Ealy wanted a complete break from the conventional symmetry of the last tour. The flexibility and dynamism of asymmetry also allows easy adaptation of the show for different venues - ranging from theatre to arenas in Europe - without compromising on creative or practical fronts.
Ealy runs his own lighting rental company, West Coast Lighting, based in the LA area, and so is pretty discerning when it comes to choosing a rental partner for his large-scale tours! He's worked with Bandit - which has serviced all his Offspring tours - consistently over the last 10 years. He commented: "The service, crew and equipment is excellent, and there's the continuity of working with the same company both sides of the Atlantic."
The UK and Europe is the start of the Splinter tour. Bandit UK's Mark Powell helped source a funky, white, slashed PVC material, used to create eight upstage hanging 'pillars' giving the stage a sense of architectural definition. The material was supplied by drapes specialists Blackout. The PVC banners take light beautifully, and form an interesting, grungy backdrop. There are five trusses - all of them varying lengths, raked and angled differently. Highly effective front lighting is supplied via the two, jauntily angled, downstage side trusses - one per side of stage.
All lighting fixtures are asymmetrically placed across the trusses. A mix of Martin MAC 2K profiles and washes, MAC 500s and 600s - are the show's creative engine. At least 20 of these are dotted all around the floor, on risers and atop convenient bits of backline. Other lights in the rig are Martin Atomic strobes, 8-lite DWE Moles with colour changers, and Source Four PARS with colour changers focussed on the drum kit. Ealy uses his own Avolites Sapphire 2000 console, a new purchase for Offspring's last tour in 2001.
An in-ear monitor mix aids Ealy's impeccable timing. However he's the first to highlight that the Offspring show is a complete team effort, and praises his hard-working crew of Bandit regulars, Jason Hyne and Rob Starksfield. Audio is supplied by Britannia Row, and catering by Eat To The Beat.
(Sarah Rushton-Read)
