Live Galleries News

Dermot Kennedy - „Better Days“-Tour 2022

Verwendetes Equipment: 45 x GLP Impression X4 Bar 20; 18 x GLP JDC1; GrandMA3 Full Size (MA Lighting).
Produktionsdesigner/Programmierer/Operator: Owen Pritchard-Smith.
Kreativdirektor: Richard Sloan.
Produzent: Peter Abbott.
Lieferant: Christie Lites.
Matt Kemp (Quantum Creative) half bei der Vorprogrammierung und der Implementierung von Ergänzungen für die Konzerte im Alexandra Palace (London) in die Tournee-Show.

 

(Fotos: Ethan Weatherby)

 

www.glp.de

 

Sarah Connor - „Herz Kraft Werke“-Tour 2022

Die Fotos stammen vom Konzert am 27. März 2022 in der ZAG Arena in Hannover. Im Vorprogramm von Sarah Connor trat Ela auf.

Veranstalter: Semmel Concerts.

 

Setlist
Keiner pisst in mein Revier
Hör auf deinen Bauch
Kleinstadtsymphonie
Halt mich
Ruiniert
Ich wünsch dir
Alles in mir will zu dir
Blau
Dazwischen sind wir Freunde
Mein Jetzt mein Hier
Bye Bye
Unter alten Jacken
From Sarah With Love
Medley: The Impossible Dream (The Quest)/I’ve Got to Use My Imagination (Gladys Knight & the Pips)/As (Stevie Wonder)/Living to Love You/Music Is the Key/Bounce/From Zero to Hero
I’ll Do It Anyway (Bandnummer)
Stark
Das Leben ist schön
Augen auf
Bedingungslos
Kommst du mit ihr
Vincent

Freibad Pommes
Deutsches Liebeslied
Wie schön du bist

 

(Fotos: Stephan Kwiecinski)

 

www.semmel.de

 

Die Schlagernacht des Jahres - 2022

Mitwirkende: Howard Carpendale, Nino De Angelo, Jürgen Drews, Ramon Roselly, Marianne Rosenberg, Team 5ünf, Voxxclub. Die Fotos stammen vom Konzert am 26. März 2022 in der ZAG Arena in Hannover.

Veranstalter: Semmel Concerts.

 

(Fotos: Stephan Kwiecinski)

 

www.semmel.de

 

Atze Schröder - Tour 2022

Die Fotos stammen vom Auftritt am 6. März 2022 in der Swiss Life Hall in Hannover.

 

(Fotos: Stephan Kwiecinski)

 

www.atzeschroeder.de

www.mts-gmbh.com

 

Nico Santos - Tour 2021

Die Fotos stammen vom Konzert am 16. November 2021 in der Swiss Life Hall in Hannover. Im Vorprogramm von Nico Santos trat Tim Kamrad auf.

Veranstalter: Semmel Concerts.

 

(Fotos: Stephan Kwiecinski)

 

www.semmel.de

www.nico-santos.de

 

Roland Kaiser - Tour 2021

Die Fotos stammen vom Konzert am 12. November 2021 in der ZAG Arena in Hannover.

Veranstalter: Semmel Concerts.

 

Setlist
Alles oder dich
Dich zu lieben
Wohin gehst du
Kein Grund zu bleiben
Santa Maria
Lieb' mich ein letztes Mal
Gegen die Zeit
Das Fenster zum Hof
Manchmal
Stark
Lebenslänglich du/Engel brauchen Liebe/Was für ein Gefühl?
Extreme (Toto Cutugno)
Alles, was du willst
Der Mann, den du verdienst
In the Ghetto (Elvis Presley)
Lang' nicht mehr gemacht
Schach matt
Liebe kann uns retten
Im 5. Element
Ich bereue nichts
To All the Girls I've Loved Before (Willie Nelson)
Kurios
Es kann der Frömmste nicht in Frieden leben
Amore mio
Manchmal möchte ich schon mit dir
Sag' ihm, dass ich dich liebe

Warum hast du nicht Nein gesagt
Joana
Ich glaub', es geht schon wieder los
Bis zum nächsten Mal

 

(Fotos: Stephan Kwiecinski)

 

www.semmel.de

www.roland-kaiser.de

 

 

Max Giesinger - Akustik-Tour 2021

Die Fotos stammen vom Konzert am 13. September 2021 auf der Gilde Parkbühne in Hannover.

Örtlicher Veranstalter: Hannover Concerts.

 

Setlist
Auf das, was da noch kommt
Legenden
Die Reise
Für dich
Der letzte Tag
Wenn ich leiser bin
Deine Zweifel
Wenn sie tanzt
Irgendwann ist jetzt
Roulette
Urlaubs-Medley: Despacito (Luis Fonsi)/Englishman In New York (Sting)/Griechischer Wein (Udo Jürgens)
In meinen Gedanken
Zuhause
Rucksack

Über den Wolken
80 Millionen
Für immer

 

(Fotos: Stephan Kwiecinski)

 

 

www.maxgiesinger.de

 

Jan Delay - „Earth, Wind + Feiern“-Tour 2021

Die Fotos stammen vom Konzert am 31. August 2021 auf der Gilde Parkbühne in Hannover.

