It featured the band's original line up, a new album History of Modern and an energetic set comprising a lively mix of classic hits and new material.
It was lighting/visuals designer Andy Liddle's first full production tour with the band since he came onboard in 2009. He created an interesting mix of moving elements, LED and projection surfaces and lighting, to provide a contemporary scenic showcase for OMD - three decades of synth pop later.
All suppliers were invited to tender for the tour at the outset, from which HSL won the lighting and visuals package explains Liddle, who was also aware of some of the other work that HSL has been doing recently. "We felt HSL's experience with moving elements, LED surfaces and projection in addition to lighting made them the best choice."
The tour was being project managed for HSL by Mike Oates. On tour with Liddle were technicians/riggers Eugene Benavidez, Matt Brown and John Trincas.
Liddle's design emanated from an upstage stretch projection screen, and included eight areas of Pixled F40 LED screen, six of which were rigged to sections of 12-inch truss that were moved on the 12 axis Kinesys system. This used half tonne Liftket motors, and was operated by Benavidez.
Attached to the trussing sections behind the screen panels, so they shot through to make the screen transparent - were a selection of four-way linear Moles and Martin Atomic strobes.
At the top of the show, the intro video (produced by Pip Rhodes) was projected onto a full length gauze drape attached to the front truss by a Robe DigitalSpot mounted on the back truss. At the end of this, the gauze was kabuki dropped in to the floor.
Two more DigitalSpot 7000DTs rigged stage left and right on the side-fills were used to feed images to the main projection screen.
For lighting, 24 GLP Impression LED wash lights were arranged in six batches of four across the three main trusses, for a touch of retro ACL 'architecture'. Sixteen Robe ColorSpot 700E ATs also distributed between the trusses were used for key lighting the band, with 6 of them positioned upstage of the band riser to create intense beam looks onto the forestage and into the audience.
Another element of token 1980's technology were two bars of 6 PARs per side, stood vertically offstage each side for strong cross lighting. Then there were the strobes and blinders behind the Pixled panels, a single follow spot, and a 400W HTI green metal halide unit centre stage.
Liddle used an Avolites Tiger Touch console to run the lighting and the DigitalSpots. The tour was preceded by four days production rehearsals at Lite Structures in Wakefield. "I was very impressed with the way HSL had prepped the kit beforehand," comments Liddle.
(Jim Evans)
