I can honestly say that I didn’t realise quite how many Backstreet Boys
tracks had made a home in the back of my mind. That was until last
month when I got to witness the five-piece powerhouse at London’s
O2 Arena, and to meet the men and women behind the DNA World Tour.
Despite it being some 23 years since the band’s self-titled debut album
was released, the group has maintained much of the energy that brought
it success in its formative years.
“It’s always our goal to give the fans something new each time we
create a new show,” began the band’s Production Manager, Dan Mercer.
“A lot of our audience are return customers and the boys don’t want them
to see the same show twice.” Mercer is widely known as one of the co-
creators of Australian company Mandylights. However, after 10 years with
the company, he opted to head out on the road, and for almost five years
he’s been the man behind the Backstreet Boys’ live shows.
Many of the crew that TPi got to shake hands with during the day had
also been involved with the Larger Than Life Las Vegas residency that came
to an end in April. “There is a core crew of 10 who have been around for
some time,” mused Mercer as he walked TPi around the O2 Arena, making
introductions to his team. “For example, our head of wardrobe, Tierney
Burchett, has been with the band for over a decade.”
Following a European run, the touring family hopped over to the UK. For
the tour Mercer brought in PRG, Sound Image, ER Productions, TAIT Towers,
Coach Ser vices and Fly By Nite.DESIGN ORIGINS
Alongside steering the Production-ship, Mercer also wore another hat
within the touring party. “I did the Production Design for this tour together
with Lighting Designer Graham Anderson,” stated the PM.
Holding the dual role played into Mercer’s “hands-on” Production
Manager approach. “I like to get involved and the last thing I would want
is hide away in an office,” he asserted. The stage was a feat of engineeringwith a large, automated V-Screen hung downstage, a rear video wall,
a selection of automated lighting trusses and an elaborated ‘Vortex’
made-up of several arches of Martin by Harman VDO Sceptron 10s.
“Conversations about the design for this tour started early into the
residency,” commented Anderson, standing at FOH overlooking his and
Mercer’s creation. “Our first stage has always been to speak to all five of
the boys and ask what they wanted for the tour. Once they had presented
their ideas and spoken to Creative Directors, Rich + Tone, we got to work
designing the show.”
The Vortex was one of the first elements that was put on the drawing
board. After sending the design to a selection of suppliers, TAIT was brought
in to create the skeleton of the DNA World Tour. “They have done a great
job with the stage,” commented Mercer, making special mention to the
elaborate underworld.
“We’ve come from the comfort of Vegas, with private dressing rooms.
But TAIT did a great job creating an underworld with plenty of space for
quick changes, along with the two stage lifts.” The LD furthered, praising
the tour-ability of the system. “Due to our schedule and the design, getting
this show up and down each day quickly and efficiently was a major
consideration. TAIT has certainly found the best way to facilitate this.”
Collectively, the eight Vortex arches were created by 456 Martin by
Harman Sceptron 10s. “I’ve been really impressed by them,” commented
Mercer. “It was a huge logistical challenge getting them in, but now we are
on show 22 we find it goes up fairly quickly.”
Due to the size and complexity of the Vortex, the structure actually had
its own team, consisting of Crew Chief, Michael Gallagher and Tech, Patrick
Hatung. “From the initial design we knew the structure was going to need
its own team and Mike has done a great job getting it in and out ever y day,”
commented Anderson.
With the Vortex team in place, Anderson went on to explain his process
of fitting a lighting rig around the scenic elements. “One of my firstBACKSTREET BOYS