Örtlicher Veranstalter: Hannover Concerts.

 

Setlist
Intro
Klar
Spass
Türlich, Türlich (Das Bo)
Large
Medley: Schelle/Meine Posse/Ahnma/My Name Is
Vergiftet
Zurück
Kinginmeimding
Die Sonne, die scheint (mit D-Flame)
Action
Lächeln
Disko
Freeze
Saxophon
Feuer
Oh Jonny

Alexa
Eule

Irgendwie, irgendwo, irgendwann (Nena)
St. Pauli

 

(Fotos: Stephan Kwiecinski)

 

www.jan-delay.de

 

The Rattles - Live 2021

Die Fotos stammen vom Konzert am 20. August 2021 im Kurpark von Bad Münder.

 

(Fotos: Stephan Kwiecinski)

 

www.rattles.de

 

Michael Schulte - Trio-Shows 2021

Setlist*

Collide
All I Need
Keep Me Up
Dreaming Out Loud
Waking Up With You
Back To The Start
Bye Bye Bye
You Said You’d Grow Old With Me
Stay
For A Second
You Let Me Walk This Road Alone

Holding Back The Fire

*Geplant waren ursprünglich 14 Songs - „Falling Apart“ und „Someone“ wurden jedoch wegen „zu viel Gequatsche“ gestrichen.

 

(Fotos: Stephan Kwiecinski)

 

www.michaelschulte-music.com

 

Johannes Oerding - Akustik-Set Hannover 2021

Setlist

Kreise
Und wenn die Welt
Alles OK
Traurig aber wahr
Unter einen Hut
So schön
Flieg mit mir
Ungeschminkt
Love Me Tinder
Erster Klasse
Blinde Passagiere
Wenn du gehst
Die Tage werden anders sein (inkl. Snippet „Walking In Memphis“)

„Das Ding“ Kultliederbuch-Set
- John Denver: Country Roads (Seite 12)
- Fettes Brot: Jein (Seite 96)
- Oasis: Wonderwall (vorletzte Seite)

Hundert Leben (inkl. Drum-Solo)
Heimat
Ketten
Alles brennt
An guten Tagen

Immer wenn ich träum’ (Sing meinen Song/Mighty Oaks)
Die guten Zeiten
Ich will noch nicht nach Hause
Für immer ab jetzt (solo)

 

(Fotos: Stephan Kwiecinski)

 

www.johannesoerding.de

 

Revolverheld - Live 2021

Setlist

Das kann uns keiner nehmen
Freunde bleiben
Leichter
Immer in Bewegung
Spinner
Bands deiner Jugend (+ The One and Only - Chesney-Hawkes-Cover)
Ich werd’ die Welt verändern
Sommer in Schweden
Halt dich an mir fest
Immer noch fühlen
Ich werde nie erwachsen
Ich kann nicht aufhören unser Leben zu lieben (Band Introduction 1)
So wie jetzt
Lass uns gehen

Liebe auf Distanz
Abreißen
Ich lass für dich das Licht an

Darf ich bitten (Band Introduction 2)

 

(Fotos: Stephan Kwiecinski)

 

www.revolverheld.de

 

Culcha Candela - Live 2021

Setlist

Intro
Wann dann
Solarenergie
Wildes Ding
Schöne neue Welt
No tengo problema
Berlin City Girl
Du weißt
Lass ma einen bauen
Dinero - Warning - Eiskalt Partyrock
Dance Solo (Change)
Cool mit mir selbst
Hope
Real Life
Genieß mein Leben
Für imma
Von allein

Rodeo
Hamma (Salsa + Original)
Rhythmus wie ein Tänzer
Monsta
Outro

 

(Fotos: Stephan Kwiecinski)

 

www.culchacandela.de

 

Fury in the Slaughterhouse - „Now Or Never“-Tour (2021)

Setlist

Letter To Myself
Milk And Honey
1995
Radio Orchid
The Beauty
Replay
Then She Said
Now
When I’m Dead And Gone (McGuinness Flint)
Sorry
All About Us
Cry It Out
30 (It’s Not Easy)
Every Generation Got Its Own Disease
Good Luck On Your Way
Trapped Today, Trapped Tomorrow
This Will Never Replace Rock’n’Roll
Time To Wonder

Stay Clean These Days
Kick It Out
Riding On A Dead Horse

Down There
Won't Forget These Days

Seconds To Fall

 

(Fotos: Stephan Kwiecinski)

 

www.fury.de

 

Todd Rundgren - ‘Clearly Human Virtual Live Tour’ (2021)

Todd Rundgren’s recent virtual ‘tour’ concept featured 25 shows, broadcast live over a five-week period from Radius Chicago, a new 3,800 capacity live performance venue in an old Pilsen steel factory. Each day was orientated towards a particular city, complete with special locally related video content, and people living in the relevant area able to access advanced tickets before the box office was opened further.

