Muse: Simulation Theory World Tour

MUSE SIMULATION THEORY WORLD TOUR

Heralded for their groundbreaking live shows, Muse returns to Etihad Stadium in Manchester, with a science fiction inspired live spectacular, harnessing cutting-edge touring technology, as TPi’s Jacob Waite discovers…

Torn straight from the pages of a Philip K. Dick science fiction novel, Muse’s Drones tour showcased the technical innovation of live touring. Four years on, the band has further pushed the boundaries with Simulation Theory World Tour, a production influenced by the dynamic realms of science fiction, simulation hypothesis and the band’s latest VR-themed album. During the height of Mancunian summer, a sodden TPi arrived at Etihad Stadium to lift the lid on the technical cogs and crewmembers behind the feat.

PRODUCTION

Brought in following Muse’s Drones tour in late ’16, Production Manager, George Reeves was embarking on one of the few grandiose tours that he’s witnessed from conception to inception. Speaking from the production office, Reeves wound the clocks back: “It’s almost been two years since the initial planning conversations,” the PM began. “We started the tour in US arenas in February, but it was always meant to become the global stadium show that it is today.”

Asked about the catalyst for the tour, the PM explained that the artists adopt a hands-on approach. “Matt is really the driving force of the tour,” he said. “As a technically minded individual, he is very involved in the process and works directly with the creative and technical team from start to finish.”

Despite the preparation, the PM explained that the camp had an “incredibly short” amount of time between finishing the US run and embarking the stadium tour, with only four days of production rehearsals in Prague to “modify the show” from arenas to stadiums. “It was very aggressive timescale. However, we were prepared for a larger rig and although it has been difficult to load-in and out with all the rain, the result has been excellent,” stated Reeves.

“I am relatively new to the Muse camp and we have selected some long time Muse vendors as well as some that are supporting the band for the

first or second time. Touring worldwide at this scale and technical level requires vendors to preform above and beyond and we have the perfect team.”

The roster was made up of Airworks Inflatables, ER Productions, eps, Legacy Power Services, Phoenix Bussing, PRG, Rockpool Tour Catering, Showsmiths, Silent Partners Studio, Skan PA Hire, SoundMoves, Stageco, TAIT, The Tour Company, Transam Trucking, Tzell Travel Group and Upstaging.

Despite the prestige of the supply chain, the PM outlined the unpredictability of European weather coupled with an open-top, frontloaded show as the tour’s biggest challenge. “The stage design doesn’t particularly lend itself to weather protection and there’s no direct solution, you’re either out in the elements or not,” he pointed out that another consideration that comes part and parcel with an outdoor summertime stadium show is pacing the timing of the show’s various lighting and special effect ‘gags’ in-order to fulfill the show’s breathtaking potential. “Once the sun sets, during the second half of the show, is when things really come to life,” he declared.

SHOW DESIGN

Tasked with transposing the sci-fi spectacular to the stage was Creative Director, Jesse Lee Stout whose partnership with Muse began on the Drones tour. While the band was penning Simulation Theory, they brought Stout onboard to ensure a holistic and cohesive aesthetic thread throughout their campaign. “I started off with press photos, styling and art direction of the band,” Stout reflected. “I also designed the album packaging, some VR games before it was concert time.”

During the album writing process, Matt Bellamy discussed with Stout his fascination with metamodernism; a term that refers to the idea that the cultural zeitgeist is an amalgamation of re-contextualised elements from our recent past. Think Ready Player One, Stranger Things, Wreck It Ralph

mixed with synthwave subculture and you’re on the right track. “I helped amplify that vision by creating nods to many ‘80s and ‘90s pop culture references from the band’s photo shoots, to the album art, and the show - you’ll see hints of Gremlins, E.T., Terminator, Aliens, Back to the Future, among others,” Stout explained.

The European legs of the tour were amped up with more performers, a larger stage and screen, and much more integrated IMAG. A robotic marching band, a repelling HAZMAT team straight out of X-Files, female assassins wielding massive guns, zombies, exoskeleton soldiers, and ninjas were among the visually climatic elements of the production.

