Dido

After 15 years away from the touring circuit, the multimillion-selling English singer-songwriter hits the road with a setlist of era-defining hits and new tracks from her latest album, Still On My Mind. TPi’s Jacob Waite chats to the crew along for the ride at O2 Manchester Apollo.

The last time Dido booked a tour was 2003, following the unprecedented success of smash hit singles Thank You, Here With Me, White Flag and Life For Rent – all of which became ubiquitous during the mid-Noughties. At the time of writing, the singer’s first two records are still among the best-selling albums in UK chart history. Following an intentional 15-year hiatus, the hitmaker returned to the touring landscape with a selection of familiar back catalogue hits alongside some fresh tracks from her latest album, Still On My Mind. Greeting TPi at the O2 Apollo Manchester was Global Touring Office’s Keely Myers, who oversaw both the tour management and production elements. The Tour Director was first introduced to Dido in 2013 by her manager Craig Logan, having offered her services to a number of live performances for TV and radio stations for the best part of six months. “The music industry and live touring has changed dramatically in the past 15 years,” Myers said, reflecting on the operation at hand. “For this tour, Dido wanted to make an impact, so we have introduced a range of cutting-edge technology.” However, having been away from the stage for such a long time, the rehearsal and preparation period was stretched over a longer period to acclimatise Dido back into the rigours of live touring. Thankfully, appeasing financial ramifications was a speciality of Myers’. “To make sure this tour is financially feasible, on the first leg we fit everything one truck and added a 30ft truck on the second leg, which goes into both large theatres and small arenas.” Another challenge Myers faced was ensuring the showcase translated in different markets without compromising all the hallmarks of a Dido concert. Myers commented: “There were a couple of options available to us early on in the design stage, which we couldn’t make work without redesigning different shows and eating away the budget.” The team managed to find ways around it by designing a flexible rig that could deal with the fluctuating venue sizes as well as deal with any potential international fly dates where freighting was not an option. It was important for Myers to maintain the relationships Dido held from prior touring cycles, which coincidentally turned out to be a selection of her preferred suppliers. Neg Earth supplied lighting and rigging, while Liteup handled projectors. J&C Joel provided soft goods, Eat to the Beat ensured the crew were well fed, and Clair Global provided audio – a new vendor specified by Myers. “GTO has a great team on the road,” Myers said. “The support of our suppliers means we can make challenging things come together easily.” Tasked with transporting the kit and crew from A to Z was Stagetruck, one Phoenix bus and one Beat the Street bus. “We’re in a truck and a half at the moment,” commented Stage Manager, Dom Dryburgh, while discussing the logistics of this run. The smoothness of the load in and out was dependant on the venue, Dryburgh delineated. He then pointed out the additional storage at the O2 Apollo Manchester. “Some other venues aren’t so luxurious,” he said. “We’ve geared up according to the spaces we’re at. It has been much quicker in arenas but, equally, some theatres spaces are close to the door, so it’s not too much of a push.”

HURRICANES Dido was interested in expanding the visual elements of the live performance, towing the line between theatricality and intimacy. “She was keen on having some visuals, which was difficult to start with at th eatre-sized venues,” commented Myers. “Thankfully technology has come on leaps and bounds in recent years, allowing us to experiment with various visual techniques.” TPi Award-winning Lighting Designer, Oli Metcalfe was brought onboard to harness his Blacktrax capabilities to create a more immersive experience. The 10-camera Blacktrax system tracked all members of the band on stage, keeping Metcalfe’s hands full. “It’s been a proving ground for me,” Metcalfe began. “Making sure the images line up with the media servers, running the show and operating the Blacktrax – it’s how you’d tour it back in the day.” For Metcalfe, the brief was simple. “The master remit was to give her something that was a little bit more theatrical as opposed to a glitzy pop show with 100 beams across the back of the stage.” Instead, the LD created

