Band: Rise Against
Tour Dates: Late 2015 (July to Dec. 8)
The Design: “It’s a simple rig. Rise Against music is meaningful; they stand for human rights, animal rights and activism to change the world for the better, so the palette is earthy with a serious tone. They play on the downstage edge and the front light is stark, steep angled. I often do a steep cross focus — purposely not flattering. My key light is two angled moles for a side wash [for a] stark rock look. I use one followspot, and I use it low.
“This band is not akin to formatting. There is no such thing as perfect timing. It’s down and dirty rock and roll, so the lighting’s beats per minute cannot be programmed either. I have what I call whack focuses — purposely dirty focuses. Not all the lights are perfectly colored. My CTO palette is all sorts of CTO and that is beautiful with this kind of music.”
BACKSTORY
Home Base: Los Angeles
Career Spark: “High school theatre was also a community theatre, so I listened to stories from old union guys there. One used to tour with Jethro Tull. I was fascinated; I wasn’t thinking there was an LD who could travel and do that. Then seeing pictures of Genesis, and Jim Moody’s lighting plot for John Denver, I thought, ‘wow!’ After high school, I interviewed with the stagehands union.”
First Industry Job: “Willie Nelson at Anaheim Stadium as an IA, maybe ‘81 or ‘82. I met the lighting company and Doug Armstrong, who recruited me as a tech. We did local tours with Oingo Boingo, Stray Cats, English Beats and General Public through early 90s.”
First LD Gig: Juice Newton
Heroes/Mentors: “Roy Bennett’s design for Prince was not huge, but it was tastefully done — the color palette was beautiful, the rhythmic lighting spoke the music. I’m impressed with those who make a few lights really mean something.”
Other Impressive Show Designs: “Baz Halpin’s work is amazing for his design composition and ability to break and expand the space beyond the speakers and video.”
Define “Great Lighting Design:” “A successful design has to be realistic in its deployment; to rein in the artist’s concept and give him what he wants, but not break the bank.”
What do you like about what you do?
“Traveling, being behind the console. I purposely won’t time-code it, because I want to be part of the show. It’s like a game. My road family has grown to some great people. In light of everything that’s happened in Paris, I’m appreciating it more.”
Best Advice: “Don’t take yourself so seriously. Listen more than talk.”
