GEARFORCE : JANN ARDEN LIGHTING SPEC
CONSOLE : 2x GrandMA 2 Lite ( 1 active , 1 spare )
FIXTURES :
• 9x Martin MAC Quantum Profile
• 10x Martin MAC Axiom Hybrid
• 11x Martin MAC Quantum Wash
• 24x Martin MAC AuraXB
• 4x 26-degree ETC Daylight HD S / 4
• 1x 36-degree ETC Lustr 2 S / 4
• 13x Chroma-Q ColorForce II 72
• 6x Chroma-Q ColorForce II 12
RIGGING :
• 8x ½-ton Tour Rig Hoist - Hoist Down
• 10x Christie Lites 8 ’ B-Type 16 ” Box Truss
• 4x Christie Lites 8 ’ A-Type 12 ’ Box Truss
SFX : Radiance Hazer
A LOOK INSIDE THE MESH BROADCAST TRUCK AT SUPER BOWL LII EVE IN MINNEAPOLIS ( 2018 ) you ’ re already touring with a video system .” He continues . “ If you ’ ve already got a multi-camera setup , ultimately all that ’ s left is the encoding , the internet connection , and then how you ’ re going to distribute it through a live platform . So , I do think that there ’ s going to be a couple of opportunities like that coming down the road … We ’ ve definitely talked to a couple of acts about it . There ’ s definitely some interest , but the problem with any of this sort of stuff is that it ’ s new ; people have done some of these sorts of things , but it hasn ’ t been part of the mainstream touring options . How it ’ s going to be deployed is still evolving , so I think that when artists actually start to see it in use , it ’ ll be easier to imagine different ways to use it .”
“ I think some people [ have done it ] really well ,” says Wagner . “ I think some people are very smart in how they stay connected to their audiences , but I don ’ t think it ’ s ever going to replace live . And the other thing , too , is the cost of it ; if you ’ re doing multiple camera shoots , as somewhat of a sizable production , you need to get some big numbers in regards to how many people are streaming it … But for me , being a live guy , when the lights go out and you feel the energy of the crowd , and it ’ s just really tough to replace that .”
Looking at it from a tour manager ’ s perspective , Brunton says , “ After [ Jann ’ s ] show aired , we did virtual meet-and-greets with about 200 people . Their comments were ‘ That was phenomenal , that was great ,
it was so well done and beautiful to look at ,’ and then their second comment was , ‘ We can ’ t wait to see it in person .’ But the interesting thing is , with artists that maybe don ’ t have an international career or can ’ t afford to tour overseas , it ’ s a great way to reach fans , pandemic or not , all over the world . I mean , we had people tuning in from Australia , from the U . K ., from the U . S … So , the reach for the expense is definitely worth it , and I think that up-and-coming bands seeing that can really take advantage of using that to reach their audience that they probably wouldn ’ t get to on the road .”
McPhee expands on this idea . “ Whether you ’ re doing a stream , whether you ’ re doing a thousand people at the Commodore in Vancouver , or you ’ re doing 15,000 people at Rogers Arena ; especially if you ’ re doing a festival or a Rogers Arena , there ’ s already an IMAG show , right ? There ’ s already a camera show there . I think what streaming has done is kind of reminded people that there ’ s a much larger audience out there , if you are able to also offer that show on a stream .”
When I asked Brunton about how the potential of a hybrid model might change how his camp approach shows altogether , he likened it to treating each live show “ like an award show every night .”
“ That ’ s what we have to do when we go to the Junos or the Grammys ; we mix for the room , but we mix for the truck too ,” he explains . “ So , I think if it ’ s a hybrid experience , I don ’ t know that it would necessarily work to film every show or stream every show , but if you did one or two on a tour and did it right and kept the live audience in mind , as well , so it doesn ’ t take away from their experience , I think it could work for sure . But , you know , when we were filming at Rob ’ s venue , it was very eerie to not have clapping or any sort of applause , so I know that amount of energy is dearly missed . So , it ’ ll be great to get back at it , but I definitely believe there ’ s a time and place for streaming going forward .”
With all of this in mind , it ’ s looking more and more likely that even with the devastating effects of the pandemic on the touring and live performance markets , the adaptability of the industry to stay alive has coincidentally expedited the way we think about shows . As true live music begins to come back , it ’ s fascinating to consider that we could very much be at a tipping point for artists , promoters , venues , techs , tour managers , audiences , and everybody else involved in putting on a show , as livestreaming continues to develop , and pioneering minds continue to push the envelope of the hybrid model . It ’ s also looking like 2022 is going to be a hell of a year for live music , regardless of how you end up taking it in .
Andrew Leyenhorst is the Assistant Editor of Professional Lighting & Production .
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