 

Lighting designer Hans Shoop utilized Robe BMFL Spots, Spikies and a RoboSpot system controlling three BMFL Follow Spots on the rig, among other lights, fulfilling a brief to create as much normalcy as possible for a live band show. They specifically didn’t want the production looking like a video shoot nor a ‘band in a void’ recording scenario, a mission for which Shoop worked closely with Alex Skowron.

 

Skowron, also an LD in his own right, had been the production designer on Rundgren’s 2004 ‘Liars’ tour. When he heard about this virtual tour project, he reached out to the production team headed by production/tour manager and monitor engineer Paul Froula and asked if he could assist.

 

He explains how the mission was to make the space appear nondescript and neutral so the audience could think they were actually touring: “The last thing we wanted was to have the same architectural features coming up show after show, so we blacked out any features that would give away the fact we were in the same space for five weeks and turned the room into a black box.”

 

Skowron became involved on the lighting and visuals production, sourcing kit and crew and crunching logistics which included keeping the equipment supplies as local as possible. He was also “indispensable” in materializing the design, explains Shoop whose fundamental task was to ensure the artist was well lit at all times and from all angles. The RoboSpot system helped providing a key, a fill and a backlighting BMFL Follow Spot tracking him constantly. These three luminaires were all controlled by one operator with the RoboSpot Base Station located near the FOH area.

 

RoboSpot duty was split between five stagehands working in daily shifts throughout the week for the two-hour performance. The full lighting rig was supplied by Upstaging, who rigged 12 trusses above the Radius’ stage - seven for lighting, four for scenics including two kabuki drops, and one upstage supporting the LED wall.

 

The 24 x BMFL Spots were rigged all over the lighting trusses and on the deck used for the key light and specials across the 12-piece band, as well as for lighting scenic elements. The 32 x Spikies were lined up along the vertical bars of two pods flown each side of stage and were an essential visual piece filling the wing voids on camera. They became more apparent as the show arc unfolded, explains Shoop, initially backlighting the kabuki cloths during the early stages of the show, then after these dropped providing beams firing through the haze towards the end of the set. While Shoop had originally spec’d LEDBeam 150s, the Spikies were in stock at Upstaging and came into their own.

 

The thousands watching remotely on a device somewhere - also visible to the band on video tiles at the front of stage - and the 30 in-person (masked and tested) audience allowed in the venue each night were treated to a set featuring music from the seminal 1989 ‘Clearly Human’ album plus many others from Rundgren’s back catalogue.

 

The broadcast camera director was John Deeney and video production - screens and cameras - were supplied by Nighthawk Video. Hans Shoop was also involved in creating some of the custom video content along with Todd Rundgren and Danny Connor. Nick Pishghadamian was Upstaging’s lighting technician.

 

(Photos: Jim Snyder)

 

www.robe.cz

 

Lauren Daigle - Tour 2020

Sängerin Lauren Daigle spielte zehn Termine ihrer Arenatournee, bis Covid-19 der Tour ein abruptes Ende bescherte. Es war ihre erste Zusammenarbeit mit Seth Jackson und Nathan Alves (Darkroom Creative) und ihre bisher größte Tournee.

 

Die auf große Arenas zugeschnittene Show ermöglichte es den beiden Lichtdesignern, eine sehr offene Bühne mit geschwungener Verlängerung der Front und offenen Seiten und damit langen Sichtachsen zu schaffen. Das LD-Duo setzte dabei eine große Stückzahl von GLPs Impression X4 Bars ein.

 

Die Künstlerin wollte eine Show, die sich „wie eine Umarmung anfühlt“ und gab den beiden Designern damit eine klare Vorgabe. Folglich verwendeten sie für das Bühnendesign kein Metall und ein Minimum an 90°-Winkeln. „Wir wollten, dass sich das Design mehr wie ein Zuhause als eine Struktur anfühlt“, so Alves.

 

„Wir haben einen Lichthimmel über der Bühne geschaffen, der alle Traversen, Motoren und das Rigging verdeckt. Die Scheinwerfer wurden dabei so montiert, das für den Besucher kein Lichtaustritt erkennbar ist“, ergänzt Jackson. Die X4 Bars wurden im hochauflösenden Modus verwendet. „Die Bars betonten den oberen Bereich und die linke und rechte Seite der Bühne. Gleichzeitig konnten sie aber auch zu einem Akzent oder einer Grafik werden und sich dann nach oben schieben, um als eine Art Weichzeichner zur Überblendung der Videoprojektion zu dienen.“

 

Was die weiteren Schlüsselfiguren betrifft, die an der visuellen Gestaltung der Tournee beteiligt waren, so war John Bahnick von Upstaging für die Beleuchtung sowie für Video und das szenische Element verantwortlich. Associate Designer Parker Genoway fungierte als Programmierer, während Simon Roberts als Videospezialist zum Einsatz kam und als „Disguise and Notch“-Programmierer Hand in Hand mit Nathan Alves zusammenarbeitete. Die Videoinhalte waren allesamt Originalkreationen.

