well as the devastating effects of the pandemic, we had the space to consider our mission statement and the freedom to explore new and emerging technologies and markets,” Kinsella reported. “Whenever you are exploring the limits of technology, you get a better understanding of what is possible.”

Wheeler looked back on milestones within the company’s portfolio. “The first product with market attraction was EMS-81, which began opening doors for us. It’s 12-inch brother followed, which led us to form a relationship with Autograph Sound and talented sound designers like Greg Clarke,” he stated.

“It became apparent early on in my usage curve that something special was happening at EM Acoustics. There is a healthy, clear, and demonstrable ethos to the operation, and an uncommonly strong moral compass which guides the product portfolio,” commented Clarke – who is now involved with the outward messaging of the brand and remains a source for Wheeler and Kinsella to cite when it comes to market trends.

“M y parallel life as a sound designer can be quite solitary – working with EM Acoustics is a

Meet the tight-knit team powering the proudly independent British manufacturer – where championing local labour and demonstrating why ‘science in the service of art’ is at the forefront of loudspeaker design.

Words: Jacob Waite

Photos: EM Acoustics and TPi

collegiate exercise, which I love. It’s a brand in which I fundamentally believe.”

Clarke first specified EMS-81X boxes w hile designing a system at Bristol Old Vic. He recalled first hearing t he compact t wo-way multipurpose loudspeakers in action. “ The system just sounded beautiful. I hadn’t heard small boxes perform so well before. Using EM is now a f undamental part of my being able to create as a sound designer. I’m not just familiar with the tools; I also understand their c apabilities and strengths, and I am able to communicate preferences and honest feedback f rom t hose operating in t he field.”

Having curated the beginnings of a family of small, passive t wo-way speakers, EM Acoustics expanded its remit to include arena/ stadium-scale solutions w ith t he introduction of a horn loaded subwoofer.

“The Q uake provided us w ith inroads into ex port in t he United States, G ermany, and our first bite at rock n’ roll, w ith Q uakes touring Eu rope w ith Nine Inch N ails and Nightwish,” Wheeler recalled. Subsequently, t he company focussed on t he smaller, passive products.

“We began a working relationship w ith Sound By Design in Woking, which resulted in the creation of our first stage monitor, t he M -12.”

The H ALO line array systems followed, and t hen t he first product in t he Reference Series (the R10) was released just before t he COVID-19 pandemic struck.

“ There isn’t enough money in t his industry for our products to not be f un,” K insella noted.

“T he idea w ith t he Reference Series is to provide end users t he ability to enjoy and har ness an intuitive system, alleviating stress, meaning that engineers can have an enjoyable show using w hat m ay be a house r ig. Even if they h aven’t used our products before.”

This t heory was put to t he test at Worthy Farm in 2022 w ith EM Acoustics’ products making t heir m aiden appearance on Gl astonbury’s Acoustic stage. The c all c ame th rough from an engineer telling us of the opportunity and although we k new t he system was entirely c apable of performing in t he environment, it was not an area where we had a g reat deal of experience, so we hesitated. Then, we t hought of our 22-year-old selves getting t he s ame phone c all and it became im possible to s ay no!” W heeler exclaimed. T he original system deployed was a l arge format H ALO-A line array, u nderpinned by Qu ake subwoofers. R10 and R12 models performed f ront, out and side fill d uties, and a full stage monitor r ig completed t he package.

“We h ad a brilliant response f rom engineers who used t he system – everyone was h appy, so we were invited back. T his year, we deployed broadly t he s ame system but experimented with a delayed sub array to smooth the coverage out and used R12 loudspeakers as m ain outfills. Being invited back means something went well, which is more of a testament to the box design than us,” he said, modestly. T he response f rom engineers and acts at t he 2023 festival h as, W heeler reports, been “universally positive”.

Glastonbury h as also proved an im portant research mission for t he founders.

“Understandably, t here c an be a reluctance from customers to divulge areas where we need to m ake improvements. It’s valuable to understand ourselves where we can make upgrades and t he best way to do t hat is by being in t he field, sometimes literally, and having to t roubleshoot, particularly in m arkets where we h ave less direct experience,” W heeler said, explaining how t he Reference Series was born out of desires and suggestions made by engineers operating in multiple environments.

“ Ultimately, Ed and I k now a lot about t he physics of our product, but h aving deployed a

The E and M in EM Acoustics – Ed Kinsella and Mike Wheeler.

system at Glastonbury, we can see how some of the tweaks we make can be beneficial in real-world scenarios.”

Kinsella added: “You really find out the ergonomic nature of a speaker when they’re thrown onto a truck!”

With demand for loudspeakers greater than ever, EM Acoustics has garnered a broad range of customers, particularly in the live entertainment and touring sector.

“It is a market we’re approaching tentatively as speaker design is ever-evolving and fast-paced, but it remains a career goal and aspiration of ours,” Wheeler reported.

Hoping to bridge the gap and leave behind a legacy in the pro audio world, EM Acoustics will continue to take on and learn from opportunities by putting its systems through their paces, according to its founders. “We will continue to invest in designing, developing, and creating solutions based on market desires,” Wheeler explained. “As sound systems get more complicated, the technical

support for a ‘big, small company’ like ours means growth while maintaining our ethos and identity,” he added.

