goals was to ensure I had a decent floor package,” he began. “Unlike the
residency, where we had lots of dancers, this tour it’s just the five of them
on stage, and I wanted to ensure they were lit up as much as possible.”
Due to the Vortex, the only real option was to create a lighting rig that
would be able to be placed between each arch, leading Anderson down the
automation route. “Automation just brings another dimension to the show,”
said the LD. In total there were six automated lighting trusses, “although
only four are really used actively during the show.” The system itself utilised
TAIT’s Nav Hoist system. “During rehearsals we were able to come up with a
selection of looks just by experimenting,” recalled Anderson.
Anderson’s main workhorse fixture was the Vari-Lite VL4000, with 41 in
the rig and a selection on the floor and the torms. “It’s my main overhead
beam wash,” continued Anderson. “It’s so flexible – a necessity while
working with this band and collection of creatives. It is one of the most
versatile beam washes on the market right now and it’s still relatively new,
so not many people have seen it out on the road.”
Other noteworthy additions on the rig were the GLP JDC1s and
impression X4 XLs, each on alternate trusses. “This meant I could bring the
various trusses in and out to create different looks,” explained the LD. “I’ve
also got lasers on trusses one, three and five which, again, can be brought
in for their moment, then taken back to trim for another song.”
Anderson went on to explain his fixture choice. “The JDC1s are one of
my favourite fixtures, mainly because they’re more than just strobes. You
can do so much with them.”
Also featured on the rider were 66 PRG Icon Edges covering the top and
bottom of the large V-screen, “which plays an important part in the show,”
stated the LD. “Like the VL4000s, versatility is of the utmost importance.
They can flip from a beam to a spot and the colour mixing is fantastic.”
Making up the back wall were 63 Ayrton MagicBlade-Rs. “Dan hadcome up with the idea of the MagicBlade wall on a previous run,” stated
Anderson. “I’ll admit, I was slightly sceptical, but they have been a lot of
fun to work with. It was great to think outside the box to create some looks
outside the norm for this style of fixture.”
One example of this out-of-the-box thinking came during the latter
stages of the show, during the ‘Remix’ portion, where the video content
incorporated a lot of audio fader visuals, which Anderson then replicated
with the wall of Ayrton MagicBlades.
“It involved a lot of work with my programmer Joey Troup.” The LD
went on to complement his number two. “He was working with DNCE and
we crossed paths on a festival run. I had a gut feeling we would work well
together and was happy to be proved correct. It’s always a dream situation
when you find a programmer who can translate your ideas into a design.”
The final element of the LD’s lighting arsenal was the PRG
GroundControl Followspot System. Working in tandem with the PRG Bad
Boys, the crew had six controllers – one for each member with a spare in the
wings. “I had never got to use the GroundControl system, always having to
rely on house spots,” stated Anderson. “Working with house spots always
has its challenges, but the fact that we always require five spots tends to
exacerbate the problems. Most venues can supply four, but the fifth is often
rented and you don’t always get the correct angle.”
It was clear the LD was happy with the addition to his lighting package.
“The fact that we have six spots in the centre of the rig, all operated by
members of our touring party who get to learn the show, makes all the
difference. They really are a game-changer for a show like this.”
At FOH, Anderson drove the show with two full-size MA Lighting
grandMA2s – the LD’s go-to for a number of years. “One of the main reasons
I chose the MA2 is down to convenience,” he explained. “With this tour we
are doing so many festivals where we rely on local production. I consideredBACKSTREET BOYS