 

Setlist (Van Andel Arena, Grand Rapids, Michigan, USA - März 2020)

O' Lord
Still Rolling Stones
Trust In You
Look Up Child
Your Wings
Love Is
Rescue
When The Saints Go Marching In
Once And For All
Love Like This
How Can It Be
Inevitable
Rebel Heart
Everything
This Girl
Losing My Religion
Tremble
You Say

Move On Up
Ain't No Mountain High Enough
Turn Your Eyes Upon Jesus
Something Beautiful/You Say (Reprise)

 

(Fotos: Darkroom Creative/John Williams/Shutterstock)

 

www.glp.de

 

Mika - ‘Revelation’ Tour (2019/2020)

Lighting designer for singer/song writer Mika’s ‘Revelation’ tour - which started in the fall of 2019 and went on until it had to be postponed this spring due to the coronavirus crisis - is Vince Foster who used plenty of floor lighting and significant numbers of side fixtures and trusses for these shows.

 

Alongside around thirty Ayrton Magic Blade-FX fixtures were approximately one hundred and twenty of one of Ayrton’s newest moving heads, Khamsin-S. “Every moving light is a Khamsin,” says Foster about his design. “The Khamsin-S are everywhere on the rig: the floor, the side hangs, the ‘B’ thrust stage and on both the stage trusses and the one downstage of the B stage. The rig was designed with input from both Mika and his sister Yasmine. We wanted an unfussy but solid music hall look to allow the audience to focus on Mika himself. The brief was essentially to create something of a ‘Baron Munchausen’ feel, a slightly tongue-in-cheek, comedic atmosphere.” This was the first time that Foster had used an LED light as his primary workhorse.

 

With no video on this show (the stage uses raked rainbow coloured stripes to allude to the new album cover) the lighting was very much central to establishing the visual ambience of the set. Foster used the Khamsin-S colour palette to full effect with the set list based on rainbow colours.

 

“Mika spends a lot of time out on the B stage so we light him essentially in 360° and can use the Khamsins as back key lighting with support from followspots,” explains Foster. “I also use a single Khamsin as a big back light with a rotating gobo at the upstage vanishing point for his first entrance, and another under a grill at the top of the ramp to light him from beneath.”  Alongside the Khamsin-S fixtures on the rig were nearly thirty of Ayrton’s Magic Blades-FX. “I have ten up on the mid truss, eight on the floor and nine out on the B stage,” concludes the LD.

 

Setlist (Forum Theatre, Melbourne, Australia - February 2020)

Ice Cream
Dear Jealousy
Relax, Take It Easy
Origin Of Love
Big Girl (You Are Beautiful)
Tiny Love
Underwater
Tomorrow
Platform Ballerinas
Paloma
Lollipop
Popular Song
Happy Ending
Love Today
We Are Golden

Grace Kelly
Tiny Love/Stay High

 

Pictured: Mika rehearsing at Production Park Studios on a set built by Brilliant, under Vince Foster’s lighting. (Photos: Sarah Womack/Brilliant)

 

www.ayrton.eu

 

Stereophonics - ‘Kind Tour’ (2019/2020)

After 28 years of consistent touring, the Stereophonics’ quest to improve their stage sound and gain closer engagement with their audience continues. At the request of the band, and specifically Kelly Jones, their sound techs were sent into overdrive, working on a radical approach for the latest arena tour.

 

Long-term FOH sound engineer Dave Roden, using his preferred Martin Audio MLA loudspeaker array, sent his mix to a distributed PA system, running the length of a 60 ft thrust from main stage, into the belly of the audience, with a small ‘B’ stage at the end of it.

 

By opting to play a third of their set right in the middle of the arena (including a solo Kelly Jones set), it would have left the band at risk of absorbing unwanted sounds off the main PA picked up by the vocal mics, had it been set in a conventional L/R configuration. At the same time, performing so far in front of the PA would have required substantial EQ changes, which would have been impractical.

 

It fell to system tech Nick Boulton, who was making his debut on MLA, to come up with a viable solution. “We did some modelling with the aim of getting as much even coverage throughout the arena while keeping the weird noises off the stage,” he explains. “With the end of the thrust 60 ft into the room it was well within the coverage area of MLA so we simply moved the hangs downstage.”

 

He was replacing the band’s usual system tech Toby Donovan, who assumed crew chief duties for this tour. However, Boulton had worked previously with Dave Roden on last year’s Tim Minchin tour, using another of Martin Audio’s optimised PA’s. This time around, production was running Dante to the stage and sending AES3 protocol to the hangs, with Martin Audio Unet back-up. Monitor engineer Sam Cunningham was using a DiGiCo SD7 on stage while Roden himself was on an SD5 at FOH.

 

The tech crew’s solution had been to replace the conventional main stage L/R PA hangs with two side hangs further downstage, comprising respectively two drops of 16 MLA Compact as conventional outfills. Meanwhile, a further eight MLA Compact for infills were mounted on trusses set near the beginning of the thrust, and angled down.

