When it came to lighting, Prestige Management sought something like the 1980s mega rock look, made legendary by the likes of AC/DC, Judas Priest, Iron Maiden, who vied to have the biggest and best lighting show on the road. Whitehead also took the stage styles and trends of this epoch onboard with the set design, adding a twist of modernity, capitalizing on the current design penchant for silver and metallic tones. He chose silver trussing and Par cans, metal staircases and grilling, with a large illuminated metal sign upstage and a starry sky backdrop bringing up the rear.
Lighting wise, "The idea is to make it simple and large," says Feast - a task for which he's utilizing nearly 200 Par cans including several strings of ACLs and much 'beam technology' to produce some classic rock 'n' roll moments. The moving light contingent is minimal - 21 Martin MACs - a mix of 500s and 600s, 10 of which are on the floor. The three straight pre-rigged trusses are also toned with Pars and scrollers, and there's a number of practicals built into the set, including DWE Moles, Raylites and Pars - the latter diffused with Hampshire Frost.
Feast uses the Pars for basic colour washes and building blocks for each song's looks, keeping the colour combinations simple, clean and bold. He runs the show from a Wholehog II console. Bandit is also supplying three Lycian 1200 HMI FOH followspots, used across the front line. Feast uses the spots in classic rock 'n' roll style when it comes to highlighting solos. Two Source Four profiles are used to key-light drummer Harry Judd.
Other equipment includes all rigging and motors and an electric Kabuki that reveals the band at the top of the set. Bandit's crew are Kris Lundberg (dimmers/crew chief) and Jim Allison (tech), and Feast is a working LD. Despite the rig's large Par can base - and consequently more manual focussing than normal - the get in and out times are impressively quick, "It simply flies in and out each night. As always, working with Bandit is excellent. The gear, crew, attitude and attention to detail is second to none," says Feast.
McFly's sound, based around an HK Audio Cohedra line array PA system, is supplied by Wigwam, with Nick Warren mixing FOH on a Midas Heritage 3000, and Matt Napier on monitors with a Yamaha PM5D. A full review of the production will appear in the October 2004 issue of Lighting&Sound International.
(Sarah Rushton-Read)