“The performers really bring the fantasy element to life,” Stout said. “We were striving for a rock opera convention, drawing influence from pop troupes, sci-fi themes, and ‘80s nostalgia to create something that was larger than life, a simulated reality, while staying true to Muse’s brand.”

In the production process, segues were required to help with costume changes and hone in on the story. “The band would quickly create a soundscape piece, I’d add video to that and instantly we had these very defining moments of the show that anchored the acts in the show together to create a cohesive show that is much greater than the sum of its parts.”

MURPH THE ROBOT

One of Stout’s creative design goals was to create cohesion throughout the branding of Simulation Theory, far beyond just the concert — connecting threads from the videos and photos, to the show to the VR games he and the band created. The RoboSkeletons feature heavily in Muse’s The Dark Side music video, reminiscent of the Terminator series among other sci-fi stories, thus Murph the Robot was born.

“Throughout the show, the viewer witnesses a series of video moments showing his creation originating as one of the performers. This performer is injected with a flesh-eating pathogen and is subsequently enhanced with robotic prosthetics and outfitted with a VR mask,” Stout explained. “The creature is then confined to a glass prison cell, which he escapes only to manifest physically in the venue to wreak havoc.”

Stout also devised the show’s script to fit the conventions of a video game with a series of levels, characters, worlds, and of course, villains. “I wanted Murph, which is a nod to Murphy from Robocop, to appear like a video game ‘end boss’. The band defeats him in the end and rejoices with the unification anthem, Knights of Cydonia.”

Working closely with the production team, Airworks Inflatables came up with a convincing design and a simple plan to animate the creature. Using different pressurised sections, ropes and pullies, skilled teams of puppeteers were able to make Murph the Robot, breathe, attack, and open his mouth to reveal a powerful lighting fixture housed in the back of his throat.

Airworks Inflatables also crafted two alternate versions of Murph the Robot, whereby an extra belly section could be added for the stadium tours when more height is needed or removed for more intimate locations. Airworks Inflatables’ Matthew Whitehead commented: “All of us here at Airworks are very proud of this piece and have really enjoyed the attention and success he has found on the tour.”

STAGING

Stageco Germany provided structures at all 17 of Muse’s European open-air shows. Guided by Dirk de Decker from Stageco’s Belgian office, Manuel Billian and Stefan Miller drove the R&D and engineering efforts from Stageco Germany in Königsbrunn, where the specialised parts were manufactured ahead of the entire structure being approved by German TÜV. The tour carried two leapfrogging sets with Frank Böhme and Andreas Deubach each heading a team of 13 crew, managing 17 steel trucks with a combined load of 375 tonnes.

Measuring 30m tall and approximately 55m wide, with 1,500m² of decking, Stageco’s structure consisted of nine towers that support the curved, 13.2m high by 44.5m wide LED screen and the six 14m+ cantilevers from which the PA and lighting are suspended. Hanging the 40 tonnes of PA and lighting from the long outriggers gives excellent sightlines, even from an off-centre seat.

Using three mobile cranes, two boomlifts and eight forklifts at each venue, it took the crew three days to load in the steel and one for load-out. Stageco also supplied and built the delay towers and FOH risers. Ensuring the pair of stage sets got to each venue were longtime Stageco supplier Saan Trucking who provided 17 trucks for both stages.

Delivering the blitz of operatic space rock, TAIT supplied the dystopian set and automation elements of the band’s cybernetic live offering. “Muse shows are always very impactful, so it’s always exciting to have the chance to work on a Muse show again,” said TAIT Project Manager, Todd Vernon.

Throughout the process, TAIT worked closely with the production team to ensure that the equipment provided satisfied the technical requirements - while simultaneously ensuring that the vision for the show stayed in line with Stout’s creative vision of Simulation Theory. To handle the increased number of performers and width of the stage during the European stadium legs, TAIT added performer flying winches.