 

Three hangs of 10 MLA (and two MLD Downfills) - situated in the centre and 90° upstage - formed a concentric arc at the end of the thrust. Three hangs of six MLX subwoofers were set behind that in end fire configuration. This design, Boulton sensed, would reduce the sound bleed at the back of the stage, and help ease the room reflections.

 

Furthermore, he said, that in view of the stipulation to minimise sound escape at the main stage they made heavy use of the Hard Avoid setting in Martin Audio’s Display optimisation software, not only creating rejection at the back of the stage but also the hard surfaces at the rear of the arena that would cause slapback.

 

Production manager on this tour was Dave Nelson, while other Capital Sound personnel include Finbar Neenan, Jim Loasby and Oli Crump (PA techs) and Ian Burness (PA/Stage tech).

 

Setlist (Motorpoint Arena - Cardiff, Wales - March 2020)

C’est La Vie
I Wanna Get Lost With You
Bust This Town
Geronimo
Maybe Tomorrow
Have A Nice Day
Mr Writer
Hungover For You
Restless Mind
Local Boy In The Photograph
A Thousand Trees
Traffic
Stitches
Indian Summer
Make Friends With The Morning
Mr And Mrs Smith
Fly Like An Eagle
Superman
Don’t Let The Devil Take Another Day
Handbags And Gladrags (Mike d’Abo cover)
Before Anyone Knew Our Name
Sunny
The Bartender And The Thief

Elevators
Just Looking
Dakota

 

www.martin-audio.com

 

Pizzera & Jaus - „Wer nicht fühlen will, muss hören“-Tour (2019)

Auf der „Wer nicht fühlen will, muss hören“-Tournee der österreichischen Musikkabarettisten Pizzera & Jaus im Herbst 2019 sorgten Sennheiser-Digital-6000-Drahtlossysteme für den Klang der akustischen und elektrischen Gitarren sowie die Verständlichkeit der Liedtexte.

 

Seit 2018 sind bei Auftritten von Pizzera & Jaus seitlich der Bühne vier Sennheiser EM 6000 vorhanden; ein weiterer 19“-Doppelempfänger kommt am FOH-Platz zum Einsatz. Die vier am Podium platzierten Receiver empfangen Signale von acht SK-6000-Taschensendern: Sechs der Sennheiser-Bodypacks werden zur Wiedergabe von Gitarrensignalen (4 x Akustikgitarre mit kombiniertem Piezo/Mic-Pickup, 2 x E-Gitarre) herangezogen, während die verbleibenden Transmitter mit Headsets verbunden sind und die Stimmen von Paul Pizzera und Otto Jaus übertragen.

 

Der am FOH-Platz befindliche Sennheiser EM 6000 wird als Backup-Unit verstanden, aber auch zur Einmessung der Beschallungsanlage sowie als HF-Scanner genutzt. Die AES/EBU-Ausgänge der Doppelempfänger sind mit den Input-Modulen eines digitalen Echtzeit-Audionetzwerks verbunden, sodass sich der Signalfluss vom Taschensender bis in die Endstufen vollständig digital gestaltet. Eine Ausnahme bilden lediglich die beiden E-Gitarren, deren Signale nach der drahtlosen Übertragung den Analogeingängen von Profiling-Amps zugeführt werden.

 

Als Antennen finden zwei passive Sennheiser-A-2003-UHF-Richtantennen Verwendung. Ein separater Antennensplitter ist nicht erforderlich, da die EM 6000 über eine Splitter-Funktionalität für bis zu acht kaskadierte Geräte verfügen.

 

Die SK-6000-Taschensender werden mit BA-61-Akkupacks betrieben, für welche bei Pizzera & Jaus eine mit LM-6061-Modulen bestückte Sennheiser-L- 6000-Ladestation vorhanden ist. Letztere ist ebenso wie die Empfänger per Netzwerk mit dem Sennheiser Wireless System Manager verbunden. Die WSM-Software wird genutzt, um am FOH-Platz die HF- und NF-Pegel sowie Ladezustände der Lithium-Ionen-Akkus im Auge zu behalten.

 

„Wir führen unterwegs 16 BA-61-Akkus mit“, so Magister Martin Mayer, der bei Konzerten von Pizzera & Jaus für den FOH-Sound und das Monitoring der Musiker verantwortlich ist. Mayer ist Inhaber der Veranstaltungstechnikfirma Schalltrichter.com.

 

Vor dem Erwerb der Digital-6000-Systeme verwendeten Pizzera & Jaus über Jahre hinweg Produkte aus der Sennheiser-Evolution-Wireless-Serie. „Das hat eigentlich immer gut funktioniert, aber mit wachsendem Erfolg wurden die Shows zunehmend größer“, erklärt Martin Mayer. „Irgendwann stand der Red Bull Ring in Spielberg auf der Agenda, und an dieser Formel-1-Strecke war im Sommer 2018 so viel Funk am Start, dass es kaum möglich war, geeignete Übertragungsfrequenzen zu finden. Es war endgültig der Punkt erreicht, an dem ich mit Nachdruck dazu geraten habe, digitale Funkstrecken anzuschaffen, zumal uns auch die Verbreitung von LTE und DVB-T zunehmend Probleme bereitete.“

