Frank Turner

FRANK TURNER: LIVE FROM VANS FOR BANDS

Having thrown himself into the world of streamed concerts during lockdown, Frank Turner reunites with his band, The Sleeping Souls, for a streamed show to fans across the globe – with the profits dedicated to his loyal touring team. TPi’s Stew Hume reports.

There are few artists in the UK that have taken to the world of streaming in the way that Frank Turner has in the past few months. Interestingly, he seems to have been on the periphery of many of the stories we have run in TPi during lockdown. From a charity stream in aid of the Union Chapel, to jumping aboard the ship for the #WeMakeEvents campaign in London, as well as performing at a government-endorsed socially distanced show in Clapham, London – he has certainly kept himself busy during this uncertain time for the music industry. Throughout lockdown, the singersongwriter has continued to champion those who work backstage. Case in point was his latest streaming venture – a unique pay-per-view performance with the profits dedicated to his wider touring family.

While many artists have already explored the idea of performing on a black draped stage, taking over an empty venue or a more elaborate LED solution, Turner and his team opted for a less then conventional location – namely the mechanics’ shed of tour bus supplier, Vans For Bands (VFB). Company Director, Tarrant Anderson – who is also the singer’s bassist and took to the ‘stage’ for this latest live stream – spoke to TPi about the event.

Like most in the industry, the COVID-19 pandemic has had a devastating effect on VFB. “There was a time that we really thought it was going to be the end of the business,” Anderson stated. “As we thought we were coming to an end, we actually made the decision to try to help NHS frontline workers by donating our whole fleet to hospitals, providing a safe place for frontline workers to take a break between shifts or even get some shut-eye.” He continued: “Prior to getting involved with this project, we had to go through so much paperwork to make sure all the busses were safe with the strictest of social distancing measures.”

With the infection rate decreasing and the busses returning to the yard – and with a great deal of knowledge on the COVID-19 measures under its belt – the team at VFB had to think of its next move. No longer able to transport artists from venue to venue, the company focussed on providing a space for musicians to broadcast their sets in cyberspace.

“The original aim was to provide grassroots and emerging artists a place to perform livestreamed shows. We often provide transport for bands who just tour with a splitter, and the fact is, those acts do not have the resources to rent out a studio to put on a livestream,” stated Anderson.

The location of the ‘studio’ is in the mechanics’ shed that is usually used to tune up the busses in the VFB fleet. Prior to Turner’s performance, VFB embarked on a pilot run with the band, Jim Lockey and the Solemn Sun.

With the knowledge gained by providing busses for hospitals, the company was able to transfer those practices into the performance area, bringing in their pool of in-house carpenters, who typically work on tour busses, to transform the shed into a workable space. “We had the first performance under our belts when Frank got in touch saying that he also wanted to do a show – but with a bigger production,” explained Anderson.

SETTING THE (SORT OF) STAGE Production Designer, Ali Pike and Production Manger, Dougie Murphy were keystones of the project. “During this time in lockdown, Frank really has been a trooper supporting local venues and making sure their voices are heard,” Murphy commented, overjoyed to be affiliated with the artist. “This latest streaming show was the first project I had been involved with during lockdown, which is just a case in point for the kind of artist he is. He will get a call and just sort himself out with his acoustic guitar.” He was quick to refer to the DIY nature of the artist, which also rang true for VFB project.

“I g ot a call from Frank at the end of July when he pitched the idea of this show,” continued Murphy. The PM knew from the outset that this was going to be a paid-for stream and therefore required a certain level of production. That said, they had to be mindful of costs and had to ‘make do’ with several older set elements, as well as bits and pieces from around the yard. Thankfully, VFB remains the main storage unit for Turner’s equipment.

“We h ave recieved support from Adlib, Christie Lites, LeSmurf, Vortex Lighting and Sennheiser – which have provided us with subsidiary gear,” stated Murphy.