“With the stage changing in size we had to ensure it was adaptable between the two scenarios. There are a lot of components that integrate to the stage edge in unique positions so moving decks around makes respecting that geometry a little more challenging,” Vernon explained. “For example, the mainstage became 20ft wider, the B-stage almost doubled in size using a mixture of original arena decking and new stadium decks and the thrust was built to be longer as well.”

The TAIT Navigator provided a single point of control for all automation axes in the system so that a single operator can monitor the system and operate. Vernon summed up the collaboration: “Working on the tour has been a great experience. We worked closely with George Reeves to optimise the design between existing TAIT components and new custom elements to provide a design that everyone from the crew to the creative director were happy with.”

LIGHTING

Lighting Designer, Sooner Routhier explained a running theme throughout the Simulation Theory was theatricality. “The various theatrical moments and dancers are pretty typical for a large pop show.” However, the band is a world away from pop, as Routhier exclaimed. “It’s a rare sight to see!” For the tour the LD drew inspiration for a variety of places including the realms

of ‘80s and ‘90s sci fi films and culture. However, this didn’t come without a series of challenges, for example, the guitar solo in Break It to Me. Routhier explained: “We had to make the lighting rig look like it was broken, but still stay on beat. The result is a cue stack of asymmetrically focused lights in various beams, shades of blue, and strobes turning on and off to the beats of the solo.”

For all of the weather-related challenges, Routhier dubbed the visual effect of the open stage as “key” to the design. “The sight of the sun setting throughout the shows in Europe really brings a unique dynamic,” she furthered. “The open feel of the staging enhances the performance space as it comes to life throughout the night.”

The design threw up a few struggles with adding/subtracting gear. “We wanted to ensure that cloning would be easy and accurate. Our biggest challenge was adapting the Saber outline of the trusses and the stage to the current programming. It’s not simple to find a cloning path for that many linear fixtures!”

The Upstaging Sabers were the biggest component in the Simulation Theory look. “They create the quintessential ‘Tron’ look that is prominent in the album cycle’s aesthetic.”

The Solaris Flare LRs were second to the sabers. Routhier said: “They emphasize the shape of the stage and lighting rig by providing a thicker line of light in the trussing. They also provide a bit of a scenic feel in the tips of the trussing. At the end of the trusses, where they flip up 45°, they resemble thrusters on a spaceship.”

Claypaky Scenius and Robe MegaPointes were selected to create the classic moving light beam effect. “Aaron and I programmed a number of effects using the shaper system in the Scenius. I really love the diversity in features of both the MegaPointe and the Scenius. We were able to make the stage look different by using various features in each light throughout.”

At FOH, Lighting Director, Aaron Luke, was embarking on his first foray with a headline stadium act. For control, the LD used an MA Lighting grandMA2. “For a show of this size, there’s really no other console I would want, it has the most flexibility and capabilities that other lighting desks simply do not.”

The show ran to timecode, barring sporadic song intros and outros. Luke said: “There are so many different elements to the production and

timecode allows you to accentuate everything accordingly. There’s one song in particular with no click, just drums and bass so I free hand that one - when you’re not really hitting go a whole lot it’s nice to have a few of those organic moments where you feel like a much integral part of the show.”

In the air, moving lights included Claypaky Scenus Unicos and Solaris Flare LRs for their blinder and eye candy work. On the floor, the stage was lined with more Upstaging Sabers, Solaris Flare LRs were set along the handrails on the back as well to carry the overhead look. Supporting video on the backwall was a plethora of Robe MegaPointes.

When it came to factoring lighting in outdoor stadiums, front light was a huge talking point. “Making sure that the band are covered everywhere they go is my main priority,” Luke explained: “As the stage is bigger and longer, and the lights are over 100ft from the B-stage you start to lose some

of the backlight, so we had to rectify that with some extra combinations of lights.”

Delay towers in the audience created a series of looks once illuminated. “Immersive is the word of the moment but it really is as opposed to the disconnect of a spectator watching the show, putting additional light in the audience towers really helps those in the back because it creates an inclusive environment.”

