The tour has been out since January, and Conwell has worked with the artist for the last five years. For the last year, he has exclusively been using MA Lighting's grandMA control platform for this and all his other work.
"I wanted a totally reliable console and operating system," he says commenting on his switch to MA. "It's a good all round moving light desk, does exactly 'what it says on the tin' and I am really confident about using it."
The starting point for his Tour of Refusal lighting design was the distinct backdrop, complete with a haunting giant snapshot of 1960's Italian actor, Walter Chiari. This was carefully lit so it could seamlessly be made to emerge and disappear throughout the performance.
It was a sparse and minimalist rig in terms of fixture numbers, producing a dramatically stark, contrasty and edgy show that matched the dynamics of the set.
The grandMA was controlling six Vari*Lite VL 3500 Washes positioned on the floor, up-lighting the backdrop, six High End PC Beams for downstage cross lighting and shadow work on the band, nine Atomic strobes, Molefeys, and some Martin moving lights. There were also 12 i-Pix BB7 LED beam lights - six on the rear truss and six on the floor upstage of the band.
Lighting equipment for the UK and European sections of the tour was supplied by Neg Earth, and for the US, by LA-based Epic Productions.
(Jim Evans)