In closing, Kinsella reviewed the company’s mission statement of ‘putting science in the service of art’. “I’ve never believed that there is a real distinction between science and art – a good scientist thinks artistically, otherwise they are just crunching through spreadsheets,” he commented. “Science is making nature the subject of your considerations and trying to find elegant ways to quantify things. There’s no point in just being a dreamer. We want to create good and reliable products that are equally fun and practical.

“After 21 years, there’s still a lot of progress to be made and work to be done, which doesn’t yield itself to computer horsepower. That said, it will be interesting to see the influence of artificial intelligence,” he concluded. “Fundamentally, in the words of Duke Ellington: ‘If it sounds good, then it is good.’”

www.emacoustics.co.uk

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Partner: Sahara Benelux

Artist: Cindy Lo

GLOBAL MOTION

As an extraordinarily busy summer of live events, arena and stadium touring gets underway, the time-critical world of touring logistics has never been under more pressure, yet two decades on from its formation, Global Motion is celebrating a feat of independence, as TPi discovers.

Following his departure from another agent, Global Motion Director, Adam Hatton, started trading immediately thanks to great relationships and his expert, intricate knowledge of the global touring industry. Hatton’s background in freight came from outside of touring, having originally worked in the aircraft on ground (AOG) industry.

“Every minute an aircraft is on ground, it is essentially costing an airline money so, as you might imagine, it’s a pressured job. It’s an industry where you are always late in the client’s eyes, so the live and touring world is much more pleasant in comparison!”

Af ter 20 years, it’s impressive that Global Motion has remained entirely and proudly independently run, with Hatton firmly at the helm alongside a notable roster of clients

including Coldplay, Ed Sheeran, Sam Smith, Chemical Brothers and Fontaines D.C.

According to Hatton, the reason for the company’s sustained success is keeping in mind that “this is a people-led industry.”

He elaborated: “There are a few companies that could do what we do but the PMs and TMs working for these bands have such specific needs, that they want to work with those who understand those requirements and speak the same language. Everyone who works with us knows we’ll give 100% to any job and do whatever we can to get it done.”

Part of this ethos means Hatton’s phone is never off. “Even on flights these days you can still keep in contact with clients,” he confirmed.

Of course, Global Motion is far from a one-man operation, with the company now employing a network of hard-working staff – including a senior team comprising John Corr, Grant Hollingsworth and Sara Gleadhall –alongside a network of trusted global partners.

Like many businesses, Global Motion had to utilise the UK government’s furlough scheme in 2020, but since the live entertainment

industry’s healthy progression, the company has grown.

“We provide storage for some acts, which gave us some income during 2020 and 2021, but the nuts and bolts of the business dried up overnight,” said Hatton. “We knew we would be the last industry back, which was a depressing realisation, but we managed to survive and come out the other side, and there has been an exciting bounce back with several stadium shows happening simultaneously.”

The recovery has come with some significant challenges for those working in the freight forwarding world. “We give the worstcase scenario when we are budgeting a show now, as sea freight is still not operating under normal schedules and airfreight costs in some territories remain very high.”

Hatton went on to explain two recent challenges Global Motion has faced in the past year. During Coldplay’s South American tour, the shipping line twice re-routed vessels. Hatton recalled: “We were able to persuade the shipping line to reinstate the proposed missed ports of call. And due to an unreliable sea freight service without multiple changes between Freemantle and Houston, during Ed Sheeran’s tour, the decision was made to charter a vessel that ensured control over the arrival date and gave us an opportunity to consolidate additional shipments,” he said.

Despite some unavoidable negatives, Hatton remains positive that the market will settle down when it comes to such travel issues. “Our side of the industry has always had to keep an eye on geopolitical situations, from 9/11 to the war in Iraq, which had some knockon effects, but nothing compared to COVID-19. That said, I think that things will become more predictable in the near future.”

With the return of touring, the team at Global Motion have been keen to recruit more people. Global Motion’s Sara Gleadhall, shared her perspective: “When we are bringing new people into this side of the industry, there is a great deal of education that needs to be done. This job simply isn’t for everyone,” she commented.

“People must understand how critical the work of freight companies is for a tour to

As independent entertainment vendor Global Motion reaches its 20th anniversary, TPi sits down with Director Adam Hatton to learn about the company’s origins and to get his take on the current issues facing the global touring industry.ry.

Words: Stew Hume

Photos: Belinda Enthoven

function. It’s a hidden side of the industry. We’ve been on a mission to find the right people for the job – some of whom might already be working in freight but are looking for career progression. When we bring on a young person, our main goal is to give them as many opportunities as possible.”

Bot h Gleadhall and Hatton explained how new recruits are given real world exposure to the tours the company works with. “The aim is to have a great depth of staff who can help provide a service around the world, with staff overlapping on each leg so we can rotate

project managers and always have multiple people on the ground. Having more people on the project means we can work smarter, supporting various departments on the tour.”

Hatton gave an example from the latest Coldplay tour when he was overseeing a load in of multiple sea freight containers and had a junior project manager overseeing the drivers, keeping all lines of communication open.

There are already several younger members of the team learning the ropes who continue to hone their craft with the likes of Coldplay and Ed Sheeran’s sizeable tours, yet Global Motion

also supports acts of all sizes and at various points in their careers.

Ou tside of music, the wider entertainment industry benefits from Global’s vast worldwide territory knowledge. “We continue our work with Riot Games,” closed Hatton, who cited the scale of logistics that go into the ever-growing world of E-sports as quite impressive. “The last show we worked on for them had 53 53ft trucks – a mind-bending amount of video!” he recalled.

