It's the fourth JB tour that Adlib has supplied. Having the resources and flexibility to offer all the technical elements in a single source operation enabled a very cost-efficient package to be tailored to the client for the successful six weeks of sold out shows around the UK.
FOH engineer Walter Jaquiss once again specified a Coda Audio LA12 system, following its performance on the last tour. Systems tech Kenny Perrin explains that their standard configuration was 12 x LA12 cabinets per-side with a variable amount of LA8 down-fills.
For subs, they used two sensor controlled Coda SCPs per side for the standard set up, boosted to four columns of two SCPs along the front of the stage for the arenas. The in-fills were normally four LA8 speakers. The FOH and monitor consoles were both Soundcraft Vi6s, chosen for the 96 input capacity, which was needed to accommodate Barrowman's eight-piece band.
Processing was achieved using one of Adlib's standard racks combining Lake LM26 and 44s, and the whole system was driven by Coda's proprietary C10 amps. Monitors were mixed by LJ Evans, with the band all on IEMs, keeping the stage clean & tidy, for which ADLIB supplied a Sennheiser G3 system and a selection of Shure hard-wireds. Barrowman's mic was a Shure KSM9 radio mic head on a Shure body.
The lighting was designed by Simon Tutchener and operated by Ewan Cameron, with Adlib's Andy Rowe and Charlie Rushton tech'ing the rig. Similar to last year, the rig was flexible and scalable to be able to fit the different sized spaces and look good in all of them.
The moving lights were 10 Martin Professional MAC 700 Profiles and eight MAC 700 Washes on the back truss and the reverse configuration of Profiles/Washes on the front truss, together with four 8-lite Moles for audience illumination.
Also on the back truss was a pair of black tabs, which opened and closed to reveal a 20 x 15 ft projection screen, which was fed from one of Adlib's Sanyo XF47s, flown on the front truss. This video content was also relayed to two of Adlib's Panasonic 65" plasma screens that were placed side of stage for those in restricted view seats.
At the downstage corners either side of the stage were two vertical truss towers, each loaded with three MAC 700 Washes and two MAC 700 profiles for front cross lighting. A further three MAC 700 profiles were positioned on the floor and grazed up the drape at the back when closed.
A mid truss was installed to house a kabuki system, with a blue silk drop that was in for the top of the show. As Barrowman entered, he stood on his marks and was silhouetted against this briefly by an ARRI 5K positioned behind. The cloth then dropped in to reveal him in full glory onstage.
Cameron's lighting console was a grandMA2 light, with another running in full tracking backup, and 2 x Lycian FOH followspots completed the lighting kit list.
A Catalyst media server - operated from side stage - was supplied to store a selection of VT playback materials and stills, which featured prominently in Barrowman's well known between-number banters, anecdotes and slideshow sessions, all characteristic of his highly entertaining performance.
(Jim Evans)
