Client Liaison went back to the beginning with an intimate series of ‘club shows’ to promote their second studio album Divine Intervention.
The show had a theme of heaven into hell and then back to heaven by the end of the show, playing into the Divine Intervention album.
Lighting designer Josh Heron’s main concern was consistency with how the show would look with going into so many different venues.
“I wanted to come up with something that we could use in each venue while not having to rely on inconsistent house fixtures in venues or being restricted with rigging options,” he explained. “I worked around this by adding vertical floor truss and rigging off these rather than relying on house infrastructure.
Josh’s biggest challenge was downsizing everything that would usually be in a Client Liaison show to fit into the venues that they were doing, scaling it all back for the smaller venues. At the same time, he had to ensure that everyone is well lit on the stage saying that uplight and sidelight helped.
The rig consists of 12 x Claypaky 10 B-EYEs as the main fixtures and these were used for effects with Josh commenting that they’re a great fixture being so versatile with the looks they can achieve. Eight GLP X4 Bar20 were a second element that can create a different look. Eight Martin Atomic strobe, eight Duet Blinder, ten Multipars for uplighting, eight generic RGBW LED Par cans for sidelight and three ShowPRO Fusion Bars to light the banner completed the rig.
For the Sydney show at The Metro, the lighting rig included Elation SixBar 1000 fixtures, delivering cool eye-candy effects in the background, while Acme Stage PAR 100 Warm White fixtures were used to provide that late ‘80s look, both with the colour temperature and their retro style.
Everything was rigged off four upstage 3m vertical trusses with a pipe scaffed between the centre two verticals to allow the banner to be hung, again not relying on inhouse venue restraints.
Suppliers:
170 Russel Melbourne: Phaseshift Productions
Metro Sydney: ei Productions
Hobart Uni bar: Alive (reduced in size)
Triffid Brisbane: CTS (reduced in size)
Josh ran the show from a Hog 4 remarking that a large portion of the programming for this show was playing around with the B-EYEs in shapes mode.
“I played around with the shapes macros and found effects that will look good in certain parts of the set, creating “gobo breakup looks” without having any profile on the stage fixtures,” he added. “As for execution, the show is very fast, there are a couple of times in the set where there is a costume change but other than that it is one song into another none stop for the length of three or four songs. I use macros all through my show file to change pages for each song and then to go on cues to streamline it as much as possible.”
Josh’s favourite looks are the first two songs of the set where he only uses white and haze to create a heavenly look, no colour. The third song is the first song where colour is introduced and the stage goes much darker, the change is on the drop of the third song and happens quickly and is not expected. It always gets a good reaction from the crowd when it hits.
Photos: Jordan Munns