 

Bei jeder Location scannt Martin Mayer die HF-Umgebung: „Ich betreibe unsere zehn digitalen Sennheiser-Funkstrecken im untersten Frequenzbereich zwischen 470 und 480 MHz“, berichtet er. „Die Erfahrung zeigt, dass dort eigentlich immer alles frei ist. Wenn wir in eine Halle kommen, scanne ich dort zunächst die HF-Umgebung mithilfe der WSM-Software, woraufhin geeignete Frequenzeinstellungen über das Netzwerk an die Empfänger übertragen werden. Auf der Bühne kann der Backliner dann die Taschensender mit den Empfängern synchronisieren.“

 

www.sennheiser.com

 

Alice Merton - „Mint+4“-Tour (2020)

Von Mitte Februar bis Anfang März 2020 war die deutsch-kanadische Sängerin Alice Merton unterwegs, um ihr Debütalbum „Mint+4“ live zu präsentieren. Die Tournee führte die Künstlerin neben Deutschland auch nach Tschechien, Österreich und Dänemark.

 

Auf der Bühne wurde Merton von einem Licht-Setup von GLP unterstützt. Das Licht- und Setdesign war eine Co-Produktion von Mertons Manager Paul Grauwinkel und dem Lichttechniker Maximilian Hermsdorf, in Abstimmung mit der Künstlerin. Hermsdorf begleitete die Tour auch als Licht-Operator. Das Licht-Setup der „Mint+4“-Tour bestand aus 16 GLP Impression X4 Bar 20, 25 GLP KNV Dot, 10 KNV Line und sechs Impression E350, geliefert von der Firma Grauwinkel.

 

Die Bühne beinhaltete einen mittig über eine Treppe begehbaren Plexiglas-Riser, der Platz für Drums und Keyboard bot. Die Impression X4 Bars platzierten Grauwinkel und Hermsdorf jeweils in zwei Zweierreihen an der Vorderkante des Risers sowie erhöht an Truss-Toren am hinteren Bühnenrand. Die weiteren GLP-Bars wurden seitlich an Truss-Ständern montiert und je nach Möglichkeit frei auf der Bühne verteilt.

 

Die KNV Dots wurden, nur mit Klemmen befestigt, vor, auf und hinter dem Riser platziert. Die KNV Lines hingegen wurden an den Truss-Toren hinter den Risern befestigt und unterstützten die KNV Dots, wobei sie nicht als eigenständiges Showelement verwendet wurden. Die E350 wurden in einer Reihe direkt vor dem Riser eingesetzt.

 

Setlist (Live Music Hall - Köln - März 2020)

Easy
Hit The Ground Running
Learn To Live
Keeps Me Awake
Trouble In Paradise
Jealousy
PCH
Honeymoon Heartbreak
Speak Your Mind
Funny Business
2 Kids
Homesick
Lash Out
Back To Berlin
No Roots
I Don’t Hold A Grudge

Why So Serious

 

(Fotos: Sarah Köster)

 

www.glp.de

 

Alter Bridge - ‘Walk The Sky’ U.S. Tour (2020)

American rock band Alter Bridge wrapped up a 4-week tour of U.S. cities in late February with lighting designer Joshua Light directing a Bandit Lites-supplied lighting system that included Elation’s Smarty Hybrid moving head.

 

Light adopted key aspects of a design created by the late Joe Eager for the band’s 2019 European tour, a large 5-truck show that included profile and beam fixtures. For the US tour’s trimmed setup however, Light needed a more compact package and combining fixture types in a single hybrid fixture was the way to go.

 

Working from four 10-foot truss towers with additional Smartys on the floor across the backline and on the drum riser, Light utilized the fixture’s multiple modes with transitions between gobos, beams or frost wash looks to keep the looks dynamic. “There were a couple of moments where I went from backlight with the frost in to flipping over to a gobo with clean focus, or switched from gobo breakups to beam looks,” he says.

 

The Smarty Hybrid fixtures worked in the rig with other moving head effects, LED washlights, and hybrid strobes. Alter Bridge has plans to take the same rig back out on the road in May with European dates following that.

 

Setlist (Knitting Factory - Spokane, WA, USA - February 2020)

Wouldn’t You Rather
Isolation
Come To Life
Pay No Mind
Ghost Of Days Gone By
Broken Wings
Native Son
Rise Today
Cry Of Achilles
Waters Rising
Watch Over You
Blackbird
Open Your Eyes
Metalingus

Godspeed
Addicted To Pain

 

(Photos: Chuck Brueckmann)

 

www.elationlighting.com

 

Cold Chisel - ‘Blood Moon’ Tour (2020)

In February 2020, before the worldwide lockdown to beat Covid-19 came into force, Robe’s reporting team were in Australia - which had just been engulfed by the worst bushfires for many years - and captured a historic musical moment in time.

 

The rain pelted down relentlessly for the final gig of Australian pub-rock band Cold Chisel’s 2020 tour at Sirromet Winery just outside Brisbane in Queensland. This hugely welcomed metrological miracle capped an emotional evening and helped to finally extinguish most of the remaining uncontained fires raging from Australia’s disastrous 2019-20 “bushfire season”.