Even after 20 years, there are still surprises when it comes to moving things from A to B. www.globalmotion.com

THE RISING IMPACT OF DRONES

With large-scale drone shows becoming increasingly sophisticated and popular, TPi tracks down some of those at the forefront of this rapidly developing sector to learn about the latest developments in the world of drones and how they could impact the live events industry.

Although they are still a relatively new phenomenon in the lineage of live events, drone shows have appeared on their fair share of live productions over the years, including a few that have featured in our pages. In fact, way back in 2016, my first ever TPi cover story was Muse’s Drones tour, which saw giant spheres flown around an arena by micro drones flying over the crowd. In the years since, companies such as Verity made a major impact on the market, collaborating with bands including Metallica, where a swarm of drones flew around the band.

As impressive as these two examples were, they are still a far cry from the largescale drone shows that we’ve seen at events including Coachella, the Coronation Concert and the Eurovision Song Contest in recent months. These spectacular aerial displays utilise 3D software in tandem with drones fitted with programmable LEDs, turning the open sky into a blank canvas for a multitude of dynamic patterns and images. When it comes to creativity with this new technology, the sky is literally the limit.

At TPi HQ, much of the development of drone technology has been covered extensively in TPiMEA, with the Middle East being one of the forerunners in adding this element within large-scale shows. However,

with numerous companies in Europe, UK and America investing heavily in the technology, it seems like only a matter of time until drones become an ever-present part of large-scale productions all over the world.

LESSONS FROM THE PAST

Those specialising in the world of drones often draw parallels between the emergence of drones and the introduction of the moving light. “When Vari-Lite brought out the first moving head, it came out onto a show as a whole package and was more of a special effect than part of the lighting rig,” explained Marco Niedermeier of AO Multimedia & Drones – a company that has made tremendous strides within the Middle East market when it comes to drone shows after getting its start as supplier of large searchlights including the enormous FALCON fixture.

The Vari-Lite comparison is interesting as drone technology seems to be following a similar trajectory, with drone shows requiring a specialist team on-site and during the creative design process.

“There are certain companies working within the drone space that are effectively manufacturers providing productions with equipment. However, I believe to see real progression within the sector, we need to

collaborate closely with the events industry,” mused Niedermeier, explaining why AO also has a side of its business that focusses solely on the design element of the show.

Niedermeier is not the only one in this space that sees the potential in the drone market. Enter Nils Thorjussen, CEO of Verge Aero. Based out of Austin, Texas, Thorjussen is one of the originators of the Wholehog lighting console – which aimed to give lighting designers the power to efficiently control a full lighting rig – a mentality he is now bringing into the drone world.

“The goal of the Wholehog with its effects engine was that you could press a button and quickly programme moving lights to create effects that previously might have taken hours,” he recalled. “It’s a similar problem with drones. With Verge Aero, our aim with the integrated hardware and software package is to streamline the user experience so designers can focus on bring creative and have the software handle everything else for them.”

Thorjussen said that one of the early roadblocks they had faced as a company was designers seeing the drone as a one-off gag rather than something that could elevate an entire performance. “It’s a frustrating opinion,” he admitted. “It’s almost like getting a moving light, using it for one show then deciding you’ll

Words: Stew Hume

Photos: AO Multimedia & Drones, Bjoern Lauen, Celestial, Electric Airshows and Verge Aero

go back to par cans. However, that perception is starting to change, and drones are without a doubt here to stay.”

INDOOR VERSUS OUTDOOR

It’s important to note that there is a real division between indoor and outdoor drone shows. “You have to see them as two different industries as they are two very different types of technology,” explained Thorjussen.

“For an indoor show, you have several different safety considerations as you are flying so close to people and there is no GPS under a roof, so an alternative positioning system must be used. Outdoor shows, meanwhile, bring regulatory concerns such as the FAA in America, which controls airspace.”

There is no way of talking about drones without touching upon how regulations affect those working in the field. “There were certainly fewer regulations in the Middle East compared to other regions,” admitted Niedermeier, while explaining why the region, along with China, became a hotbed for development in drone shows. “There has been a lot of education in multiple territories when it came to drone legislation. For example, when we first started speaking to the authorities in Dubai, we had to explain that when it came to a 100-drone show, each craft wasn’t flown manually by a pilot.”

Film & TV

MILLENNIUM STUDIOS

The European law covering drone shows is only just coming into effect, but amusingly within the legislation there is a remit that anyone piloting a drone show must prove they are able to fly an individual drone.

“In Europe, drone swarm pilots fall under an A2 licence, compared to an A1 drone licence, which is really for hobbyists,” stated Niedermeier, while talking about the latest European regulations. “There still isn’t specific legislation around drone pilots, so those who operate shows still must prove they can fly an individual drone. It might not seem like a big deal, but it’s time consuming.”

One of the bigger issues facing companies is the lack of consistency between regions. “All the regulators are tricky in their own way and there is no real uniformity,” stated Tony Martin of UK-based drone art company, Celestial.

These regulations may present headaches for those working in the field but according to Chris Crockford from UK-based Electric Airshows, they are a necessity.

