The eye-catching set was designed by James McNamara and contained gold and silver surfaces and texturing. Hoey took this as his creative starting point and designed an equally attractive lighting show based on asymmetry to match the set. He utilised Robe ColorWash and ColorSpot 700E ATs and ColorWash 2500E ATs. These formed the core of the rig. "They worked really hard providing lots of wow factors and a wide variety of looks," says Hoey.
The Robes were hung on trusses above the stage. Far upstage were 16 ColorSpot and ColorWash 700E ATs covering the back area and used for movement and animation. These were also used to back light the guest band performance area. In front of this was the presenter area on stage left, and to their left, a large 'pit' in the stage that housed the resident band. The rear 700s were also used extensively for lighting this area.
Downstage of that was an LED wall, and above that three trusses heavily laden with lighting including another 16 ColorSpot and ColorWash 700E ATs (eight of each fixture), plus 10 ColorWash 2500E ATs. These were all used for down-lighting and dramatic back lighting of the stage thrust, as well as for standard movement and flashy effects.
The set was also illuminated with LED battens and PARs, and from the front, Hoey key lit the stage action with Source Fours. The audience was highlighted with the venue's house rig of 100 PARs.
There were also eight ColorSpot 700E ATs on the stage floor, positioned in the monitor trough, which concealed them well for camera shots, as one of the requirements was to keep the stage area as clear as possible from kit.
Hoey ran the show on a Road Hog Full Boar console. The rig was tech'd by Adrian Skinner and Sean Crawley from Sound Stylists, who built and tech'd everything in the very short timeframe, "They were really fantastic," says Hoey "And I would like to say a big thank you to them for all their efforts."
(Jim Evans)