Additional fixtures were situated in towers, two Robe MegaPointes and a number of Upstaging Sabers lined the span of the tower truss with Solaris Flares at the top. The trusses were lined with Upstaging Sabers, which added a lot of visual impact to the show. “When programming the show, we found that they were supposed to be the icing on the cake but once you saw them on, you just miss them when they weren’t, so they’ve played a bigger role than we’ve expected,” he summed up. “I really couldn’t imagine doing the show without any of the fixtures.”

Images shows: Lighting Director, Aaron Luke; Production Manager, George Reeves; Stage Manager, Guy Habosha BlackTrax Technician, Luke Dobson; Head Electrician, Paul Traynor; ER Production’s Corey Newton, Miles Baldwin, Danni Madsen & Asher Heigham.

Having no cover over the stage presented the challenges with the gear. “We have to focus overnight, as we need to wait for it to get dark,” Luke explained. “The rain also makes it a little more interesting.”

BlackTrax Technician, Luke Dobson joined the conversation to explain the role of the vision-based tracking software. “BlackTrax is used on all the main performers, including dancers and band members,” he explained. “The performers wear an infrared LED node, and cameras surrounding the stage locate them in a 3D space to inform a light to point at the dancers on-stage.”

Despite the innovative nature of the software, there was no accounting for the sun, as a giant infrared sphere in the sky as Dobson eluded: “By the time the show starts the sun is still out so the software is only used on the dancers who appear as the sunsets and because BlackTrax is an infrared based system, calibration has to be done at night.”

For the stadium legs of the tour, BlackTrax was only used on the dancers to account for sunlight. Instead, Luke utilised a Follow-Me system with 12 Robe BMFL followspots, which allowed him to assign targets through the console to switch it up from song to song via programming.

Routhier expressed her admiration for the IR-based system. “I love that we can simply pick a light in the rig that we’ve designated as a BlackTrax light and make it a side/backlight.” From a programming standpoint, she said the ability to change the way they light the lines of a body on stage easier with BlackTrax. “I also love the ease of keeping multiple dancers on stage lit without too much of a fuss. There are levels to manage but it’s as simple as a fader pull instead of asking a spot operator to insert a frame of ND or colour correction.”

Luke concluded: “I think a computer is always more accurate than a

human being, BlackTrax software is a really good system for followspot, where you can to track movement.”

LASERS & SFX Reflecting the imagery of a science fiction novel, ER Productions rolled out a full arsenal of high-end laser fixtures, including six Phaenon 30000, 14 brand-new ER AT-30 and 30 ER RGB Beambursts. ER Productions cofounder, Ryan Hagan, commented: “We have worked with Muse since their Resistance World Tour in 2009, and their shows have always been cutting edge in terms of production. On this run, we worked very closely with Creative Designer, Jesse Lee Stout, to deliver his vision, and it’s been a great experience.”

A Phaenon was positioned upstage centre and rigged onto a DMX Lifting Column. The data feedback from the column was fed directly into the Beyond Universe to control the safety aspect of this system. The flown central Phaenon was used in conjunction with a rolling shutter camera on the DSE, to create real-time scan adjusted visuals on the huge curved LED wall, around Matt Bellamy. Eight Viper deLuxe and 14 Unique Hazers provided the atmospherics. The High-End Systems Roadhog4 at FOH ran all DMX control.

Laser and SFX Crew Chief, Miles Baldwin, pointed out that the tour’s laser rig was one of the first times the team at ER Productions had embarked on a 360° laser show. “We’ve got 14 towers in the round and each one has a laser on top, so the audience gets a complete immersive environment and they get to see the show from different angles.”

Hagan echoed: “This arrangement of lasers is something we have not delivered before, as the focus has generally been towards the opposite end of the stage, but for this show we get to place lasers all the way down each side of the stadiums. This way the whole audience receives incredible exposure of the laser set up, so it really is an effective and immersive experience for all.”