Crockford, a well-known figure in the event production industry having been the lighting designer for the acts including The Lighting Seeds, said there have been two third-party known drone light show crashes in the UK so far. “I’d estimate that there have been fewer than 100 drone light shows in the UK to date and two of them have involved crashes,” he said. “It’s not a good record. Each drone is an aircraft and needs to be treated accordingly. We certainly need to move away from control systems built on crowd-sourced freeware.”

He expressed that these tightening legislations will hopefully mean fewer people working in the field that could put people at risk. “The possibility of less conscientious operators flying ‘under the radar’ is a genuine concern. It may happen on smaller, private events with fewer drones, rather than larger events with a more robust paper-trail. In such cases, the biggest risk would be to public safety. People with say, 20 drones, could watch YouTube and fly shows without the experience or thought needed. The key thing is the in-flight separation; if that fails and drones collide, you have a shower of electronics, parts, and lithium-ion batteries. The closer the show to people, the higher the likelihood of harm.”

Crockford highlighted some potential red flags on the horizon.

Verge Aero CEO, Nils Thorjussen; The Celestial team on site at the Eurovision Song Contest 2023; Marco Niedermeier of AO Multimedia & Drones; Electric Airshows’ Chris Crockford.

Martin Audio, Meyer Sound, Bose and Bosch ProSound

“People have already invested considerable sums in drones,” he observed. “This technology will soon degrade, and be replaced by newer, smaller, faster technology. People will fly older drones which will, eventually, fail in flight. You must look at the drone industry in general to see how quickly technology is being miniaturised and how quickly this year’s new technology becomes last year’s old news.” One thing to consider, according to Crockford, is how drones will perform over a run of shows.

“At Electric Airshows, we have been working with our manufacturing partner to ensure the longevity of the system, so that you’re not having to swap out units on the second or third show of a 20-night run. Most drone light shows have been run as one-off events to date and performance and longevity of the system as a whole is an area we have been focussing on.”

TECHNICAL INNOVATION

While drone technology has certainly come along way, most companies TPi spoke to seemed to suggest that we are still in the very early stages of where the technology needs to be. “There are a lot of products currently in the marketplace that are not too far off the ‘hobby’ market,” stated Martin.

“Right now, I’d compare the technology to a Game Boy when we need to get to the PS5. That said, we’re doing an impressive and fascinating thing within the limitations and we’re looking to

keep pushing and innovating.”

John ‘JP’ Partridge, Production Designer at Celestial, continued by making the point that although there was room for improvement, much of the wider industry underestimate what can be achieved with the technology.

“Many clients still have this misconception that a drone show is limited to eight minutes, but this isn’t true,” he commented. “Not only is the battery life of drones getting longer and our technology flying more efficiently, we now have capability for multiple swarms that can seamlessly take over from one another and options of charging a swarm during a show. This would move drone swarms from a single gag effect into a preeminent tool for a performance.”

WHO SHOULD WORK WITH DRONES

It’s not only new technology that is needed in the field but people, too. Despite only trading for two-and-a-half years, Celestial has gone from a team of five to 50. You’d be forgiven for thinking that when recruiting new team members, Celestial would be looking for those with a background in flying drones, but in fact there is a far more important skill they look for.

“You need people with live events expertise,” stated JP. “Working on a drone show is more akin to being a lighting operator or production technician. It’s all about fault finding, problem solving, and everything is networked and run on Wi-Fi. A background in live events also helps

people understand that the show needs to happen precisely on time and accurately sync with the wider production.” In fact, Martin and JP come from the live events world. The former, a lighting and show designer back in the day, while JP went from being a full time production tech at PRG to an established touring lighting designer. The duo cited their events experiences as a key driver for their success.

“We did the performance for the Eurovision Song Contest – one of the biggest drone shows ever to happen in the UK,” stated Martin. “Others didn’t see the any option to place the drone take off grid and ruled the show “not flyable”. Whereas we successfully devised a solution for taking off from a nearby urban location, utilising a comprehensive staging system to navigate around any potential obstacles. Our background in live events and in house knowledge of temporary structures meant we saw a solution that others didn’t.”

While all the experts TPi spoke to come from corners of the globe, one statement that all repeated was that ‘drones are definitely here to stay,’ and with the number of large-scale performances that seem to be looking at them as an addition to their shows, you can see why they are confident in this opinion.

www.ao-technology.com

www.celestial.show

www.electricairshows.com

www.verge.aero

MOTHERHOOD AND TOURING

“I can’t justify encouraging young women to consider a career in the live music industry without addressing the fact that having a child could effectively end your career,” began Bryony October, FOH Engineer for Ward Thomas and Katie Melua. The latter artist was currently sitting next to October nodding along profusely in the grand setting of Birmingham’s Symphony Hall – hours before doors opened to punters keen to hear some of the singer-songwriter’s latest material, along with hits from Nine Million Bicycles and The Closest Thing to Crazy. At a cursory glance, as the crew set about putting the final pieces in place, this tour seemed much like most others. However, a closer look at the bus passenger lists reveals this tour is travelling with two people under the age of three.

For Melua’s latest outing, the singersongwriter had opted to bring her seven-month old son, Sandro, out on the road with her, taking inspiration from her long-serving FOH Engineer whose young son, Jesse, was also joining the

crew on the tour – a decision the two mothers agreed sent a strong message to the wider touring industry.

Long-time readers may remember that October and her partner, Jake Vernum, spoke to TPi almost a year ago about the struggles of being new parents while both still working in the live events industry [see TPi #268]. During that time, October explained how she had brought her son out on the road with her, sometimes with Vernum coming along to handle parental duties and also recruiting her mother to take on childcare duties.

