The tour features a lighting package designed by Erik Parker of Chris Lisle Lighting Design and provided by Bandit Lites. Parker worked closely with both Koz and production manager Brian Foisy on the design and the show, a project Parker had looked forward to doing since he joined the show as lighting director in 2014.
While previous iterations of the show contained video elements, this year's direction featured a conscious effort to take the focus off "devices in our lives" and the screens that take attention away from things happening in the present, instead focusing on being in the moment and creating an elegant and beautiful atmosphere
"As a side effect of not having the video element, there was less competition when creating a visual picture for the audience," Parker said.
To create that visual picture, two sticks of Tyler Truss are loaded with Martin MAC Vipers, Robe Robin 600s and Chauvet Legend beams and split in the air, giving the illusion of house lights.
"The Robin 600s are used primarily for a general stage color wash, and a little eye-candy control of rings, but its main focus is to throw color on the stage," explained Parker. "Similarly, the Vipers are used for texture and big looks from above. In some cases it's a texture on the backdrop, maybe a texture on the band or an aerial beam; it is really a workhorse of this rig."
Eight Chauvet Legend 230SR Beams in the air supply the beam looks, while Parker also utilizes prisms and gobos to reflect off strategically positioned mirrors, imparting a multidimensional effect. GLP Impression X4S's are placed in short truss on both sides of the edge of downstage, giving side wash when zoomed out, special looks, or great fans when narrowly zoomed.
Rather than have traditional button fixtures on the scenic changes upstage with drapes, Parker instead opted for a dozen GLP X4s on the floor to light the different drops.
"Additionally I put a 10' truss tower on either side with another four X4 fixtures to box in the softwoods and to allow for extra textures on the goods and fan effects from the upstage corners," he said. "We also flip the twelve on the floor around as a great backlight for the band or aerial fans above their heads; these are really versatile fixtures."
Martin MAC Viper and Clay Paky B-EYES are placed downstage of the band risers, giving more texture and backlight to the artists. The result is a layered looks from an extremely versatile rig that can accommodate multiple venue styles and sizes, even in smaller spaces where truss cannot be hung.
Fortunately, Parker was able to utilize Bandit's on site rehearsal facility, Venue One, to hang the rig in its entirety for programming and rehearsals. "Venue One was a really awesome experience," finished Parker. "Being a part of Bandit we were able to address any changes that arose on a lighting side, but also were close to our other vendors so our audio team could do the same. The staff was super accommodating and friendly, and the Bandit rig held its own for sure."
"This is truly a bunch of people that enjoy what they do, and they do it extremely well," said Bandit's vice president, Mike Golden. "I had the opportunity to work side by side with production while Dave Koz rehearsed in our Nashville programming facility and witnessed a show that is fantastic. Mr. Brian Foisy runs a very quiet and professional ship and Erik Parker knows exactly what he wants and needs in order to match the quality on stage."
"David Koz and Brian Foisy are the vision behind the show as a whole," finished Parker. "It is really cool to work with them to bring the visual elements, in particular lighting, to life with the concepts they've created! They're both incredible people and surround themselves with the best and kindest in the business."
(Jim Evans)