Images show: The PRG video team; Systems Engineer, Joachim Dewulf

SFX included 20 Stadium Shot II, firing orange and silver mylar streamers, and 16 Stadium Blasters shooting UV Confetti. Two pairs of Cryofog HP/XL systems covered the stage with cold low-lying smoke at key moments throughout the show. While 7 Cryo Rifles were used by the dancers during the track Propaganda and 150 black and silver 1m balloons were launched over the crowd for every show. The SFX were all controlled by ER Productions’ wireless Galaxis system.

During the track Mercy, the Stadium Blasters cover the crowd in colourful, UV dyed tissue paper. “We fire around 70 kilos of custom-made confetti that has been UV dyed to react with the lights and 50 kilos of streamers a night,” Head of SFX, Asher Heigham said. “It’s been a lot of hard work and I don’t think we’ve had dry load-in, which always tends to slow us down but it’s getting easier each night and a fantastic tour to be a part of.”

VIDEO

The integration of video was essential to the concept of the show, think VR and videogames with moments which were enhanced on screen. As a consummate showman, Matt Bellamy was a natural with the camera. “He really plays to the camera, knowing how it makes the audience feel that he’s singing directly to them,” Routhier said.

The screen set up was considerably scaled upwards. PRG supplied 792 Winvision 9Air LED tiles housed in 396 Spaceframes. For context, the setup was 40 by six tiles tall, whereas the stadium run was 72 by 11 tiles tall. The video wall had to be built in different sections as PRG Video Crew Chief, Sean ‘Sharky’ Harper, explained: “We couldn’t build it as one and lift it because of the sheer size of the wall at 141ft wide, it chokes the entire stage.”

The video wall was a “game changer” for Sharky when it came to stadium setup in comparison to arenas. “We’ve gone from three hours load in to eight hours and 90 minutes load out to three and a half hours,” Sharky said while stressing the importance of setting up the day prior, which he dubbed as “integral” to the delivery of this show.

The ‘gig blocker’ boasted cable looms for lighting and audio at the top of the wall as soon as they’re in show position. “We have to build the right and left sections of the wall and pull them off to the side and strap them to the side of the towers before building the centre section of the wall in the middle to allow audio and lighting to get everything done in the centre and then we stitch it together before putting it into its final position in one move.”

To capture the action, PRG supplied a camera packaged which comprised a Grass Valley Karrera 2ME production switcher and five Grass Valley 5640/50 cameras along with a Sony HDC4300 camera with wireless transmission package, six Panasonic AW-HE130 robotic cameras and three Marshall CV343-CS POV cameras for FOH, the pit and a further camera that ran along the thrust on a Aja Rovocam on Polecam jib at the end of the stage.

In video world, four disguise gx 2s were rigged in a master, two slaves and understudy configuration with Notch. “The disguise media servers are the main ingestion point of the tour, running camera engineering on two inputs, tied with automation, BlackTrax, and lighting,” Media Server Operator and Engineer, Grant Draper began. “The whole show is sockpuppeted to timecode or manual triggers when the band are riffing.” Most of the on screen content run through Notch. “Every piece of IMAG you see is atleast colour graded via Notch,” Draper noted. “In an arena, you can get away with using less IMAG, it’s more of a creative thing. However, in a venue of stadium scale, you need literal IMAG to transpose the show for the audience at the back. Ultimately, as much as the people are here to see the show, they’re here to see the band as well.”

On the engineering side, the video team integrated an additional disguise gx 2 as a backup, without running Notch. “Although Notch is fantastic, it’s still in beta,” Draper gestured to the four-tier disguise setup. “All of these machines are running the same Notch block so if something was to go haywire in a traditional disguise setup I wouldn’t have an additional server for just getting camera to screen but with this show it’s a lifeline if all else fails, which thankfully, it hasn’t.”

Outlining the entire stage, the Upstaging Sabers and grids were fed from video side with ArKaos ArtNet control, visualised within disguise. “Its quite the monumental task to mount and UV them correctly, so huge credit to the video and lighting team for making sure they’re locked in and visualised correctly within disguise.”

With 14 different networks on the show, managed by Draper through various switches, he declared the network as the backbone of the whole show.