Both during that interview and again when TPi spoke to October in Birmingham, she explained how she felt that having a child was career suicide, as an extended break from the road would mean that clients new and old would simply stop calling.

“I ’ve had nothing but positive feedback since that article last year. People seemed delighted and surprised that this was happening as it was a concept that was

seemingly impossible for the crew at least. I feel I’ve given women a bit of hope that having a child doesn’t have to be a career ender,” reported October.

“B ryony has been a huge inspiration for me to take the leap into motherhood,” explained Melua. “Admittedly, many of my close friends are either full-time mothers or successful businesswomen who have nannies helping them raise their children. I didn’t know any mothers who toured, so when I saw what Bryony was doing it, it made me feel like I could as well. There really hasn’t been any major differences in terms of logistics on this tour – it just required good communication with the entire team and a choice of which bus to go on.”

The tour featured a family and a crew bus with the crew split between the two. “If any of the band or crew want some peace, they had a choice to go on the other bus, although we have found the family bus is actually a lot quieter,” laughed Melua. “Last summer when Jesse was out with us, we only had one bus, which we kept segregated with Jesse and his carer using the family lounge at the back.”

Short of some logistical bus conversation, October and Melua spoke of various occasions where members of the crew have expressed how pleasant it has been having children on tour. “Duncan on monitors exclaimed to me after a few days how positive it felt to see such smiling faces every day,” stated October.

More importantly, October and Melua described the impact it had on the female crew. “Tamazene who was our support for this run along with Ruby who is doing all our VIP duties and Belinda Best who was covering lighting duties have all said that having Bryony and I bring our children out with us was so inspiring and something they hadn’t thought would have been possible for them,” enthused Melua.

However, despite the positive impact their presence had on the camp, Melua did divulge that she’s had some backlash online.

“T he other day someone messaged me on Instagram saying that ‘not having a routine is bad for children and they should always be

Singer-songwriter Katie Melua and FOH Engineer Bryony October discuss how they balance life and motherhood on the road, and share reasons why bringing a child on tour is a realistic option more productions could look into.

Words: Stew Hume

Photos: TPi and Ruby Gaunt

with their mother’.” October added: “I think it’s amazing that our children will grow up getting to see their mothers work and do what they’re most passionate about.

“For me to keep my 25-plus-year career going rather than just being sat at home with him means everything to me – especially my mental health. Neither Katie nor I would be comfortable leaving our children at home for a six-week tour; it’s far too long to leave them and we are both breastfeeding.”

Melua disclosed how having her son on tour had been such a grounding experience for her as a performer. “I think being a mother on the road has meant that I bring a better version of myself to my work,” she stated. “For example, if I was a bit nervous before a show, I would feed my son and it would just ground me – the gig was not as important as this human life and it put everything in perspective.”

It was interesting to w itness first-hand how a touring family could so easily welcome two youngsters on the road. It’s not unusual for a large stadium or arena band to sometimes have family rooms for visiting children of artists, but to have a twobus theatre tour with infants on board which didn’t negatively affect and often enhanced t he d ay-to-day atmosphere of t he tour was quite remarkable.

It begs the question of why this has not happened much before. However, as October pointed out before we parted ways: “If this industry really wants to be more diverse, then some tough questions must be answered – namely, how a woman’s touring career does not come to an abrupt end if she decides to have a child.”

www.katiemelua.com

NRG SPOTLIGHTS STUDENTS AT EUROVISION

Megan Parry and Ben Ashfield of Cheshire College South & West and Liverpool Institute for Performing Arts (LIPA) students, Adannae Okeke and Peter Bird reflect on their involvement in the Eurovision Song Contest as followspot operators, courtesy of Next Robe Generation (NRG).

What first sparked your interest in NRG?

MP: “I first found an interest in the NRG programme during my first year in college while visiting PLASA Leeds. Being able to see all these job opportunities really excited me!”

BA: “With CCSW partnered with NRG, we get great opportunities to work with Robe and regular NRG workshops.”

AO: “The world and lighting is changing. With RoboSpots taking over at so many fantastic and large events, it allows the operator to work in such a different way. There’s no more hanging from trusses or harnessed in awkward places in the depths of theatres and arenas. Being a part of NRG allows me to play a part in that change.”

PB: “I have been aware of Robe for several years, but it was only since I joined LIPA that I found out about the NRG programme. I first joined when I had the opportunity to do an initial RoboSpot training session and found out about some of the opportunities it could offer students. Ever since becoming a member, I have had so much support available for the Eurovision technical placement and I’m really looking forward to future opportunities that may become available through NRG.”

How did you land the role and how did it feel once you received confirmation?

MP: “I landed this opportunity through the

RoboSpot Training set up with NRG. It was amazing to work with Tim and to learn about how followspot roles are showcased in the live events and TV industry. I was inspired to work on Eurovision as I have been a fan of the competition for quite a while. It was so exciting to work on a show that the likes of Måneskin and Mika have competed in!”

BA: “We had a workshop with Robe and Tim Routledge. They came to our college with NRG and we did our training on the Robe spotlights; it was great to rig and set up the spotlights and the operating system and we did some test runs showing Tim our skills in operating the Robe spot. It’s such a huge event and it’s a once-in-a-lifetime event with it being in Liverpool and the size of it.”

