The line-up of Aussie legends that is the Apia Good Times Tour embarked on its 8th anniversary earlier this year travelling far and wide before Covid made its unwelcome return. The lineup included Brian Cadd, Deborah Conway, Joe Camilleri, John Paul Young, Kate Ceberano, Leo Sayer, Vika & Linda Bull and Wendy Matthews.
“The Bat Soup got us mid-tour and so we had to postpone/cancel several gigs,” commented Rohan Thornton, lighting designer for the tour. “We are hoping to pick up the rest of Victoria and NSW at the end of August, but we couldn’t make Tassie work again. I am going to miss the Scallop Pies at Ross. Hopefully, if EVERYONE GETS OFF THEIR BACKSIDES AND GETS VACCINATED we will get an industry back again.”
Rohan discussed some concepts with Lisa Palermo (Producer) and worked out what they could achieve based on the two main determining factors: budget and responsibilities to their sponsor APIA.
“Some elements are non-negotiable such as the need to fit my rig into a certain amount of truck space and the need to have a 16:9 screen to have the ability to play sponsor reels,” added Rohan. “Also the lighting vendor (part of a package deal done above my pay level), being able to adapt to a wide range of venues on the tour and being able to be bumped in and out within the budgeted time frame.
“After taking that into account, the design is created and once the principals have decided on the song list (much more difficult than you would imagine given the depth of hits this particular group of artists have amassed of their respective careers), I try to structure something that will highlight each of the 31 songs in the set, in combination with sourcing or creating the screen content.”
Rohan set out to achieve a fresh looking show bearing in mind that they had already toured with some of the artists in 2019, then COVID came along. He was aiming to put something together that was a bit different and it looks like he achieved that.
“Above all, this is a celebration of the work of some of Australia’s greatest artists,” said Rohan. “The audiences love it. Before the list is determined, I do a bit of ‘back catalogue listening’ of all the artists. You forget how extensive their respective body of work is. I rediscovered Do Re Mi’s Domestic Harmony Album (Deborah Conway). Have a listen to Warnings Moving Clockwise and tell me a song written 35 years ago isn’t relevant today.”
As usual, time and budget were Rohan’s biggest challenges! He says that this gig suffers from the age-old LX issue of lack of pre-production whereas the sound department gets three days of rehearsal.
“I don’t get my touring production until the third show in (we pick up local production in Perth to supplement house rigs, thanks to Jerry and CCP) and yes, that’s the sound of 100 violins playing in the background,” he said. “I do admit, I enjoy the feeling of connecting all the elements for the first show and having it work. It feels even better if you get to do that before doors!”
The gear was supplied by Rohan (control and Media Server), Lighting Lab (video screens) and Johnson Audio (Thanks Flea). Control is an LSC Clarity LX600 with an Arkaos Media Master Pro
Media Server. Lights are 12 x Acme XA 400 Pro Spots, 12 x Robe Robin 600 LED Wash, 13 x ChAura Led Wash (it’s what Rohan calls the Chinese Auras) and seven Molefay Duets.
“My partner in crime for the tour is the amazing Chris ‘Bama’ Tucker, who puts up with more shit than the Werribee sewerage farm!” laughed Rohan. “I cannot speak more highly of this professional individual. If Bama put his lighting skills to curing Covid, he would have it licked in a week.
“A note that only age will bring. I am less obsessed about having the newest and shiniest bit of kit for a show. I am more focused on what I can do with it. The same goes for consoles. I have operated it so long, that there is nothing I can’t do on it that can be done on the newest and the more expensive shiny ones. With age, it has reinforced the need to get better at my craft, not necessarily keep up with the latest software version of whatever Holden or Ford you drive.
“I was surprisingly impressed with the XA400. Great little light. Good bang for the buck and have been very reliable. Don’t be turned off by the name (although as a Roadrunner fan, I am loving having Acme lights), they are making some good gear.”
The show was drawn on Vectorworks 2019 with Rohan saying that he can’t afford the upgrade after work dried up! He did have a play with Capture’s CAD elements and comments that it’s looking good.
What pre-production he does get done, is more about assembling the pieces to ensure he only focuses on the actual show once gigs start. As such, the show evolves over the tour. It will generally start as a busking show and progressively develops as he has more time with the rig.
“I like Clarity as a busk console,” he says. “I do a bit of Pre-Vis on Capture where time allows but again, I focus on Groups, Palettes and Positions. As a rule, I am a pretty organic operator and I want to be able to go where the show takes me. Making sure my content is loaded and accessible, all my Effects are there and I have a clear situational awareness of workflow.
“I try to base my shows around moments, and in this case, I try to pick these moments based on predicted audience reaction. With so many great songs, it’s hard to reduce the number. In a non-pandemic year, I will have the structure laid down about six shows into the tour. All of the elements of the show are telling a story. I try to compliment it not detract from and are occasionally successful.”
Lighting Lab supplied 56 x P6 6mm LED Panels. The centre screen is 8 Panels wide and 5 Panels high with the side panels at 3 panels wide and three panels high. They are mapped and fed via Arkaos Mediamaster Pro. The content is either sourced via various stock websites or Rohan makes it himself depending on the time and availability of the content. He uses the onboard processing that is available via Arkaos saying clever programming can give a single piece of content many lives.
Rohan says that his actual favourite moment in the show is the almost orgasmic feeling when you turn everything on and it works the first time!
“When the planets align and I am in the zone, my timing is spot on and I don’t break anything …. nothing beats that feeling. The opposite is a night where everything I touch turns to shit, not a fan of those days where I start rehearsing ‘do you want fries with that sir’ for my next career.
“On a serious note, doing a run with great artists, a great band and an unbelievable crew that get on and honestly respect each other ….. beats working for a living!”
Photos: www.peterpapphotography.com for https://hifiway.live/