AUDIO

FOH Engineer, Marc ‘MC’ Carolan, has been mixing Muse for the last 18 years. For this album cycle, he made the leap from mixing on the venerable, band-owned Midas XL4. A staple of Muse tours for many years. “This is the first tour we’ve switched to a wholly digital platform with the Avid S6L,” he proudly stated. “It’s also the first tour we’ve used the d&b GSL system, so there’s been wholesale changes.”

Having specified both additions, MC walked TPi through the selection process. “We did a lot of listening tests before we changed from the XL4, which is such a great sounding beast.” He said one of the factors that influenced his decision to jump over to the Avid S6L was its automation capabilities and powerful control section. “The S6L really lends itself to allow me to manipulate it to get where I want to go, sonically, in an open and clear manner. I’ve been able to develop new approaches and methodologies. It’s a head of the pack in that regard.”

He also joked that whatever choice he made; he’d be living with it for at least five years. “The feel and ergonomics are, to me, is a factor as important as anything else when it comes to choosing a mixing console.”

Images show: FOH Engineer, Marc ‘MC’ Carolan; Monitor Engineer, Adam Taylor.

MC’s outboard hardware included a series of studio worthy analogue gear such as Empirical Labs, TUBE-TECH, Rupert Neve, Maag, Midas, BSS, dbx, GML, Andiamo converters and various software plug-ins but, notably, no Waves. “There’s a lot of pieces I’ve used for a very longtime with Muse it’s a hybridisation of both digital and analogue approach.”

For the drums, kick, toms and snare, MC utilised dbx Professional Audio 160as Midas XL42 channel strips and a touch of transient designer. A TUBE- TECH LCA 2B Stereo Tube VCA compressor / limiter and an Empirical Labs Fatso EL7x full analogue tape simulator and optimiser was purposed for the bass. On vocals, the FOH Engineer used Midas XL42 channel strips and trademark distressor.

MC specified the GML 8200 EQ and the TUBE-TECH SMC 2B stereo multiband compressor, which “tickled half dbs here and there”. The other significant bit of outboard gear was the Rupert Neve Designs Portico 5024. Effects wise, an Eventide H3000, a pair of the old school, SPX 2000s, which predominantly cover snare reverb and doublers. And finally, the “venerable” Bricasti M7s - “there’s nothing that can beat them.”

For radio mics, a mixture of Neumann KMS 105s and Sennheiser MD5235s were spread across six positions for Matt Bellamy and four positions for bassist Chris Wolstenholme, along with spares.

As well as supplying all audio equipment, desks, microphones, speakers, comms, the team provided a maximum configuration of 116 d&b audiotechnik GSL on the main, side and field delay hangs. “The GSL allows me to develop a mix which I know will sound fantastic. I’m not afraid to get into the details because I know there’s a constant platform for output. Both the S6L and GSL, for me, as an engineer are seamless,” MC stated.

“Muse projects always present a challenge because of its out of the box nature,” Systems Engineer, Joachim Dewulf, said. “Fundamentally, it’s a basic left/right PA but MC and Muse are famed for their innovation and live sound, so we’re not afraid to try new things. Even if it gets half a percent better than the previous show then it’s worth it.”

The 220˚ hangs and ring delays boasted 88 d&b KSL while the pit comprised a mixture of 25 d&b audiotechnik SL-SUBs, 12 d&b audiotechnik Y10Ps, 8 d&b audiotechnik J12s and 120 d&b audiotechnik D80 amps. “It’s the first tour I’ve used the KSL,” Dewulf explained the PA had “a lot more body” than other PA systems. “It goes a lot deeper and there is much more detail in the high mids and the directivity of the system is amazing.”

Network was achieved by dual redundant fibre Dante / R1 via Cisco switches with real-time network monitoring software. “Over the years, because technology is getting heavier and heavier, traffic is naturally getting heavier. For my main rack, I use a control cable so if anything feels suspect I can unplug the controls for damage limitation, which thankfully, has never had to happen.”