more of an organic performance environment, allowing him to be much more theatrical with projection. Generative content was provided by Notch and Blacktrax – the latter solving the issue of lights on the drapes. “I’m familiar with using the technology and this was a nice way of using a couple of projectors in a simple environment with a relatively simple Notch platform within the budget.” Im portantly, the design was adaptable. “For the larger arena spaces, we’ve added two additional projection coils to make eight, stretched out with additional floor lights.” Overseeing the production design as well as the setup, Metcalfe specified 25K Epson laser projectors on to opaque materials hanging on stage. “It’s given some nice openings for stage entrance as well as the accessibility for the band to be behind it,” he explained. “It allows me to focus on Dido. This was essential as the bulk of the show’s narrative is largely focused on her performance.” Metcalfe’s rig comprised of a full LED moving heads setup, comprising a total of 15 Ayrton Khamsin fixtures, 36 Martin by Harman MAC Aura XBs and VDO Sceptron 10s. The latter were flown in 1m sections in-between projection voiles, presenting Metcalfe with plenty of layers and depth of field to utilise. He elaborated: “The Sceptron 10s are backed with 25mm pipes so you don’t see any backdrop,” which were custom bought and fabricated by Neg Earth. Me tcalfe utilised six Elation Professional Chorus line fixtures for sidelight, conscious of being able to control the output so it doesn’t go onto the voiles. “Dido prefers to be lit in a traditional way with key light,” he commented. “There are some silhouettes and moments where she falls into shadow, but when she’s on the mic, she wants to be warmed and well key’d.” The workhorse fixtures of the rig, according to LD, were the Ayrton Khamsin fixtures. “They generate nice colour and their colour control is ideal due to the fact that it’s a well-balanced white source from the LED; it also has linear CTO, which I use for the front light quite extensively.” Lighting vendor Neg Earth has been Metcalfe’s go-to lighting provider for many years. “They’ve given me the opportunity to play with these Ayrton Khamisins and they’re fantastic. I won’t go back to other LED-driven fixtures having used these.” Metcalfe pointed out the efficiency of front truss and reminisced back to two previous shows. “Each fixture only had cumulative 26 hours on it, but when it’s in blackout, the hour meter is stopped because the light engine is off,” he said. “This is efficiency. The whole system is only about 38 amps.” For control, Metcalfe mixed on a High End Systems Hog 3. “I’ve been using High End Systems since the first Hog console,” he commented. Networking was handled by Luminex. “It’s an integral part of Blacktrax tying in,” asserted the LD. “It’s the best networking kit out there for the show environment.” As w ell as manning the tracking, Metcalfe supplied two personal disguise gx1s, which he purchased at the end of 2018 to process a Notch block. “There are two outputs to projection and VDO Sceptron 10; it’s lightweight enough for the media server to manage it.” Notch interacted with Blacktrax to generate a series of abstract and organic looks based on the band’s position. “It’s more subtle than you might expect, but you get a different show every night, based on the vibrancy of her performance,” Metcalfe commented. Metcalfe worked closely with Bild Studios’ Rowan Pitts to utilise Dido’s stage presence on stage as input to Notch’s generative tracking content.

#OwnTheRoom

FOH Engineer, Davide Lombardi; Tour Director, Keely Myers; Stage Manager, Dom Dryburgh; Projectionist, Simon Horn.

Pitts commented: “The main reason for using Notch is the software’s extremely fast workflow and real-time capabilities, which enables designers to change visual content on the fly.” Using disguise gx1s, Metcalfe was able to make slight changes to the colour of various effects, Pitts enthused: “With Notch, you can programme beyond the media server and update content instantly.” Me tcalfe cited Lighting Tech, Luke Radin as “instrumental,” to his delivery. He continued: “I’ve been working with Neg Earth for 15 years and they know the way I do my control system. It means I can not only use it in advance of the tour for programming, but I know what I’m getting in S o uth America and the US.” Summing up his experience, Metcalfe said: “It’s been dreamy to do a two-truck tour with a nice team of people. The main thing is, we’ve been able to deliver Dido a show, which is fresh and simple looks.”

