PRODUCTION PROFILE
POST MALONE: BEERBONGS & BENTLEYS In line with his astronomic rise, the genre-spanning multiplatinum artist graced Manchester Arena as part of a headline European tour. TPi’s Stew Hume and Jacob Waite were both onsite for the singer’s sold out show to witness how this overnight success story translates his online oeuvre into a live tour.
Every now and then, artists come along who capture the zeitgeist of a generation so keenly, they are subsequently shot into the stratosphere of superstardom. It happened in grunge, then nu metal and now, in the latter half of this decade, it seems trap and hip-hop rule the roost. Leading the charge is a young gentleman who goes by the name Post Malone. It’s cliché to say an artist doesn’t fit into a genre, but Post really is a hard act to describe. Both his music and his aesthetic present a culture-clash of tropes from the worlds of rock, metal, hip-hop and RnB. He’s a true success story in the age of social media and music streaming, where boundaries are blurred, and everything is personal, yet universally shared with fans. The question left for the live incarnation of Post and the wider Malone touring family (known internally as Posty Co.) is how to reproduce that intimacy on an arena run. Well, you can bet your best grill they have ridden the wave from obscurity to global recognition without looking back and created a spectacle unlike any other for the undefinable genius’ first ever UK arena headline run - the beerbongs & bentleys tour.
“Our show is not like Beyoncé or J-Lo who warrant the need for dancers or set elements,” said James. “People come to see him perform and they want it to be raw. They want to see him light that cigarette, drink a beer and have a first hand conversation. It’s all about intimacy and personality.” As the capacity for Post’s shows continued to increase, so did the production values. The management and creatives brought in Dennis Danneels, Production Manager for the beerbongs & bentleys tour. “I was really the first production person they ever hired,” began Danneels. “On their original run with his first album Stoney, there was only a very basic crew as they were only playing clubs and support slots. But then with the success of his track Congratulations and Rock Star, the anticipation from the public was overwhelming and management knew they were going to have to step it up a gear.” Danneels has been fascinated by the speed with which things have changed for Post over the last year of touring, recalling how maybe a dozen kids would hover outside airports while crew members smoked cigarettes in the hopes of seeing the 23-year-old. “In the space of a few months, there were an extra 100 kids surrounding us. I’ve never been with an artist who has become this popular so quickly.” The PM thinks he understands the artist’s quick ascension to the heights of an arena headliner. “I think a lot of it has to do with his personality which is really tangible to his fans. A few of the older guys on the crew are constantly comparing him - and this whole scene - to grunge in the early ‘90s. The other element is how well he crosses genres. We were all in his dressing room a few weeks ago and he would be playing music that would range from rap, country and western, followed by some Billy Idol and rounded off with straight up death metal. His influences are so varied and he doesn’t seem to write to any schematic. He writes what he feels.”
METHOD BEHIND THE MADNESS “We’re pretty much ignoring everything you are meant to do with a pop show” laughed long-time creative partner of Post, Travis Brothers, who has had a front row seat to the singer’s rapid rise in popularity. Brothers has been with the artist since the beginning of his career working as one of the lead creatives on live shows. “As he’s gotten bigger, we’ve been given more resources to bring others into the camp to help bring his creative vision to life.” Enter: Brothers’ creative partner Lewis James. The duo - both taking on the role of Creative Director - set about producing the singer’s biggest ever show. 39
