GLP adds versatility to Zeds Dead dates
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Now a staple on the international touring circuit, such diversity poses many challenges for the lighting team, led by production designer Erik Mahowald (of Bending Lite Productions).
Recently, they have been headlining package tours for their record label Deadbeats, a series of ‘one-off’ formatted shows in a varied combination of festival stage ‘takeovers’ and standard concert venue applications at venues ranging from 5,000-50,000 capacities. This demand on scalability, and the random nature of the shows, creates further challenges for Mahowald. GLP fixtures provided the necessary versatility.
“The design was originally debuted at Red Rocks Amphitheatre [Denver] which consisted of 50 GLP JDC1 fixtures, while GLP impression FR10 Bars were introduced very recently at our Aragon Ballroom [Chicago] and Masonic Temple [Detroit] shows,” he says. Lighting inventory for both these shows was provided by Chicago-based LEC - LIVE Entertainment Chicago.
Bending Lite has been working with Zeds Dead since 2017, and has created two production designs for Deadbeats shows. “This is our first tour with them, and we also handle all programming.” The latter is in the hands of Davis Alexander.
They were first introduced to Zeds Dead by production manager Daniel Ostroff, who asked them to assist on larger production applications such as their major headline shows.
“For the Deadbeats shows, we had one request in that they didn't want one big upstage wall, but rather four vertical stripes,” the designer continued. “From that we moulded something that would look bold, powerful, and clean, with lots of definitive straight lines that would create architecture. The two DJs stand on an elevated platform upstage of the tiered deck trussing, creating a massive platform.”
Wanting to fabricate a rig that would fit the full width of venues mirrored flown and deck trussing was designed to create a picture frame aesthetic. This versatile set fits the vast library of music and the variability of GLP’s hybrid fixtures.
Each of the four identical trusses included six FR10s, and eight JDC1s, with the flown rig mirrored to the deck to create maximum beam power. “The music varies greatly night to night, and having versatile fixtures like this is something we count on,” Erik Mahowald continues.
“We used each of these units to their fullest capacity and most extended modes, and we appreciate their ability to create what seems to be an infinite number of looks. The functionality of the JDC1 is unmatched.
“The FR10s were used as a statement piece in lining the trusses of the rig. We used them in their full capacity mode to create the most specific of looks.”