SAND IN MY SHOES Carrying on the visual conversation was Simon Horn, who focused primarily on dealing with video projection. “It’s a bit of a different role to me as I’m used to being behind the console and designing shows,” began Horn. “However, I was really interested in focusing on video and playing around with touring projectors.” The project marked Horn’s first tour alongside Metcalfe. “It’s been quite exciting,” he commented. “I’ve never worked with Blacktrax before. It’s great to examine it more closely and get some hands-on experience.” Horn’s primary challenge was setting up the projectors day to day, which either had to be flown or stacked. “The biggest challenge is sometimes getting the information that you need to work this out and making sure you’ve got the right lenses and angles to cover all the areas,” he commented. The fixtures had to be lightweight yet powerful enough to work in a range of creative spaces. “We were quite specific on what type of projector we needed. It’s quite a bright projector that can also be handled in and out of theatres,” stated Horn, who waxed lyrical about the “amazing” Epson projectors. “These are state-of-the-art laser beam projectors, so they don’t get as hot as some of the old discharge lamp types – a real advantage when it comes to operating them double stacked. They’re nice pieces of kit.” One of Horn’s favoured looks was during the track Sand in My Shoes. “When that kicks in, you see sand falling from the sky and then it runs around her – it looks really cool.” Linking back up with Liteup was somewhat of a reunion for Horn, harking all the way back to his early tech’ing days. “I used to do a load of shows with Director, Marc Callahan and we’ve been friends for years. He’s a good laugh and has been more than helpful on this tour.” Providing Horn with the projection canvas was J&C Joel. The company supplied eight drapes of its Silver Voile fabric to create a seamless, iridescent backdrop for the tour. A 1.8m by 4.5m Silver Voile drape was hung at the rear of the stage, with the production benefiting from its li ghtweight, durable fabric along with its high-quality, translucent and shimmering finish, making it an ideal projection surface.

Lighting Designer, Oli Metcalfe; FOH Engineer, Davide Lombardi, Systems Technician, Alessandro Cestaro, Monitor Engineer, Stefano Serpagli; The Eat to the Beat catering crew.

sonically aware Dido is as a performer, having not toured for 15 years.” Serpagli was struck by the singer’s “supersonic” hearing. He remarked: “If you make any change, she notices straight away. It’s fascinating to work with someone who is so clinical about their delivery.” Th e engineer’s main task was reacclimatising Dido to in-ear monitors, tweaking as the tour progressed. “Her confidence was built-up on the rehearsal periods and has only continued to as she interacts with the audience,” he stated. “On my end, it’s a case of hitting the ambience mics at the right times and creating a balanced mix to make sure she’s c o mfortable. She still pops it out to chat to the audience now and again.” A Di GiCo SD10 was chosen for control, with no plug-ins or effects. “She likes a full mix, which is really satisfying,” the Engineer explained. “You give

her the full canvas and she listens out – referencing the albums a lot – and latches onto those conventions when she’s singing. It’s a nice well-balanced mix with an odd push here and there.” On t his tour, Serpagli opened Dido’s eyes to condenser mic options. “She opted for the Neumann KMS 105s and, with her voice, it’s fantastic – it picks up all the subtleties.” Se rpagli also handled RF scanning and tuning on the road. “Dido sits down on the edge of the stage for one of her numbers, so the biggest challenge was trying to get the RF settled.” Th e Monitor Engineer worked closely with FOH Engineer, Davide Lombardi on the audio front. “We’re both working with the same objective, to make this the best show possible, and we’re quite particular with our packaging,” stated Serpagli. “On this tour, our gear is immaculately prepped with a really good team and service. Having Clair as a worldwide service makes such a difference.” Lombardi echoed these sentiments: “Clair’s service is perfect. We can travel the world and still receive the same package regardless of the region. We also liaise with the same account handler – in this case it was Andy Walker, who has been brilliant and has never said no to anything we’ve asked for.” Walker offered Lombardi the chance to try his hand at a Clair Cohesion PA system. Lombardi said: “I’m up for trying new technologies to get out of my comfort zone. However, it was crucial for me to employ somebody who I’ve worked with before and knows how to fly the system.” Step forward System Engineer, Alessandro Cestaro. “There has to be a strong relationship between FOH and systems engineers – and I’ve certainly got that with Alessandro,” asserted Lombardi. Lo mbardi had to slightly adapt his mix to fit the speakers’ power. “It’s taken me a few shows to get control of the PA. It’s an incredibly powerful system, so there is a lot of low-end and headroom,” he told TPi. “You could very easily keep turning the dial and it’ll give you more and more.” The PA comprised Clair Cohesion CO-10s on the side hangs and main, with 16 boxes of CO-10 per side on the main and eight by eight on the side hangs. “The Clair system flies extremely quick. It’s up and ready to run within half an hour every day,” the engineer commented. “The subs are really tight and I love them – they’re really good.” Lombardi specified an SSL L300. “I love the sound of the SSL, I think it has superior sound to other desks, you don’t need any outboards. Although it’s not very intuitive to use, as a FOH Engineer I need to deliver the best sound quality and SSL helps me achieve that.” During the rehearsals, Dido’s brother, Rollo Armstrong – who is one half of trance titans Faithless – was heavily involved in the musical arrangement. “Having both of them in the same room was an interesting experience,” Lombardi continued. “They know their music inside out and, because they come from the studio world, they’re very specific in detail. We’re talking half a decibel sometimes.” The FOH Engineer said it was “very refreshing” to work with musicians with a detailed approach to their musical arrangement. During the rehearsal process, Lombardi sent his board mix to Dido so she could listen back and make notes. “She wanted to reproduce as close as possible to the album sound, while remaining natural in her delivery.” Lombardi concluded by explaining how much he’d learned working side by side with Armstrong and Dido. “After the first show, they were happy with our delivery so we could relax a bit,” he laughed.

