Khalid: Free Spirit World Tour

From SoundCloud obscurity to headlining two sold-out shows at the O2 Arena, London, Khalid has come a long way in three years. TPi’s Jacob Waite chats to the crew keeping pace with the millennial crooner…

Khalid first stormed into the charts with his debut studio album, American Teen, in March 2017. Since then, the El Paso singer-songwriter has earned several top-10 hits, a top-10 charting EP and five GRAMMY nominations – a path which has led him to his latest number-one album and fourth headlining tour, Free Spirit. In line with his astronomic rise to superstardom, the 21-year-old embarked on his first arena tour, featuring two back-to-back sold-out shows in London, with the likes of Ed Sheeran and AJ Tracey as special guests.

Ahead of the show’s first night, TPi sat down with the lightning rod of the touring camp, FOH Engineer and Production Manager, CJ Blair. “I’ve been with Khalid since the beginning,” he recounted, having originally been hired as a sound engineer, before making the seismic step to a role that satisfies “both parts” of his brain. “It allows me to be creative and organised enough to make sure the technical and logistical aspects of the tour are to the highest possible standard.”

To this end, Blair brought in Production Assistant, Tricia Engelbert and Production Coordinator, Brishon Neu as his production “lifelines” during the day-to-day. Neu commented: “The job we do and lifestyle we have is difficult, but being surrounded by people I believe in empowering and supporting every day is a really incredible thing to be a part of. I have a love and deep appreciation for both the experience of being out here, and the people I get to call colleagues and family.”

Also guaranteeing high standards were maintained were Blair’s suppliers of choice: Clair Global, Screenworks NEP, Solotech, All Access Staging, Christie Lites, Control Freak Systems, No. 3 Catering, Fly By Nite and Beat The Street.

AUDIO

At FOH, Blair mixed on an Avid S6L 32D. “It sounds excellent and, having mastered the workflow, it’s one of the best-sounding digital mixing boards out there,” he commented. The board featured snapshots timecoded to “piggyback” off the visuals.

“Some rooms react differently,” Blair said of his set-up. To deal with this, he stuck on one snapshot and rode the whole show out like that. “If you’re doing a good job, there’s no time to think – you just roll with the punches and go with whatever is working.”

Bringing the studio to the live environment, Blair brought all of his personally owned outboard gear on tour. “I’m using a Rupert Neve Designs Master Buss Processor, an EL7X Fatso – which I run the guitar through – a pair of Empirical Labs EL8 Distressors and a Rupert Neve 545 Primary Source Enhancer.” Waves API 2500 Compressor Plugins also made up the audio rider.

Blair specified a Clair Global PA system, which comprised Clair Cohesion CO-12s, CO-10s, CO-8s, and CP-218s, amplified by Clair PM2 Subwoofer Power Modules and Lab.gruppen-loaded StakRaks. “It’s a loud and proud show,” he said. “I’d describe it as a pop show mixed like a hip-hop show – impactful and hard hitting.”

As Blair explained, room and weight restrictions in some of the smaller European venues meant that, on occasion, the PA had to be downscaled. “Depending on the room, we’ll lose the rear hang or put them on the ground,” he revealed.

Clearly impressed by the young performer, Blair described how the setlist evolved over the course of the tour. “Khalid adds and shuffles his setlist around daily, which keeps everyone on their toes. He does a lot of meet ’n’ greets where fans request songs for him to play. He’s added around eight songs so far – he just loves performing,” he explained. “He and the band are so good they can do it on the fly without rehearsal.”

Clair Global Systems Engineer and Audio Crew Chief, Matt Van Hook manned FOH so, when Blair stepped from behind the curtain, everything, in his words, was “good to go”.

Touring veteran Van Hook first met Blair during a tour at the start of the year. “In this business, one of my favourite things is the people because, as they say, ‘birds of a feather flock together’,” Van Hook opened. “We could all have normal nine-to-five jobs, but everybody – from the stagehands to the caterers – chose this path.”

