Four SGMs are positioned on the rear truss, with another four on two upstage/offstage Manfrotto stands each side of stage - for additional depth and separation. He uses the fixtures as the core of the rig, enthusing: "They are fantastic. They're proving robust and reliable on the road, and the effects you can create with the sheer power and brightness are really excellent."
The fixtures are used extensively for gobo projections, break-up and colour work. They are rarely seen moving during the show, which mirrors the attractive, bluesy tone of Stone's voice. Using the Giottos to create 'power looks', he also likes the choice of gobos, "They are great to use as 'defining' lights" he adds.
Other fixtures on the rig include Martin MAC 600s, James Thomas Pixellines and ETC Source Four profiles, with control and dimming by Avolites. He keeps the tempo of the light-show moving along constantly with plenty of interesting and innovative looks and colour combinations, "Joss attracts a really mixed audience and her musical range is vast," he comments, "So the visuals have to mirror the dynamics of the set."
Thompson is working alongside his crew-mate Rob Gardiner, and sound for this leg is being supplied by Britannia Row.
(Lee Baldock)