Between FOH and monitors, Skan PA provided the infrastructure of Muse shared control – which boasted a pair of Avid S6L-32D systems sharing two STAGE64s, two Avid ProTools at FOH and monitors for archiving / virtual soundcheck, a 128-channel line-system and an Avid S6L-24C system with one STAGE64 redundant system in case of catastrophic failure of main control.

In the caverns of monitor world, TPi located Adam Taylor who has mixed

the band since April 2001. Like MC, the longstanding Monitor Engineer made the transition to an Avid S6L console on this tour cycle. He reflected: “I was late switching over to digital, I was waiting for the Midos Pro console to settle down and when it did, we switched to the Pro 9. Our ever-expanding input count exceeded the capabilities of the band-owned Midas platform and this prompted a move over to the Avid S6L.”

Taylor’s approach was to mainly mix hands-on, he said: “There are some more complex songs but I try to keep it one scene per song but a lot of my mixing is hands-on, partly because I’m old school but I also have more confidence in manually mixing and this console allows you to put anything anywhere, I can programme it so everything is on the surface.”

The band all donned Sennheiser 2000-IEMs. “The level that everyone is listening to is much more manageable and cleaner when there’s no wedges,” Taylor said. “The band are very mobile so they’re running around so I give them a balanced mix with whatever they’re playing sat on top.”

Barring Chris, who doesn’t have any ambient mic noise as a preference, Taylor rode the ambient mics in and out in between songs, “topping and tailing at some points of the songs for the band, where the audience sing along.”

Sennheiser SKM5200 handled the RF mics. While Taylor’s hardware included Aphex, GML, Little Labs and converters by Andiamo. A 40-station GreenGo network - half wired and half wireless provided show comms.

Skan PA’s support control came in the shape of 2 Avid S6L-24C systems sharing one STAGE64, a 64-channel line-system, Sennheiser 2000-IEMs and d&b audiotechnik M2 wedges. “The thought put into preparing the Skan PA gear is exceptional, I don’t think you can get that quality and level of finish from anyone else,” Taylor concluded.

Audio Crew Chief and RF Tech, Liam Tucker, FOH minder, Eddie O’Brien and Advance System Designer, Matt Vickers were among the friendly Skan PA faces. “Skan always provide a mega crew and kit, and this tour is no different,” MC said. “The quality of Skan’s prep means we rarely have to call the warehouse but when we do, we know that the support is there if we need it. They even custom built the top piece of the S6L, their service is absolutely second to none.”

SITE INFRASTRUCTURE

A familiar face on Muse’s stadium-sized tours, Head Electrician, Paul Traynor checked-in with TPi: “It’s slightly changed this year, we’re using a lot more 208v, meaning using a lot more transformers, running 1.5mW of power across five generators, which is an average output for an event of this size.” ​ With generators comes a lot more cabling: “Our generators lead from the car park all the way to the stage. On average, we’re 100m from the stage so there’s a lot more cable. We put in about two and a half miles of cable for every show,” Traynor explained.

​For Traynor, health and safety of the crew is paramount. “Our main concern is ensuring the safety of the band, performers and the crew. An open top production is the ‘in thing’ at the moment so we have to make sure that everything is bonded properly and making sure the RCDs are set properly,” he furthered: “The only problem we have is water and we all

Rockpool Tour Catering’s Liv Sondergaard, David Lesh, Mark Goodall, Hannah West, Stu Jackson, Susanne Traynor, Chris Carter, Izzie Kennan & Sarah Birnie.

know water and electricity doesn’t bode well so we’ve got waterproofing on the kit, but it does create issues that we have to constantly monitor throughout the course of the day.”

Having worked on the band’s last stadium tour, Traynor was no stranger to powering a Muse show. “It’s a great team to work with, all the vendors are well-respected, and historical companies which have all got a good working relationship with the production. It’s a pleasure to be a part of the team.”

Showsmiths devised guidance for the crew, preparing risk assessments and develop plans for safe working. Mike Herbert, Showsmiths Event Safety and Technical Production Adviser, commented: “We were delighted to be asked by Production Manager, George Reeves to help negotiate the potential minefield that is touring a large-scale performance of this type from a safety perspective.”