Van Hook 3D CAD drew the room each day to determine the amount and locale of the hung sound system before building and tech’ing FOH. As soon as the system came online, he aimed and focussed it, which involved some “handy laser work” to steer the sound for even audience coverage. He then time-aligned the PA system with Smaart and tuned it to “overcome any acoustical problems” in the room and add things that CJ “likes in his mix”.

Also struck by Khalid’s unique vocal range, Van Hook remarked at how pleased he was with the sound they achieved. “His vocal is by far the most critical input we have,” the Systems Engineer said. “CJ has done an incredible job; everybody who comes to the show – from industry professionals to other engineers – is struck by how fantastic it sounds.”

Having been out with the Clair Global system for most of the year, the crew was running on US power with transformers. “When we’ve wrapped up in Europe, we’ll retire the gear, ship it to Audio Rent in Switzerland and pick it up from the spot in Australia,” Van Hook noted. “Thankfully, Clair has a worldwide footprint so we can pick up pieces of kit across the globe.”

MONITORS

Monitor Engineer, Landon Storey started working with Khalid when he was 19 and hadn’t really been taught the intricacies of on-stage audio. “It was a completely blank slate,” he reflected on Khalid’s rapid growth in popularity. “He’s such a natural performer that he caught on very quickly.”

Khalid and his band utilised 1964 in-ears throughout the tour. “They feed off each other and every night is different, so he wants to hear the intricacies of his mix,” Storey commented.

Storey brought in a Shure PSM 1000 IEM monitoring system and SB900 battery packs to tackle RF. “It has cleaned up most of my environments,” he said of the system. “It’s something I didn’t really know about a few years ago,” he admitted, but having experimented with it on this tour, he would “never go back to anything else”. He added: “It can make all the difference. The available bandwidth has been particularly lifesaving.”

For control, Storey mixed on a DiGiCo SD5, utilising eight faders for the dynamic range of the drums, electronic triggers, tracks and keys. “I’m doing things a little bit differently this year, taking the musicians’ principle instruments on the auxiliary send and bussing the other things.”

As the musicians didn’t require granular control of the channels, Storey presented a good clean mix with additional reverb. “I compress the dynamic range and make it fit in a pocket, which makes it sound better for them as musicians without the mix fluctuating as much,” he commented, adding that he allowed their primary instruments to be the focal point.

Storey explained that the DiGiCo SD5’s ability to take snapshots when it came to cutting or adding specific songs was absolutely essential. “Having a console big enough to buss all that and make it happen is awesome,” he added.

A delicate placement of crowd mics was constructed in order to avoid picking up the “washiness” of screams from the crowd. “Going from a high-energy full band to a pop song with the chaos of people in an arena is quite a challenge. Even though he’s a dynamic singer, there’s so much room sound. It’s funny – the more stripped-down the show, the more intricacies are required.”

Hardwired mics came in the shape of Shure Beta 91As, Beta 52As, 57s, 58s, KSM137s, Beta 98AMPs and KSM32s, as well as Beyerdynamic TG D57cs, DPA d:facto Linears and Sennheiser MKH 416s. Shure Axient AD2s, SM58 capsules and DPA d:facto II capsules performed wireless mic duties.

Shure Axient, AXT920, AXT902, AXT600, and Yamaha HS7 Studio Monitors made up the monitor equipment. “When you deliver a gig at this level, there are only a few companies you can seek to provide the support and gear necessary,” Storey said. “Clair Global is a worldwide service and if you have a problem, they’re on hand to solve it.”

COMMS

Joining Storey was Monitor Technician, Scott Burton. A “utility guy” who helped fly the PA, tech monitor world and oversee comms. “This show is fairly dependant on comms, so they required a singular person,” he said.

A monitor engineer by trade, the LA native oversaw Clear-Com FreeSpeak wireless and HelixNet hardline units – a workflow he dubbed, “nothing like routing a console”.