AO: “It all started with an introduction with Robe coming into LIPA to do an NRG workshop on the RoboSpots. Tim Rouledge himself, came to LIPA to introduce the equipment to us and talk about the kind of work that he does. It was pretty breathtaking to see his work in all its glory because what he does with light is incredible. I’ve always watched Eurovision for the past few decades, so to be hand selected to join the team by Tim Routledge was an honour and a privilege. Eurovision is watched by millions of people all around the world.”

PB: “During the Robe RoboSpot training session at LIPA in January, we were lucky

enough to have a lighting design for a television lecture by Tim Routledge. It was during this that I first met Tim and found out he was looking for some NRG students to take with him as followspot operators. A few weeks later, I received a call from my lecturer at LIPA telling me I was given the chance to be a stand-by operator. I was absolutely overjoyed, and even more so when I received an email from Tim shortly after explaining that an extra placement was available, giving me a spot operator position on the show. Eurovision has always been something that has brought people together through music.

“As soon as I heard about the opportunity, I was immediately drawn to being part of a team I knew would create visually stunning performances for a prestigious international event. Being able to play a role in such a huge show that celebrates creativity was a major inspiration for me to get involved. Having the chance to work and gain experience from some of the biggest names in the industry was a big factor in wanting to take part.”

What did you learn working with Lighting Designer, Tim Routledge?

MP: “It was very exciting. He was so welcoming and wished us good luck before every show.”

AO: “Anything is possible. He works so fast and hard to get everything done. What

Words: Jacob Waite

Photo: NRG

the client wants he goes above and beyond to make it happen. When you think about how something is possible, before you know it the arena is filled with the most beautiful lighting designs that the eye could see. You really had to be there to witness it.

“I would love to work with Tim again, if ever given the opportunity. Eurovision was such an eye opener and experience that I am now considering lighting design for my second year at drama school.”

BA: “I learned so much from Tim, he’s a real inspiration and I enjoyed working with him so much showing me all the desks used explaining how it all works it was incredible.”

PB: “I found it insightful to hear his thought process when making changes to lighting sequences and to observe how the design of certain sections changed as rehearsals progressed. It was amazing to see the attention to detail that goes into his designs and how the team collaborated to make the vision come to life. It has been such a privilege to have the opportunity to work with such an esteemed lighting designer.”

What advice would you offer others looking to follow in your footsteps?

MP: “Be yourself, work hard and strive for big opportunities.”

BA: “Step up, always be prepared, show confidence and care about what you do.”

AO: “Just do it. If you have a passion and a want for something, then don’t hesitate to make it happen. Talk to lots of people. Ask for advice and tips. You never know what your full interests are until you have that hands-on approach and positive attitude.”

PB: “Grasp every opportunity that comes your way, you never know what it might lead to. I believe you’re more likely to have things come your way when you make contacts, start networking and be in the right surroundings. For instance, I wouldn’t have been given this chance if I didn’t go to LIPA.”

Could you sum up the experience?

MP: “The whole experience for me was truly a dream come true. It felt unreal to be working on Eurovision with so many people watching from all over the world!”

BA: “It felt unreal. I can’t believe I was a part of this show which brings the world together. It was incredible!”

AO: “Thrilling, exciting and surreal. Being surrounded by so many wonderful and talented creatives, I was in awe that I was in such an incredible moment in history. It was a once in a lifetime opportunity and I am so proud of myself for getting through it. It was something different and new, but I truly felt like I belonged. This is the avenue I was always meant to pursue, and I am extremely excited for what the future may hold.”

PB: “It was an incredibly surreal experience. It was a mixture of excitement, pride, and a sense of being part of something truly special. Having the chance to work with some of the best people in this industry at the top of their respective fields has been such an honour and something I can’t quite believe has happened. It was an unforgettable experience that I will cherish for a lifetime.”

Fo r more information about NRG, contact:

EMPLOYEES

CIPD qualified, contracts, handbooks, policies, procedures, appraisals, performance issues everything in - between

SUBCONTRACTORS

Terms conditions, IR35 legislation advice, OISC L1 immigration law qualified ( Creative Worker Visa )

HEALTH & SAFETY

NEBOSH qualified, tendering, method statements risk assessments

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SENNHEISER EW-DX

Where does EW-DX sit among Sennheiser’s wireless offerings?

“The goal for Evolution Wireless Digital is to cover all application scenarios and use cases that our analogue evolution wireless G3 and G4 series caters to, being our most successful wireless series to date. Looking at the systems from a user perspective, EW-D has been designed for musicians and performers who need to be their own sound engineers, EW-DP for filmmakers and videographers, and EW-DX is targeted at pro users, no matter whether they are working in the music and event industry or in education and corporate settings. From a portfolio perspective, EW-DX sits between the flagship Digital 6000 series and EW-D.”

How is EW-DX equipped to deal with issues facing tours heading out on the road?

“EW-DX is a digital system and has been designed to emit as little intermodulation products as possible. The switching bandwidth is up to 88 MHz, enabling the transmission of up to 146 channels and up to 293 channels in Link Density mode in an equidistant frequency grid. Operators can be certain that they are making the most efficient use of the available spectrum. It is also reassuring to know that the Link Density mode slightly reduces the range, which can be compensated for by the antenna system, but does not compromise the excellent audio quality of EW-DX.”

What hardware options are currently on the market?