Fo llowing the event, Murphy reflected on what it had been like to pivot his skills as a touring PM to the world of streaming. “In many ways, it started as a normal gig but, as the date got closer, there was a rather steep learning curve while working on what was effectively a TV schedule and having to consider elements such as white balance and colour correction. Not that these elements don’t exist in a live tour but, due to budgets and social distancing measures, there was only a small crew dealing with all

the various elements.” In fact, the total crew comprised just three people: Murphy, Ali Pike and Graham Key of Xtrasonic Media, who had the double role of handling the audio mix as well as video director from his OB van outside – more on that later.

The dual role was the same for Pike and Murphy. “I was technically handling the monitor mix as well,” said Murphy, stating how it was very much all hands on deck to make this event a reality. Indeed, the tenacity of the hardened road crew proved useful in transferring to this new medium.

“I n a live show, it is all about making snap decisions to ensure the show goes ahead,” the PM said. “You have to produce a performance. With this show, just like a ‘normal’ gig, there were lots of people waiting to see a gig at a certain time and just because they were not physically there, it didn’t take away that urgency.”

Mu rphy was keen to thank those who worked tirelessly in the lead up to the show – namely, the Set Construction team of Patrick Cook and Alex Prior; Graphic Designer, Evan Cotter; and the Xtra Mile Recordings team, Charlie Caplowe, Dani Cotter and Anthea Thomas.

DIY LIGHTING Pike picked up the conversation, explaining how she designed a show which was to take place in a shed. “The first I heard about this show was when Frank gave me a call,” laughed Pike, commenting how it was far from usual for one of her clients to contact her directly regarding a show. “After the conversion, I came up with some ideas and scribbled down some napkin sketches. I also had Tarrant visit the proposed space with a camera.”

The Production Designer then went into Capture to build the shed in a light and fader wing – was provided by LeSmurf Lighting, while Pike used virtual world. The stage involved conversations with Kay about the camera her personal MA Lighting grandMA2 OnPc, which she co-owns with Neil shots he hoped to achieve. “I suggested we lose the black backdrop idea Holloway. Adlib provided 18 mic stands, which held the Sceptrons. and expose the yard to embrae where we were filming,” she stated. Th ere was also a great deal of on-the-fly creativity using various odds

Pi ke went on to explain how she found the experience of lighting a and ends to dress the set – including an old festoon from a previous tour streamed show. “Although I’m primarily a touring LD, I’ve done my fair that was pulled from Pike’s loft. “At 2am the night before the show, we were share of TV work with the like of Saturday Night Live and Later with… Jools still setting up and were trying to work out how to compensate for the Holland. However, those type of shows use manned cameras whereas this lack of depth control on our camera setups,” stated Pike. An early morning one – due to social distancing and budgets – had spark of brilliance from Murphy saw the two drag cameras in locked-off positions.” out an old voile they had from a previous acoustic

Du e to the lack of crew, Pike found that as well show, which had the effect of blurring out the as lighting the show, she was also having to ride background and putting the band more in focus. the lighting rig as there was nobody on the back “With this show, just like a “The whole show was very DIY,” she enthused, end balancing out what was going on in camera. “It was a rather backwards way of working, but a ‘normal’ gig, there were lots using the purpose-made Perspex glass – created to separate the band in order to adhere to the fascinating challenge. It meant my eyes were glued of people waiting to see a COVID-19 guidelines – as an example. to the monitor throughout rather than the band.” The rig – supplied by Christie Lites – comprised gig at a certain time and “A s soon as I saw the Perspex screens, I thought they were crying out to also be highlighted, rather five GLP JDC1s and 18 Martin by Harman VDO just because they were not than hidden. I chose to reflect this by putting vinyl Sceptrons, along with a Unique II hazer. “Christie Lites Account Hander, Mat Ilott generously physically there, it didn’t take FTHC logos onto the screens. After doing some test cuts with vinyl on my windows at home to prove supported us,” enthused Pike. away that urgency.” that no damage would be done to the screens, Vo tex lighting supplied four CHAUVET Professional Ovation F-915FCs. The desk brought Dougie Murphy, I sent the idea to Dougie, who mentioned that his mum had a vinyl-cutting machine. In true DIY on to control the show – an MA Lighting grandMA2 Production Manager fashion, the logos were then cut by Dougie’s mum.”

