Last year, when Metallica was finishing a stadium tour and putting the finishing touches on their latest release, Death Magnetic, lighting designer John Broderick was preoccupied with other projects. The looming world tour meant that he was behind the proverbial eight ball.
It should be required for anyone aspiring to be a lighting designer, programmer, or director to go see a Bruce Springsteen show. For 25 years, Jeff Ravitz has been his lighting designer and designated keeper of the flame of the classic rock show. Along with lighting directors Todd Ricci and John Hoffman, Ravitz schools the industry on how to do it right.
“This is unsafe. Somebody’s going to get hurt.”
Nick Scirocco, the 6-foot-2-inch plain-spoken IATSE Local One crew chief and John Yorke, lighting designer for the Red Bull Snowscrapers event in New York City, were standing at the top of a 90-foot high structure, the wind howling all around them, when Scirocco made this pronouncement. The structure in question was the Red Bull Snowscrapers Snowboarding ramp, a thin composite of plastic and nylon decking sheets at East River Park in Manhattan.
Xavier Diaz is on the run. Not only does Intocable’s lighting and video director have to make sure his rigs are up and running, he’s also serving as the production manager for the Tejano/Norteño influenced band as the collection of musicians hopscotch’s between Mexico and the United States.
Turning the Set Upside Down and Inside Out
When Tom Petty and the Heartbreakers go out on tour, they’re typically playing to sellout crowds. With the increasing demand for tickets, production designer Jim Lenahan was given a mandate at the start of Petty’s recent tour: keep 270 degrees of viewing angle.
By the time the Stone Temple Pilots disbanded in 2003, they had sold close to 40 million albums worldwide, which had produced six number one singles among the 15 songs that made the Billboard top 10. To Alastair Bramall-Watson, the band was iconic, particularly in the U.K., where he grew up. When the band reunited in 2008 for a tour and to record a new album, Bramall-Watson got the gig as the tour lighting and video designer.
LD Joe Labbe is concentrating hard on the stage. The lights are out and he’s waiting for the band to come back into a song. It’s just like any other night until Of a Revolution’s lead singer Marc Roberge says to his bandmates, “Let’s go into another song.” Labbe, who is on his first tour with the band, hears about the switch in his personal monitors and panics. “In a matter of seconds I had to find the right page where the song is,” he recalls. “I thought, “Why are you doing this to me?’ It turned out to be a fun night. I made it through and got it to where it needs to be. It was one of those nights that I walked away feeling awesome.”
No sooner had Brad Paisley’s highly successful last tour, “Bonfires and Amplifiers”, come to end did he announce his next tour, The “Paisley Party.” Lighting designer and director Dean Spurlock, who has been with Paisley for about seven years, was called on to keep the 2008 Grammy Award-winner and the Academy of Country Music Top Male Vocalist of 2007 and 2008 out of the dark, with visuals that would meet Paisley’s goal of achieving his “most spectacular concert yet.”
“Musicianship” might be a word more commonly associated with a Chopin concerto or chamber ensemble than with the thrash metal bands Megadeth, In Flames, Children of Bodom, Job for a Cowboy and High on Fire. Those bands toured North America this year as the latest incarnation of Gigantour, the annual shred-fest launched by Megadeth front man Dave Mustaine in 2005.
When Kenny Chesney’s Poets & Pirates Tour played San Francisco’s AT&T Park recently, it was another in a long line of summer stadium shows with Brooks & Dunn, LeAnne Rimes and Gary Allan. But unlike the other stadium shows, this one featured surprise duets with Steve Miller and Sammy Hagar. The 200-foot wide stage was a showcase for the talent and the production as well. As a four-time recipient of the Academy of Country Music award for Entertainer of the Year, Chesney lives up to his title with the help of production designer Mike Swinford, production manager Ed Wannebo and a crew to match their considerable talents.
Lighting designer Abigail Rosen Holmes had a collaborator, of sorts, on her latest tour design for The Cure’s 4 Tour. Her collaborator had lots of insight to the material, since he wrote most of it himself.
Front man Robert Smith “is very involved in the design of the show,” Holmes said. She and Smith exchanged sketches of the lighting system, projection, and stage layout before arriving at the final design. Then they tossed around ideas for the individual songs.
When Mary J. Blige decided to embark upon a solo tour, her production manager wanted Justin Collie of Artfag, LLC to be the designer. Over the course of several weeks the tour evolved into a joint collaboration with Jay-Z. But rather than sharing design duty with someone of Jay-Z’s choosing, Collie was asked to handle the design of the entire tour. The result was their Heart of the City tour.
Patrick Dierson, who has worked with Collie on many occasions, was asked to take on lighting director duties in addition to maintaining the integrity of the design for the run of the tour. Collie had the role of “Performance Environment Designer,” and he handled every aspect of the design including scenic elements, lighting and video layout.