WHITE FLAG With her Manchester show drawing a close with the hit White Flag, the partisan crowd – made up of diehard fans of some 15 years as well as fresher faces to the Dido fold – certainly seemed elated with the performer’s return to stage. “This show surprises people because there are a range of emotions involved as a listener,” Myers summed up. “The set list flows really well – at one moment it will have everyone out of their seats dancing, before transitioning seamlessly to her slower-tempo tracks.” With the artist’s fanbase rekindled and a strong creative team behind her, the British songstress is already set to continue her return to the live stage with an extensive European tour later this year. TPi Photos: Shirlaine Forrest www.didomusic.com www.globaltouringoffice.com www.lmeworldwide.com www.negearth.com www.lite-up.co.uk www.clairglobal.com www.bildstudios.com www.jcjoel.com www.beatthestreet.net www.phoenix-bussing.co.uk www.stagetruck.com

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FUTURE INSIGHTS

The latest product releases and announcements from The NAMM Show 2020.

64 AUDIO

64 Audio has launched the flagship A18 s custom in-ear monitor. Built off the company’s existing 18-driver A18t platform, the A18 s incorporates 64 Audio’s LID (Linear Impedance Design), ensuring a consistent frequency response, regardless of the various sources it’s plugged into – especially relevant for artists today that frequent both the studio and stage. www.64audio.com

LD SYSTEMS

LD Systems, part of the Adam Hall Group, unveiled its new range of ICOA-series active coaxial PA speakers. Due to its coaxial design with rotating, BEM-optimised CD horn as well as the DynX DSP presets, ICOA full range systems are highly flexible, while the BT versions enable wireless Bluetooth streaming to play entire songs or backing parts from a smartphone or tablet. The ICOA series active coaxial PA speakers comprise a 12in and a 15in version and are available with accessories for installation and transport. www.ld-systems.com www.adamhall.com

ADJ

ADJ has launched its new Entour Chill high-output low-lying fog machine, which uses standard water-based fog juice and ice cubes to generate an effect similar to that of dry ice. The latest addition to ADJ’s range of wireless LED up-lighters, the Element ST HEX, has also been released. The Focus Spot 2X is the company’s new moving head fixture, while the MOD STQ is the latest addition to ADJ’s range of LED-powered par-style wash fixtures. www.adj.com FUTURE INSIGHTS

AUDIO-TECHNICA

Audio-Technica has expanded its 3000 Series Frequency-agile True Diversity UHF Wireless Systems with the addition of a network port. The ATW-R3210N receiver now allows network control and monitoring along with the same setup, versatile operation and detailed high-fidelity sound as standard 3000 Series components. www.audio-technica.com

ALCONS AUDIO

Alcons Audio has debuted its new line-array system: the LR24. A three-way, bi-amped mid-size format line-array system, the LR24 is loaded with Alcons’ patented pro-ribbon technology for mid and high frequencies. The system features an unusually high dynamic range with a fast impulse response with up to 90% less distortion. This results in an intuitive linear response, with optimal intelligibility and non-compressed identical tonal balance at any SPL. www.alconsaudio.com

D&B AUDIOTECHNIK

d&b has introduced its new SL-Series subwoofer. The KSL-SUB provides a small, lightweight format that extends the frequency response of a KSL system down to 36Hz. Available in both flown and ground-stacked versions, the subwoofers operate with two forward-facing 15in drivers and a single, rear-facing 15in driver, driven with two-way active amplification. www.dandbaudio.com

DAS AUDIO

DAS Audio has released two new models for its EVENT Series: the EVENT-26A and EVENT-115A. The EVENT-26A is a two-way, symmetrical, se lf-powered line array in a double 6.5in V-shaped configuration that provides uniform 100° horizontal coverage. The EVENT-115A is a birch plywood cabinet, self-powered, front-loaded bass reflex subwoofer that uses a single, 15in, low-frequency transducer specifically designed for use with the EVENT-26A and compatible rigging hardware to be flown. ww w.dasaudio.com

