The essence of lighting Costello is keeping it understated, subtle and in the background - so it's not a distraction to him and his music, explains McCarthy. There's specific things he doesn't like - including smoke, spot lights or audience lighting, and certain things he does like - like keeping it simple and effective. Other than this, McCarthy has a creative free rein. The rig consists of three straight trusses, with the gear spread between them. The moving lights Martin MAC 500s and MAC 600s - although, true to the 'house' style - they are rarely seen to move. These are joined by Par 64s and Source Four profiles for key lighting Costello and the band, which can vary from gig to gig with guests, etc. Different variations of this rig are toured as well - a recent acoustic tour saw them take Mac 2000s on two trusses for basic beams of light.
McCarthy runs the show with a Wholehog II console and a Wing, describing the latter as his "Get out of Jail" card for improvisational moments, of which there's plenty - with a pool of over 80 songs to choose from - and a different set list every night that's often not followed "You definitely have to keep on your toes" says McCarthy.
The lighting looks are kept simple and either single or duo colour. Apart from the primary job of illuminating Costello and the band, he adds some gentle texturing on the upstage backdrop for certain numbers. Other than that, it's a clean, straightforward show, with Costello unpretentiously centre stage. McCarthy's crew are Ray Whelan and Keith 'Teff' Harrison.
Costello has just returned from a 10 week North American tour. He returns there for another month after this European stint, where they will again be serviced by the Bandit Nashville and Knoxville offices.
(Lee Baldock)
