Adlib is Dedicated to Carly Rae Jepsen
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Production manager and FOH engineer Zach Snyder had not worked with Adlib before but was recommended to the Liverpool-based production specialist by their tour director, Tony Marino, who’d used Adlib before with Panic at the Disco.
“It was a great decision,” states Zach, who was delighted with the service and support from Adlib.
He specified an Avid S6L 24d for the FOH console and a DiGiCo SD12 for monitors which was run by Spencer Jones.
Lighting designer Charles Ford chose a grandMA2 light as his control desk of choice, for its power, flexibility and compatibility as an ‘industry standard’ workhorse piece of kit.
For the two sold-out UK shows at Manchester’s Victoria Warehouse and London’s Brixton Academy, Adlib supplied an L-Acoustics K2 & KS28 system.
“This is a great PA; you can source it worldwide and this spec is based on a ‘standard’ rig that we have been using for festivals,” explains Zach.
The artist and her outstanding four-piece band - expanded to include more musicians for the US sections - all have their own Sennheiser mics and IEMs.
Charles’ theatrical styled lighting design for the larger shows included 16 Ayrton Khamsin LED profiles with which he was impressed, combined with 12 Robe MegaPointes, another of his favourite fixtures for eye-catching beam work and effects.
His wash luminaire of choice was the Claypaky B-Eye K20, and also on the rig from Adlib were GLP Impression X4 Bar 20s plus ChromaQ ColorForce LED 48 and 72 battens for up-lighting the white set risers and back cloth. The lighting detail was completed with hazers and a mirror ball.
The design had started with the US touring version earlier in 2019, and this ‘international’ version was evolved for overseas ‘empty shell’ production shows like this and was also used for festival scenarios. Another basic lighting requirement spec was sent out to all the European venues where they worked with a mixture of in-house and promoter provided lighting rigs.
Zach also comments that Adlib met all their specs and requests and exceeded his expectations in terms of the levels of advance production, finessing and general planning. “It was impressive and seamless, and the crew at both gigs were also brilliant, knowledgeable, friendly and a pleasure to work with.”
The account was managed in the Adlib office by Leah Coyle. Adlib’s crew chief Ash Dawson headed up a team of Tom Webber, Kenny Perrin, Sam Gallacher, Aaron Greig & Sam Cooknell to oversee prep, rehearsals and the back to back Manchester and London shows.
(Jim Evans)
