Lighting Cos
HSL & Neg Earth (Europe)
Venue
Various (Tour)
Crew
Lighting Designer/Programmer/Director: Martin Brennan
Lighting Co/Germany: TDA Rental
Lighting Co/Australia: Chameleon
Lighting Co/New Zealand: Spot Light Systems
Lighting Crew Chief: Pat Clark (Australia only)
Production Manager: Karel Hamm
Tour Manager: Rex King
Tour Manager: Leo Rossi (Australia only)
Stage Manager: Lloyd Hurt
Gear
1 High End Hog 4 full size console + expansion wing
20 Martin Mac Vipers
30 Martin Mac 2000 Washes
24 Clay Paky Sharpys
16 Atomic Strobes
2 Reel EFX DF-50 hazers
Designer Insights by Steve Jennings:
We caught up with lighting designer/director Martin Brennan towards the end of the US run of dates for Billy Idol before they headed off to Australia, New Zealand and Europe with a return back to the States later in the year.
Brennan first started working with Idol in 2010 for a part of the European festival tour to cover for their LD at the time, Rob Koenig. Koenig went back to lighting Metallica, and as Idol needed a reliable pair of hands to cover, Brennan was available, and very interested in the prospect of working with one of punk’s icons. Idol’s production manager, Karel Hamm had known Brennan for many years, worked together with bands such as Iron Maiden. Having become good friends, when Brennan’s name was mentioned, Karel leapt at the chance that they could work together again.
Martin Brennan
Lighting Designer/Programmer/Director:
“After the 2010 tour, I did the next European run in 2012, and finally in 2014, management approached me to take over the gig full time. Since then we have done another full European run, as well as another quick sprint around Europe and two American tours. The rest of this year looks incredibly busy, with the Australian run, more European festivals, another American run, and we hope South America!
“I actually programmed the tour initially last May in 2014 before the European festival run. With the kind of festivals we were playing, we did not have the clout to demand our own rig, so I had to program the show in such a way that, wherever we went, and whatever units we were given, I could get a coherent show out of each rig without gaping holes in the programming. To this end, I programmed with one kind of spot, one kind of wash, one type of LED and one kind of Sharpy-style beam light. This worked very well indeed. Since then, I have been able to streamline the show when we take out more consistent rigs, as we have done in America, but leaving things like the LEDs in the schedule so that they can be reabsorbed into the show when necessary.
“Over the course of this tour, we have used HSL and Neg Earth for the European runs. We have only taken out the desk up until this point, but both companies’ support has been fantastic. For the German shows last November, we used TDA Rental for the entire package, and on the last run we used PGP for the desk, 16 x Vipers and 4 x strobes. Creech, our account manager was absolutely amazing, as was the whole of the support staff, and their hospitality was awesome! I was able to go into their warehouse in Nashville for two days, and tidy up the show files, which was invaluable.
“For the Australian run, we shall be using Chameleon. They are old friends, and I am looking forward to seeing them all again. In New Zealand, we shall be using Spot Light Systems in Aukland. We are carrying nothing with us, lighting-wise. Both companies down under are reproducing my design, which I am really looking forward to. Imagine, a few weeks with no cloning!
“Regarding fixtures I’ll spec 20 Mac Vipers for the spots, 30 Mac 2000 Washes (or Viper washes when available) for the washes, and 24 Sharpys, plus 8 moles, 16 Martin Atomic 3000 strobes, and four follow spots. I adored the Mac 2000 spots, and I feel that the Vipers are absolutely fantastic, a consistent light. They have a great color temperature, fantastic color mixing mechanisms and some wonderful gobos. The Mac 2000 washes possess a big selling point for me in that the light output matches the spots, so that neither the spot, nor the washes, dominate the other in terms of intensity. This means that I can create balanced looks where gobos do not become swamped in a color wash, and so forth. The Sharpys are industry wide now, and I like using them as a kind of 21st century ACL. They also add another layer of light when building pictures.
“When it comes to festivals I’m on my own, but so far just about every single festival or one-off has provided me with an in-house crew who cannot do enough to help. In Australia we shall be using the Chameleon crew, and hopefully later in the year, we shall be taking out a full production on the next American run.
“I have been using a Hog since 2001. That was the Hog 2. I loved the simplicity and the layout of the Hog 2 and that has only been enhanced in the Hog 4. The shape generator is simple but very powerful, and the layout and display of information is very clear and easy to find in any cue that you wish to open up. If that doesn’t get me a Hog jacket, I don’t know what will !!!
“We have a fantastic crew on the road with us. I am the only Brit on the road, so I cop a load of stick, but we all get it in the neck occasionally from each other, and always with a lot of humor! A truly dysfunctional family. Our production manager Karel Hamm is, I feel, one of the best in the business. His experience is second to none, and he let’s nothing slip through the net. He trusts all of his H-o-Ds implicitly, and information is always available whenever we need it, so that by the time we get on site, there are few, if any, grey areas to be dealt with.
“As for the band, they are a joy to work with. They trust me to give them the same show where possible and my goal is that they are confident that whatever they do onstage, whatever highs and lows the music gives, that will be reflected appropriately with my show. The main contact that I have with the band is guitarist Steve Stevens. Not only is he a truly brilliant guitar player, and a total rock & roll showman, but he cares passionately about the show. If I have something to suggest, or he has a request of me, then we are able to sit down together and work out what will be best for the show. He has come up with a couple of looks that he has thought about and asked me to put into the show. If I disagree, then we discuss it, but so far his ideas have been incredibly sound and imaginative, and have worked within my design and vision for the show.
“As far as logistics, coming into a huge number of festivals, with all of their different rigs can be challenging, there’s never a dull day. Like all LDs, I prefer the consistency of touring our own production, but coming across many different layouts of lighting rigs can produce effects, angles and looks that I might not have ordinarily thought of. I think that the show that we have all created is dynamic and dramatic, and reflects what is happening on stage very well. I have been truly touched by the compliments that have been passed on to me by the band, management, local crews, and fellow industry professionals. The phrase “old school” has been bandied about regularly – a phrase that I am more than happy to be associated with!”
For more Billy Idol tour photo by Steve Jennings, go to plsn.me/BillyIdolPLSN