 

The tour’s lighting was designed by Cold Chisel’s long term LD Jeff Pavey who put Robe moving lights at the centre of the “big rock look” he crafted. Defining the look onstage were 40 x Robe MegaPointes and 11 x BMFL Blades supplied by Gold Coast rental company Creative Productions, together with LED wash lights, weatherised beam lights, 2-lite LED blinders and 4-lite tungsten blinders.

 

All 25 shows on the tour this year were outdoors, with the standard rig designed to fit into a 22-metre-wide, 16-metre-deep deep Clifton Productions’ stage with around 15 metres of headroom. Four straight trusses in the roof were flown at slightly different heights complemented by eight side trusses - four per side - that gave cross stage lighting positions and coverage for solos.

 

A 12 metre wide by 6 metre high LED screen dominated the upstage area - also supplied by Creative Productions - and this was one of the reasons that Pavey chose MegaPointes for their main effects fixtures. Six of the BMFL WashBeams were on the front truss and linked into two remote follow spot control systems, with three on the upstage truss linked into a third remote spotting system. The other two fixtures were on the mid truss and concentrated on key-lighting the drum and keyboard riser positions. The MegaPointes were distributed on all overhead and side trusses and they were the heart of the rig.

 

Custom playback content was created by Rachael Johnson, and the camera mix was by Dave Hendy. Jeff Pavey programmed and operated the lights using his Hog 4 console and was joined on the road by a Creative Productions crew of Jeremy Dehn, John Penridge and Declan Woods.

 

Setlist (Sirromet Winery - Mount Cotton, Australia - February 2020)

Standing On The Outside
Wild Colonial Boy
Choirgirl
Rising Sun
My Baby
All For You
Drive
Four Walls
Getting The Band Back Together
Forever Now
Houndog
Land Of Hope
Cheap Wine
Killing Time
Saturday Night
Shipping Steel
You Got Nothing I Want
Merry-Go-Round
Khe Sanh
Bow River

When The War Is Over
Flame Trees
Letter To Alan
Georgia (On My Mind)
Breakfast At Sweethearts
Goodbye (Astrid Goodbye)

 

(Photos: Louise Stickland)

 

www.robe.cz

 

Tom Beck - Tour 2020

Gemeinsam mit seiner Band absolvierte Tom Beck im Januar 2020 eine Tournee durch elf deutsche Städte. Bei seinen Live-Auftritten verwendete der auch als Schauspieler tätige Singer/Songwriter Equipment von Sennheiser, darunter eine Evolution-Wireless-500-G4-Drahtlosstrecke.

 

Seit Anfang 2020 nutzt Tom Beck ein Sennheiser-EW-500-G4-965-DW-Vocal-Set, das sich aus einem SKM-500-G4-Handsender, einer MMK-965-1-Doppelmembran-Kondensatorkapsel (Niere/Superniere schaltbar), einem EM- 300-500-G4-Rackmount-Empfänger im 9,5“-Format, einem GA-3-Rack-Montagekit und einer MZQ-1-Mikrofonklemme zusammensetzt. Die Drahtlosstrecke wird im DW-Band (790 bis 865 MHz) betrieben.

 

Auf dieser Tournee wurde der EM-300-500-G4-Rackmount-Empfänger mit den im Lieferumfang enthaltenen Stabantennen betrieben. Diese deckten sowohl die komplette Bühnenfläche als auch den Publikumsbereich ab - wie beim mehrfach zelebrierten „Bad in der Menge“ von Beck zu beobachten war.

 

Drahtlostechnik von Sennheiser nutzt Tom Beck bereits seit längerem. Darauf wies ein Wireless-System aus der EW-500-G3-Serie hin, das während der Tournee als Spare mitgeführt wurde. Für sein In-Ear-Monitoring verwendet Beck einen SR-300-IEM-G3-Stereo-Transmitter in Kombination mit einem EK-300-IEM-G3-Diversity-Empfänger. Tontechniker Jan Hoffmann, der für den Sound auf der Tournee verantwortlich war, führte an jedem Auftrittsort einen Frequenzscan durch.

 

www.sennheiser.com

 

Beartooth/Motionless in White - ‘Diseased and Disguised’ co-headline tour 2019

Color creates a language all its own. Cameron Birchill offered living proof of this in his work for Beartooth on the metal band’s national co-headline ‘Diseased and Disguised’ tour with Motionless in White, which ended January 30, 2020 in Fort Lauderdale and featured a collection of Chauvet Professional Rogue R2 Wash fixtures from Squeek Lights.

 

For many of the songs in his 60 minute show, Birchill used orange as his primary color and accented it with whites. When the band played songs from previous albums, he turned to different palettes, such as deep blues, greens and cyans. During some of the high impact songs, the lighting moved toward what Birchill calls “more hostile looks,” with primary reds accented with yellows.