He pointed out: “The reason we use the HelixNet is because it’s a stable system. I programme it in the States so it’s a plug-and-play system. The belt packs retain their own role; I tell it what it needs to do and thankfully it does it every time.” He continued: “Having the ability to pick up a radio to communicate is integral, and helpful when it comes to arranging logistics.”

VISUALS

“This is my first world tour with Khalid, and I’ve enjoyed every minute,” commenced Lead LED Technician and Video Crew Chief, Michael Roberts, who was the only in-house Screenworks NEP staff in a team of seven. “We like to keep a nice nucleus by creating a team that has worked together before – this way everybody knows their role and gels seamlessly.”

Screenworks NEP supplied a vast array of ROE Visual CB5 5mm LED screens for the upstage wall, ceiling and IMAGs. Show Rig built custom LED touring frames to support the video ceiling. Screenworks NEP also worked closely with Solotech to devise mounting brackets for the upstage wall lighting fixtures. “We work well together to create a cohesive visual unit,” Roberts commented.

Video Director, Tyler Chappel conducted the show via a Ross Video U-Vision switcher. Roberts said: “He tries to keep his shots very consistent, studying the show each night, before devising a plan of attack for the next show.”

The camera package comprised Sony HD cameras, specifically two long-lens 70x and two wide-angle pit cameras, along with a pair of robo cameras to capture the drummer and guitarist. “It has a fantastic range, which means we can diversify the shots and the audience aren’t stuck with one performer,” Roberts noted.

Four Barco HDF30K projectors – two at FOH and two on stage – cross shot, another pair of HDF20K Barco projectors were positioned upstage for the IMAGs.

Tasked with “shooting photons out of little nuclear power plants” was Projectionist and Camera Operator, Mark Adams. “It’s a really cool use of mixed media, combining the LED with the

3D holographic-style curtain, which adds a lot of depth,” he enthused. “I like anything that uses traditional forms of technology with more modern or innovative mediums. Here, we are blending those conventions completely.”

The crew had to prepare for where weight restrictions prevented the video ceiling from being hung, modifying the show design according to the building. Adam’s pinpointed Copenhagen as a particular challenge that required “constant problem solving”. He commented: “There was no seating behind, so projection was positioned on the floor and shot across.”

Adams added that while projection mapping is “already huge” in the live events sector, the practice is becoming easily accessible and simpler to run.

A pair of MA Lighting grandMA2s at FOH, and one backstage, allowed Lighting Director and Programmer, Jonathan Camarillo to control video and lighting. “A lot of the songs are heavily timecoded, while others are manually operated in line with the ever-changing setlist,” he revealed.

The band also have a tendency to change their arrangements and get creative on-stage. “Sometimes timecode can put you in a box, so I like to have the freedom to adjust the timecode accordingly from night to night.” The LD praised Silent House Productions, calling the design team “the most efficient” he has ever worked with when it came to formulating aesthetics of the show. “It looks exactly how they sketched it,” he said, offering further praise to lighting vendor, Solotech: “The crew know how to tear a light apart and fix it,” he said. “They’re totally equipped to handle a show of this scale.”

A total of 75 Solaris Flare Q+LRs were rigged above stage and in five rows of truss left and right, all 1ft from the video content. The fixtures illuminated throughout the set to continue the movement of video via Control Freak Systems three disguise gx 2s. Technician Troy Giddens was tasked with monitoring, installing and setting up the media server system. “We have two 4K outputs and a handful of HD-SDI feeds for monitoring, projection and the IMAGs,” he said. “Everything camera wise goes through these servers. Everything is treated with a Notch block made by the creative team.” The workhorse fixtures of the rig, 80 Robe BMFL Washbeams were rigged above stage, in five rows of truss left and right, and three per side as the ground package. “They look brilliant, move very quickly and are accurate,” said Camarillo. “I love the size of their lens for beams, and the textures – they’re a multifunctional light.”

A further 75 Ayrton Magic Blade R9s also created looks that totally altered the dynamic of the lighting rig. “The transition from fixture to fixture is so slick and flows with the design.”

