NASHVILLE, TENNESSEE – Rock and Roll Hall of Fame inductee Jackson Browne is back on the road for the next leg of his tour with a lighting package supplied by Bandit Lites, and while the iconic singer-songwriter’s last few tours featured big, saturated looks and backdrops, lighting designer Steve Comer designed this year’s run around beams rather than a set.
More details from Bandit (www.BanditLites.com):
“I chose to do ladders behind the band and some side trusses at a downward angle to wrap around the band and provide beams of light that surrounds them,” Comer explained.
“It was twelve years ago now that Jackson himself with designer David Davidian led the charge to go to a more earth friendly approach to lighting using a 90% LED based system,” said Bandit Production Director Dizzy Gosnell adding, “back then it was 160 LED Par 64s. Jackson’s house had been off the grid a long while before, and he was intensely interested in pushing LED on his lighting systems. It was his vision and faith in us that enabled us to take the leap into the LED path we’re at now.”
Bandit Lites is providing more than one hundred fixtures for the tour, including Martin MAC Auras for wash and band member key lights and Vipers for full stage gobo wash and band member solo highlights. GLP X4 fixtures bring tight beams of color and aerial beams. Additional beam effects are provided by Chauvet Rogue RH1 Hybrids and Chauvet Maverick Pyxis.
“I have really enjoyed having the Pyxis out,” Comer said. “It is like having two fixtures in one where I can get a tight beam in one color and a color wash in a different color at the same time. The zoom on the outer ring really helps it go from a wash to a dual beam type light. I’ve found myself programming more uses for them in my show as the tour has progressed.”
Elation SixPars are used for a general stage wash and the ‘in between song blues’ on stage with Robe 1200 LED Washes supplying side color washes for the band, floor beams as well as backlight on Jackson.
“I’m very sparing on the LED effects on the unit as Jackson’s music doesn’t really benefit from it,” Comer said, “but I see how they would be a lot of fun for different acts. The 1200 from the side have also been a great addition allowing me to use less front light on the band.”
“Steve’s design has been in the works since Christmas 2018 really,” added Gosnell, referring to the process as, “A gently paced, organic design process rather than a frantic-last minute-skin- of-your-teeth approach. Steve tried various things out digitally months before the first truss was bolted together in the shop. When we get the chance to approach shows like this, it so good to be able to calmly look at all angles, and it worked so well in this case.”
“Working with Dizzy on this design process and watching my little sketch idea go to plots and 3D renderings and then to real life has been really special,” finished Comer. “We worked together on it for a while to come up with something that worked and was venue and truck friendly.”
The prep and packaging on the rig have been immaculately led by crew chief Wayne Lotoza alongside lighting tech Chase Evans and of course project managed in the shop by the immutable Matt King.”