 

In addition to deftly managing colors, Birchill relied on backlighting and silhouetting to reflect his client’s raw, edgy sound. “I like to go to backlights and silhouette,” he says. “It creates this ominous look and adds a sense of mystery to the stage, both of which fit the essence of Beartooth’s sound.”

 

Along with its six Rogue R2 Wash fixtures, Birchill’s rig included six Chauvet DJ Shocker panels, which were hung on four-foot pipe and base below the drum riser. These fixtures were used to set the mood during the build up to the band’s performance of their title song.

 

During the ‘Diseased and Disguised’ tour, Beartooth and Motionless in White alternated opening for one another. “I can’t say enough good things about Mike Null, Motionless in White’s lighting designer and the entire crew for them and Beartooth,” says Birchill. “I am Beartooth’s Tour Manager, in addition to the LD, and sometimes things got crazy, at which point Mike always covered for me during set up and tear down. The people I toured with and the people at Squeek Lights really made this a great experience.”

 

Beartooth Setlist (Ft. Lauderdale):

The Lines
Hated
Beaten in Lips
Aggressive
Afterall
Bad Listener (with drum solo)
Fire
You Never Know
Disease
Body Bag
In Between

 

Motionless in White Setlist (Ft. Lauderdale):

Disguise
Necessary Evil
Thoughts & Prayers
Devil’s Night
Voices
Headache
Reincarnate
Immaculate Misconception
Break The Cycle
Another Life
Brand New Numb (with Caleb Shomo)
Eternally Yours

 

Tour Dates:

04.01.2020 Seattle, Wash. - Showbox SODO
05.01.2020 Portland, Ore. - Roseland
07.01.2020 San Francisco, Calif. - Regency
08.01.2020 San Diego, Calif. - Soma
09.01.2020 Anaheim, Calif. - House of Blues
10.01.2020 Ventura, Calif. - Ventura Theater
11.01.2020 Tempe, Ariz. - Marquee Theatre
13.01.2020 Denver, Colo. - Summit Music Hall
15.01.2020 Chicago, Ill. - House of Blues
19.01.2020 Toronto, Ontario - Danforth Music Hall
20.01.2020 Niagara Falls, N.Y. - Rapids Theatre
22.01.2020 New York, N.Y. - Webster Hall
27.01.2020 Norfolk, Va. - The Norva
30.01.2020 Ft. Lauderdale, Fla. - Revolution

 

 (Photos: Sarah Hess)

 

www.chauvetprofessional.com

 

Bon Iver - ‘i,i’ U.S. Tour (2019)

For the U.S. leg of Bon Iver’s recent tour, lighting designer Michael Brown put 49 x Robe MegaPointes and 25 x Kinetic Lights custom moving mirrors at the core of his dynamic design. Brown has worked with the band since 2012. For this recent tour he also teamed up with WhiteVoid’s Christopher Bauder, a light artist based in Berlin, Germany, who had invented the Kinetic Lights winch system. Bon Iver’s production manager James Dean was also onboard.

 

Before he approached Bauder, Brown had the design and layout of the winches and MegaPointes all worked out, some of it inspired by the light art installation ‘Skalar’, combined with several original ideas for how it would work with Bon Iver.

 

The 3D geometry that defined the band’s touring lighting rig was created by five identical overhead chevron trusses comprising 32 ft long wings connected by a 90-degree corner block, which resembled a diamond from the audience perspective and mirrored a diamond-shaped layout of the band risers onstage down below - with no one on the central plane.

 

The 25 custom diamond-shaped Kinetic Lights LED-outlined mirrors, each suspended on three of their proprietary winches, flew below the chevrons - in five vertical rows of five - able to move up/down/pan/tilt in any direction, controlled by their own KLC control software, developed specially for this purpose.

 

Then there were two grids of MegaPointes at the core of the rig. A row of 21 fixtures formed a U-shape around the winches with another 21 echoing the same positions on the floor, and all these fixtures were mapped onto the mirrors. The other seven MegaPointes were on the floor aligned directly below certain mirrors. All the flown elements were sub-hung from a mothergrid installed into the arenas.

 

Lighting - for the MegaPointes plus a number of other moving lights and LED battens and strips - was controlled via a GrandMA2 console which was also triggering the KLC computer for the winch movements. Lighting equipment, all the associated rigging and the set risers were supplied out of rental specialist Clearwing’s Milwaukee shop, with the mirrors and winches a rental from Kinetic Lights in Germany.

 

Clearwing crew chief and systems designer Sam McKeown made sure that everything worked practically and logistically on the road. It was the first time Kinetic Lights mirrors/winches have been on the road in the U.S. for a concert tour and used in a live band context like this.

 

Setlist (PNC Arena - Raleigh, NC, USA - October 2019)

iMi
We
Holyfields
Heavenly Father
666
715 - Creeks
Lump Sum
U (Man Like)
Jelmore
Faith
Marion
Perth
Salem
Hey, Ma
___45___
33 “GOD”
Blood Bank
8 (Circle)
Flume
Sh’Diah
Naeem

Holocene
RABi

 

(Photos: Graham Tolbert)

 

www.robe.cz