CAPTURING THE ACTION the audio and video switching,” Kay commented. “Typically, I would draft Key to the VFB streaming offering from the very beginning was Graham in freelance camera operators for festivals, but due to social distancing Kay of Xtrasonic Media. Kay has been part of the wider touring family for regulations as well as budgets, I’ve had to take on both jobs.” a number of years, taking on the role of FOH Engineer on a number of Kay admitted that having to think in both audio and video spheres cycles. However, even before lockdown, Kay had a side project – namely threw up a number of challenges. “I’m a touring FOH Engineer first and a renovated OB truck. “I think it’s more than 20 years old,” joked Kay, as foremost,” he stated, recalling how prior to putting together the van, he he described how he purchased the vehicle a number of years ago, having didn’t even know what an f-stop was on a camera. However, the ergonomic been sat dormant in a field. Renovating it with setup meant he could have both the audio console some equipment he already owned – such as a and video switcher right in front of him – as well as Behringer X32 – Kay began to offer the truck for Pike balancing the image from her lighting console. various festival dates for clients, including Frank Turner’s label, Xtra Mile Recordings. “I want live touring to return – “I started with a blank slate, on the audio front” he reflected. “Having run FOH for Frank before, I

“We parked the van behind the stage and by my main trade is being a FOH knew the songs already, so it was fairly quick to the end of the weekend, Xtra Mile had hours of content,” he stated. “The setup in the van is really Engineer. However, I hope dial in the mix.” He was quick to complement the X32. “It’s certainly an older desk and although it quite basic for both the audio and video, but this more people start to see the would be nice to have a newer model, it has the means it can be used for acts who might not have huge budgets.” value of streaming and take advantage of having integration into a DAW. This has been invaluable, otherwise I would have had Throughout lockdown, as well as collaborating it forward into the future, to bring in another control surface.” with VFB, Kay has also used the van as a recording studio in his hometown of Durham in northeast perhaps as another way of The desk is limited to 32 channels – although there is a workaround to boost it to 48 – but for England to open up opportunities for up-andgetting music out there to the acts that both Kay and VFB are looking at, that coming bands to help them get their material out to the masses. “What is different about the fans.” is a high enough channel count. The same model of desk was also used for the band’s monitor mix, streaming shows at VFB is that I’m handling both Graham Kay, Xtrasonic Media which was owned by Turner himself. The cameras

used for the show were Sony PMW-EX1s, along with a Marshall CV502. “The Marshall POV camera has been a lifesaver on this one,” stated Kay. “For all the performances, we have the drummer in a separate area, which is quite tight. The CV502 has such a wide angle, you are able to get a great over-theshoulder shot.”

DICE provided the stream for the fans to watch the show. “They were absolutely superb to work with,” enthused Kay, before diving into the streaming chain created to deliver the content to DICE. “Essentially, we have the video and audio outputs feed into a Teradek video encoder, which then goes to a Teradek Core Cloud server that allows us to do the stream.” This setup allowed him to aggregate four separate signals across different connections, giving them a high level of redundancy.

KEEPING ON ROLLING With the Frank Turner show proving the capabilities of the space, the VFB studio was put to work again with ArcTanGent festival taking over the space for a four-band livestream.

“We’re hoping to keep going with this project until touring returns,” stated Anderson. “It was a simple idea from the beginning, and it continues to be, giving artists who don’t have the budget for a studio hire to get their music out there.” At the time of writing, the VFB team is looking for

sponsorship to help keep the cost down and encouraging artists and management to get in touch if they are keen to put on a performance.

As for the wider conversation of streaming, Murphy gave his thoughts on where it might live alongside touring in the future. “There is certainly a place for this style of show. It’s not going to replace live touring; it could never replace the live show and the excitement of meeting mates – the beer beforehand and the buzz of the live show – but there is certainly a place for this content.”

Kay concurred: “Obviously, I want live touring to return – my main trade is being a FOH Engineer. However, I hope more people start to see the value of streaming and take it forward into the future, perhaps as another way of getting music out there to fans.” TPi Photos: Matt Nasir www.frank-turner.com www.vansforbands.co.uk www.adlib.co.uk www.christielites.com www.xtrasonicmedia.co.uk www.lesmurf.co.uk www.vortexlighting.co.uk