A key pre-production element was helping to ensure the local promoters and authorities receive the information they need for the various territories to enable local licensing. The information was then collated and presented in an easy to navigate ‘safety file’ that could be accessed by local promoters. “We make ourselves available to answer any technical questions or concerns on safe working through rehearsals and then out on the road. Our goal is to take the stress out of safety for the production teams so they can get on and do what they do best.” eps deployed 185m of GIGS barriers and a pair of technicians onsite to provide heavy-duty protection for stages, mixers and delay towers. The company also supplied 95m of cable protection for up to 30 cable runs with trip-proof and wheel chair accessible ADA ramps, as well as corresponding width reducers for an ideal run through the barrier line. Sebastian Tobie, eps Director Global Operations, said: “Not only does this guarantee a safe concert environment for the audience but it also satisfies the requirements of this high-end production.”

LOGISTICS

Assigned with transporting the kit and crew from A to B was Transam Trucking and Phoenix Bussing, while Sound Moves freighted the gear’s global expedition.

Transam Trucking deployed 32 trucks to the tour made up of 45’ megacube and double deck trailers, generators and curtain-siders. A total of 24 universal trucks were deployed for all shows with eight utilised for stadium-only use. Having played an integral part in the delivery of Muse’s Drones tour, the logistics specialist understood the requirements. Transam Trucking’s Natasha Highcroft stated: “It is always so organised that it makes our job relatively easy despite some of the logistical challenges involved!”

Stage Manager, Guy Habosha detailed the logistical challenges: “Going from an arena to a stadium can be a bit of a challenge depending on how we pack our trucks,” he explained. “We’re constantly looking for ways to streamline the process. Having loaded in and out of a lot of arenas in the United States, we were well prepared for this run and we have a good rhythm going – despite all of the rain,” he laughed.

CATERING

Tasked with feeding the troops, the Rockpool Tour Catering team provided a personal chef for the artist party, tour catering with a team of nine as well as site catering during the UK stadium shows. Rockpool Tour Catering Operations Manager, Susanne Traynor, commented: “This is a massive job for Rockpool. We are catering across all areas of this tour and really embracing and enjoying the challenges a tour of this size brings.”

The catering team’s relationship with Muse commenced with the placement of Peter Bailey as personal chef to the A party 13 years ago.

Since then, Rockpool Tour Catering’s involvement in all things Muse food and hospitality has increased, expanding to catering for private birthday parties and weddings. Rockpool’s relationship over the past few years with US management Q Prime has also increased looking after various other bands within their portfolio. “We are super proud of our team on site producing amazingly quality choices to accommodate all dietary needs and requests,” Traynor concluded.

The Rockpool Tour Catering team was made up of Stu Jackson, Mark Goodall, Dave Lesh, Chris Carter, Hannah West, Izzie Kennan, Sarah Birnie, Liv Sondergaard, headed up by Susanne Traynor.

CONCLUSION

Simulation Theory World Tour was equal parts rock opera come musical theatre, with thumping sound, a dynamic lighting design and blockbusterquality visuals projected onto the gossamer-like LED screens – the showcase, combined with the performer’s neon outfits, HAZMAT acrobatics, SFX, futuristic law enforcers and, of course, Murph the Robot was peak sci-fi spectacular. Stood in Manchester’s Etihad Stadium with crewmembers on one side and Muse faithful on the other, the extravagantly dystopian affair was a reflection of the band’s continued devotion to technical innovation and pushing of the boundaries of live touring. TPi Photos: Andrew Benge & TPi www.airworksinflatables.com www.er-productions.com www.eps.net www.legacypowerservices.com www.phoenix-bussing.co.uk www.prg.com www.rockpooltourcatering.com www.showsmiths.co.uk www.silentpartnersstudio.com www.skanpa.co.uk www.soundmoves.com www.stageco.com www.taittowers.com www.thetourcompany.co.uk www.transamtrucking.com www.tzell.com www.upstaging.com

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