“A two-channel EW-DX receiver, a handheld transmitter, either with or without mute switch, and a bodypack/instrument transmitter with either a three-pin or a 3.5mm jack connector. The next addition to the family will be the charging module for the L 6000 rackmount charging unit. Launching later this year are two-channel and four-channel Dante-enabled receivers.”

Which additional features will those operating in touring sector benefit from?

“Even in critical RF environments, EW-DX ensures stable transmission. Audio quality is another important point for engineers. They have described the audio as being transparent, well-defined, and clear. EW-DX uses the purpose-designed Sennheiser Performance

Audio Codec (SePac), ensuring excellent audio transparency from the capsule to the system output. Latency, which is always a factor in digital systems, is a mere 1.9 milliseconds, which is imperceptible in practical application. Engineers are pleased with the operating time of the handhelds and bodypacks with the BA 70 packs, it amounts to approximately 12 hours. They also like that they can rely on the display for the remaining battery life in hours and minutes. We have also received very positive comments about the Bluetooth sync, which

is much more convenient for them. You do not longer need to crouch in front of your rack when you want to establish the RF link. EW-DX is currently being used on tour with Culcha Candela, A Girl Named Tom, and Anthonia Edwards, among many others.” www.sennheiser.com

Dr. Oliver Schmitz, Head of Music Industry Portfolio at Sennheiser, overviews the company’s Evolution Wireless Digital family and the EW-DX microphone system.

Photos: Sennheiser

Dr. Oliver Schmitz, Head of Music Industry Portfolio at Sennheiser.

SHORT-TERM IMMIGRATION SOLUTIONS FOR CREW

Fragomen Associate, Jasmine Jackson and Paralegal, Milosz Skorupski outline the short-term immigration solutions for production crews and support teams.

for entertainers and musicians who are part of a live production if they remain employed by an overseas company and the project is being financed overseas. The exemption in the UK Immigration Rules will allow them to partake in an artistic live event. Similarly, production, personal or technical team members are permitted to undertake activities related to the arts if they are employed overseas and are accompanying and supporting a performing artist, entertainer, or musician.

To c arry out the above-listed activities, a certain group of nationalities (so-called ‘visa nationals’) will be required to obtain a Visitor Visa. Applicants for this visa must be able to satisfy the Home Office that they genuinely intend to partake in permitted activities, have access to sufficient funds to support/maintain themselves and will leave the UK at the end of their visit.

As t his is often the most challenging part of the visa application process, applicants should prepare several supporting documents showing personal and economic ties to their home country, an employment support letter confirming their assignment and evidence of funding associated with the trip.

deemed creative and related to the arts. To be sponsored under this route, an individual must identify a UK employer who holds the relevant licence to sponsor under the TCW route. If not, the UK employer must apply for a sponsor licence which can be a document-heavy and lengthy process (applications can take up to 12 months, extendable for a further 12) and therefore something to factor in before being work-ready in the UK.

St andard processing times for this application are three weeks and applicants must submit an entry clearance application from overseas (it is not possible to switch into this visa route). Initially, an overseas crew member may be sponsored for a period of up to 12 months, extendable for further 12 months with the same sponsor.

In t he event an individual is required beyond the maximum 24 months this visa permits, they will have the option to switch to the Skilled Worker visa from within the UK.

CREATIVE WORKER VISA CONCESSION

To the delight of audiences following the lifting of COVID-19 restrictions, live events are back in full swing in the UK. Given the international crew composition for these events, those responsible for production roles who are non-UK residents will typically enter the country via either the Visitor Visa route or the Temporary Creative Worker (“TCW”) route.

VISITOR VISA

Visitors are permitted to stay in the UK for up to six months but cannot undertake any paid or unpaid work for a UK company unless a specific work permit exemption applies. If you organise a festival or cultural event, and your event is on the Home Office’s list of permit free festivals, for example, Glastonbury, then your performers will be able to enter the UK as a Visitor and will not require sponsorship. Exemptions also exist

Applicants should also note that the standard processing time for a Visitor Visa is three weeks from the date of a biometrics appointment. Priority services might be available and they will be required to submit their original passport as part of this process (thus hindering any interim travel). Nationals not included in the visa list can also travel to the UK for up to six months, however, they too are still required to meet the Visitor Visa requirements and may be questioned at the border about the nature of their activities in the UK. Both groups of nationals must be familiar with the permitted activities for visitors to ensure compliance with UK Immigration rules.

TEMPORARY CREATIVE WORKER – A SPONSORED ROUTE

The TCW visa is a short-term employment solution for individuals working in the live entertainment sector whose role can be

For non-visa nationals who wish to work in the UK for a maximum duration of three months, the Creative Worker visa concession is one of the most time, admin, and cost-effective processes. Prior to arriving in the UK (this can be anywhere between three months to one day ahead of arrival), the UK sponsor will need to issue a Certificate of Sponsorship (“CoS”) which costs £21 and outlines the individual’s prospective employment details in the UK.

Once at the border, the individual will present the CoS alongside their passport and the immigration officer will place a work permission stamp in their passport. Given the fast-paced and multi-location nature of the creative sector, this concession is a favourable solution for those who require a temporary work visa at short notice.