DBTECHNOLOGIES

Upgrading its arrayable loudspeaker offering, dBTechnologies has launched VIO C – a complete series of two-way active line-source speakers. The series encompasses three enclosures housing premium neodymium components (VIO C12, VIO C15 and VIO C212). Designed to create horizontal or vertical line-source arrays and featuring a simple yet rapid rigging system, VIO C is equipped with latest-generation 1,600W RMS Class D Amp module Digipro G4, driving a powerful DSP. www.dbtechnologies.com

DIGICO

DiGiCo has revealed its new generation of Quantum consoles as well as an immersive in-ear mixing expansion. The all-new Quantum338 is based on s eventh-generation FPGAs and includes 128 input channels, with 64 busses and a 24 by 24 matrix – all with full channel processing. While the new in-ear mixing expansion, the DMI-KLANG, can be mounted directly into DiGiCo consoles, equipped with DMI slots. The first hardware product si nce KLANG and DiGiCo joined forces, the DMI-KLANG can deliver immersive mixes of 64 inputs for 16 musicians from a single device. www.digico.biz

ELATION PROFESSIONAL

Elation Professional has revealed the Smarty MAX, Fuze SFX and Paladin Cube, Brick and Panel fixtures. The company has also released new water-based hazer, Magma Prime; high-volume snow machine, Crisp; and advanced series of IP65-rated UV LED lighting, Prisma. Obsidian Control Systems has revealed Neutron, which encompasses Ethernet to DMX gateway, DMX splitter and DMX/RDM splitter solutions; pixel composer, DYLOS; and ONYX lighting control software. www.elationlighting.com

L-ACOUSTICS

L-Acoustics has launched the new Kara II modular line source, with the addition of Panflex, giving Kara four-in-one directivity. Morphing to fit any design, the line source offers consistent coverage and SPL distribution with precise focus in four different directivity patterns: 70° or 110° symmetrical and 90° asymmetrical, steering to either the left or right. The company also debuted its new LA-RAK II AVB flyable touring rack, offering 12 channels of amplification in a 9 U frame. www.l-acoustics.com

POWERSOFT

Powersoft has announced the latest update to its audio system management software, ArmoníaPlus. HealthPlus, which replaces the software’s previous ‘Events’ tab, gives sound engineers a streamlined monitoring environment of all elements in a given sound system with improved communication, control and reporting. The new software is available now for all ArmoníaPlus users. www.powersoft.com

RCF

RCF has extended its range with the release of the three-product TT 4-A series. TTL 4-A (line array), TTW 4-A (wide dispersion) and TTP 4-A (point source) are equipped with two 10in LF woofers and high-performance 4in compression driver on a rotatable/swappable waveguide. The TTL 4-A waveguide is 100° by 25°, the TTW 4-A offers 100° by 50° dispersion and the TTP 4-A is 60° by 25°. All models are powered by two 1,600W Class D amplifiers. www.rcf.it

SENNHEISER

Sennheiser has introduced the new Link Density (LD) Mode for Digital 6000. The new LD Mode significantly increases the number of links that can be operated in congested RF environments, meaning up to 40 links can be accommodated in an 8-MHz TV channel in Europe, and up to 30 links in the smaller 6-MHz TV channel in the USA. www.sennheiser.com

SENSAPHONICS

Sensaphonics has released its 3DME Music Enhancement IEM system. This new concept from ASI Audio x Sensaphonics adds powerful sound sculpting tools to Active Ambient technology, combining universal-fit ambient earphones and subcompact bodypack mixer with the powerful ASI Audio smartphone app. Features include a seven-band stereo equaliser and limiter and the ability for settings to be saved as presets for future recall via the app. www.sensaphonics.com

WAVES AUDIO

Waves Audio has launched the Waves FIT Controller for the eMotion LV1 Live Mixer. Aimed at live sound engineers who prefer the tactile response of faders, knobs and buttons for console operations, FIT is an intuitive control surface designed to function as a fully integrated 16-fader bank with the LV1 mixer. This is made possible with 16 + 1 motorised 100mm faders, each featuring Mute, Solo and Select buttons, a multifunction rotary control and a bright display for each channel. www.waves.com

The next generation of wireless mics