Well, I probably won't, but I was certainly very, very impressed with their concert at Mile One Stadium this past Tuesday. I think I've mentioned my friend Tommy Dunphy, the freelance lighting designer. He was a spot op on the show, and I wanted to see the lighting and PA rig, so I went down to the stadium with him early. I got in through the crew entrance, and once I was in I really wanted to stay and see the show. I'm sure glad I did!
This concert was the first stop on the North American leg of their world tour, and they are carrying production with them. Not many acts come through here with production, and the different was noticable. Not to disrespect the local companies, but it was really impressive to see a concert with all of the lighting cues timed exactly to the music, and everything so well put together. I heard that the band crew felt it was a substandard show, but I couldn't tell, and I'm pretty musically inclined. They obviously pleased the crowd, and they even added a fourth unplanned encore. I know it was unplanned because the lighting tech didn't have any cues programmed, and the lighting didn't change for nearly the whole song.
On to the gear report. The provider was Upstaging, though I've never heard of the company (shows my ignorance I guess). On the audio side they had a V-DOSC PA with Midas boards. I think FOH was an XL4, and I could clearly see the meter bridge from my perch with the spots way up in the ceiling. The audio was very, very good, and pleasantly not too loud for a change. I was really excited to hear a V-DOSC rig for the first time, and Supertramp's audio crew used their tools well.
Lighting wise the show was run on a Whole Hog II, with about 14 Mac2000s and 25 HES Studio Colors, some blinders, strobes, 8 or 12 source 4s and maybe two dozen ETC Pars. The hang was simple with a front, mid and rear truss. There were two FOH spots, and one spot truss upstage. The front truss had the source4s and pars, and two Cyberlights that I think were only used to project a couple of gobos on the stage floor. The mid truss had 9 Studios and 7 2ks. There was a vertical truss coming down from either end of the mid truss with a Studio and 2k on the bottom. The mid truss had about 8 dataflashes, a dozen egg strobes and a dozen smaller blinders on it as well. The upstage truss had 7 studios, 5 2ks, plus some blinders and egg strobes. There was a Par with a scroller on a tripod on each side of the stage, and 6 studios and 5 blinders along the upstage edge of the stage behind the band. There were also some footlights downstage.
The lighting was really well done, with good use made of the color mixing in all of the moving heads. The guy liked using dimmer waves from the effect generator, especially on the ground row of studios. The flown lights almost always pointed down in straight lines, never cross patterns. He was spare with movement, though he did do a few crowd sweeps towards the end of the show. The way the intels were hung made for some really nice looks when he'd pick up a solist, especially at the grand piano. The lights on the mid and upstage truss were staggered, so the nearest 2k on the mid truss could pick up the soloist in open white, while the 2ks to either side and behind could make a triangle pattern in a darker color. He also had a nice look with the 2ks at the bottom of the midstage side pieces picking up the pianist.
Speaking of the piano, at the end of the show, they took the legs off the 9' grand piano and packed it in a massive road case. It's a good thing they had three semis with them. All in all I was really impressed with the show, and I hope that local promoters bring in more shows of this calibre. Someday, I'll be responsible for a show like that.