As outlined, international crew members working on live events have several available routes for entry into the UK, but advanced planning and proper documentation are key to help avoid issues with entry or allowable stay. www.fragomen.com

Words: Jasmine Jackson and Milosz Skorupski Photos: Fragomen

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COMPREHENSIVE RELIABLE CONNECTORS FOR LED PANELS

THE COLOURS IN-BETWEEN

Lighting Designer, Raquel Rosildete shares details of her intriguing study into how LDs might better light for actors with darker skin within the theatre world, and speculates on some of the lessons it could set for the wider events industry.

Having first studied to be an architect, a chance encounter with a friend saw Raquel Rosildete drawn into the world of theatre lighting in 2011. Since then, she has walked the line between architectural lighting and theatre design. Based in Berlin, she enjoys the ability to flit between these two worlds, but like many lighting specialists, the COVID-19 pandemic saw all her shows come to an abrupt halt. During the lockdown, the German government launched a grant research programme to support the arts. Rosildete saw this as her opportunity to explore a subject that had been on her mind for some time –how to illuminate people of colour correctly in theatre and dance, and the representation of dark skin on the stage.

“A few years ago, I was working on a theatre production where the main protagonist was a black man,” stated Rosildete, outlining the inspiration for this project. “The other main actor in the shows was a white, blonde haired lady and I really struggled the whole time to get the lighting right. I was frustrated as I’d been working in lighting for 10 years and yet I wasn’t able to illuminate someone with my very own skin tone.”

Rosildete scoured t he internet to find any ad vice as to how to light people with darker skin tones to no avail. “There were plenty of articles from t he photography and film world but next to nothing from theatre – it was disappointing.”

Af ter taking notes from some of the research done on photography and cinematography, Rosildete conducted some lighting experiments on her next project w hich saw her light a theatre production with 10 women – all w ith different skin tones. “ That last ex periment was before t he pandemic, but w hen the grants were announced, I knew I had a great basis for an application.”

Successfully obtaining the grant, Rosildete set about conducting t he first phase of t he project, experimenting w ith different filter colours to test how the colourful light would interact with the skin. Using one colour from one side and a distinct one from the other, the light forces a contrast on the body that white

light c annot produce. T he texture, forms, and movements of the dark pigmented body were more noticeable on its spatial characteristics. “I did my experiments w ith halogen lights rather than LEDs for this project. On the halogen fi xtures, I used various colour filters photographing and eventually filming t he results,” she s aid. “ There were multiple findings, including those with very dark skin tones being lit much better with very saturated colours.” One of t he main findings Rosildete outlined was how different skin tones react to light. “Since the Colours In-between project, I request that I do colour testing on all the performers I work with to know what works best for their skin tone. This means I don’t have to experiment w hile I ’m on site in rehearsals and can have everything pre-programmed –especially for a solo performance.”

Rosildete shared her hopes of what impact this project may make. “The fact is people know this is an issue and people of colour have always been misrepresented in pictures and on stage. People have been very receptive when I request we do colour tests and the performers have commented that it’s great that people are looking at their skin tone and wanted to represent them properly.” She also commented how she’d been overwhelmed with the response since the release of the project and hopes that Colour In-between could act as a consultancy brand, pushing for more focus on lighting people correctly.

Although Rosildete’s project was focussed on the world of theatre, it’s easy to see how this t ype of work would also be beneficial in li ve touring. It is why she is interested in doing a similar experiment w ith LED, w hich may produce findings t hat are of better use to large touring lighting rigs.

“I t hink the biggest achievement is that now if someone searches online for ‘how to light people with darker skin in theatre’ as I once did, there will at least be something for them to read,” Rosildete concluded.

Yo u can read more about her findings and plans for the future of the project on: www.colorsinbetween.com

Words: Stew Hume

Photo: Raquel Rosildete

Massive IP Battle

KOY NEMINATHAN

Elation Professional’s new Director of Business Development takes the hot seat.

What does your new role at Elation Professional entail?

“I will be looking after new business development and assisting the team to continue the expansion of our distribution network around the world. We want the strongest partners around the world selling, supporting, and training our products, and I hope to play an integral role.”

What attracted you to Elation Professional?

“The people first, as they have been so friendly and transparent about their vision and roadmap. We know that the people you work with make the biggest difference to your output and progress, and I am glad I am working with a group of talented and fun individuals. Then, of course, the products. We have such a wide ranging and detailed portfolio of products which I can get my teeth into.”

How does it feel to embark on this new professional chapter?

“I was told that change is a good thing and that the common phrase ‘change is the only constant in life’ came to mind when making this leap. It was an easy decision yet difficult at the same time. Difficult knowing that I was leaving many good friends but easy knowing that I was going to build something special with my new Elation Professional team. A new chapter brings new challenges, and I am so ready for them!”

What do the next few months have in store for you and the wider Elation Professional team?

“It’s the first time that I have written a ‘100-day plan’ and I intend to do my best to adhere to that. This includes, learning, listening, getting

to know the team internally and visiting our international distributors. I am looking forward to travelling a lot more to see customers around the globe and I’m looking ahead to working closely with my new team.”

Where do you see the Elation Professional brand in the future?

My plan is to ensure that all of our brands stand independently and yet, be the perfect solution when they come together. Lights, control, and nodes make up a significant part of television/ broadcast, live touring, theatre, installation and corporate environments and sectors. I want to ensure that Obsidian, Netron and Elation has a place in those segments.” www.elationlighting.com

My plan is to ensure that all of our brands stand independently and yet, be the perfect solution when they come together.

Koy Neminathan, Director of Business Development at Elation Professional

SCAN! TO ENTER

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