A total of 45 Solaris Flare RGBWs, 10 GLP impression X4 Bar 20s, four GLP impression X4 Bars and two GLP impression X4 Bar 10s made up the lighting package.

“All the lights serve their purpose and the programming is staggered, coming towards a beautiful crescendo at the end of the show,” Camarillo explained. Four house followspots ensured Khalid was lit on stage throughout. “I’ve watched him transition from not liking spotlights to evolving and adapting his stage presence.”

However, the arrangement of lights was no walk in the park. “We’ve had challenges with rigging because it’s a very specific design and the trusses need to be arrayed in a certain way when factoring in the different sized venues in Europe,” Camarillo commented. “I have a cue stack with more than 300 focusses and the location of the trusses play an integral part in how the show is programmed.”

Overall, the LDs favourite moment was when the string curtain made an appearance. “It’s such a necessary palette cleanser for the show. Towards the end of that scene, we pull the lighting off Khalid and particles swell over the stage to make it look endless,” he concluded. “I truly believe this is the best show in the world.”

RIGGING

Having never toured in Europe before, Head Rigger, Chris ‘Sabo’ Sabosky outlined the varying scale of spaces on the continent and alternative rigging legislation, describing them as “a learning curve”. He commented: “It’s a totally different beast here, and I respect it.”

In North America, the team toured arenas with a 360° show, while in Europe, some of the venues featured “cut off backs”. Starting at 7am, the team chalked up, and had the motors hung by 10am. It was also Sabo’s job to figure out how to get the trims and weight in the buildings.

“Towards the end of this tour, the full design won’t fit, but we have formulated ideas to ensure that, although the show is smaller and more intimate, it is still reflective of the design.” With approximately 100 motor points, the staging team worked to assemble the show up as quickly as possible, with safety as the priority. It is here where density presented challenges. “We’re dialled into a certain area and everything is packed in,” Sabo said. “Our weights are spread evenly at around 100 motors every day.”

Christie Lites supplied Show Distribution hoists, steel, motors and cabling. Audio had 47 motors with three hangs of delta plates per side on each of the hangs allowing the team to steer the sound with finesse and a cable grid. “Video and lighting have around the same amount, give or take 30 each, spread evenly among the departments,” Sabo explained.

Marcus Guzman, Sabo’s brother, Nick Sabosky, and Stage Carp, George Stipanovich, joined Sabo in the staging crew. “It’s a very young camp, but everybody gets the job done with no fuss,” Sabo said of his team.

LOGISTICS

The newest member of the touring team was James Gould. A seasoned veteran of the circuit, having worked with the likes of Sam Smith, Sigur Rós and Justin Bieber, he was drafted in for the European legs of the tour onwards. “The difficulty with moving into a pre-existing tour is that you’re taking over someone else’s designs, ideas, and expertise,” he said, when asked about his main challenges on the tour.

Also offering his expertise with power, Gould detailed the art of “trying to get most of the gear in” without compromising the show design or impeding the quality of the show. “The fact we don’t have loading docks in the UK means we’re constantly tweaking to streamline the load in and out.” While No. 3 Catering was tasked with feeding the troops. Fly By Nite and Beat the Street transported the kit and crew. Gould’s ‘go-to’ trucking company, Fly By Nite supplied 12 trucks. “I also live close to their HQ, so I often chat to the drivers,” he said. “Their facilities and rehearsal studio is fantastic – they’ve never let me down!”

FREE SPIRIT

On site at the O2 Arena, London, Blair’s evaluation of the touring team as a “very tight knit group” rang true. Inspiring a generation of gig goers, Khalid has grown from a teenager to a poetic and romancing 21st-Century crooner, whose tracks are confessional and vulnerable, yet youthful in spirit.

Live, Khalid’s demeanour is playful and energetic – a reflection of his upbeat vocal delivery. Despite the supreme level of touring personnel involved, the artist remains grounded and exposed throughout the mammoth 30-song setlist.

Blair summed up: “He’s a young man who loves singing songs and dancing on stage.”

TPi

Photos: Joe Okpako

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