Held on the Gold Coast in October, Promiseland was Australia’s first music festival blending the intersecting rhythms of Afrobeats, Reggae and R&B.
The promoters behind Promiseland, Festco approached Think Events Production Video (EPV) with a big vision – a bold entry into the festival landscape focused on quality acts delivered to the highest production standard.
“Festco understands how to deliver a great experience for their patrons with no “downtime” with the best changeover DJs and MCs I have experienced at an Australian Festival.,” commented Luke Hall, EPV’s Technical Production Manager. “This kept the audience engaged from doors to close on the second day.”
Luke was engaged as Technical Production and Design Manager as part of the Eventco Group’s full event, production and site management team. Eventco’s integrated approach ensures all production and site lighting enhancements remain the focus during the design, advance and construction phases. With no egos or “departmental barriers” this all-in philosophy allowed them to smoothly roll with act changes and new inclusions.
There were a few large challenges in the lead-up (amongst a couple of covid postponements) but the main challenge was the sheer amount of acts to get on stage over the two days. In total, there were 37 acts ranging from international DJs to top Australian and international touring bands.
“Our stage team led by Tony Hanuman, 8th Day, ei Productions and GBH nailed the tight changeovers whilst still smiling and working together in a display of what makes our Australian stage crews the best in the world,” added Luke. “Visa and flight issues continue to disrupt our industry and this festival faced these challenges head-on with Festco rapidly engaging suitable replacement acts with limited advance times.”
Lighting was provided by ei Productions with Ayrton Ghiblis spread between the four stage trusses as well as four units at FOH. Twenty-four Claypaky K10s were the wash units on the onstage trusses and 16 x Martin MAC Quantum Wash on the front and side trusses along with eight Claypaky Mythos for some side light and effect over the stage. In between each pair of K10s was a GLP JDC1 strobe which gave all the stage trusses a nice effect and clean looking pod, especially for the daytime acts along with runs of GLP X4Bar 20s on the B and D Truss. There was also a catwalk added for the reggae and RNB acts to utilize and that was lined with Chauvet Q40 panels, mainly due to the weather. All of this was complimented by a heap of 8-lites and duets scattered throughout the rig as well as ShowPRO Neptune 200s and ShowPRO Collider Strobes on the site/branding towers on either side of the stage.
“Overall, I wanted to achieve a diverse rig that would compliment the acts on stage in both day and night, but also give all the guest LDs plenty of options for their shows,” said Luke. “The fixture supply from ei met the spec perfectly and quality was second to none. Another part of the brief was to ensure there was plenty of stage space available, so a minimal floor package was essential to help our incredible stage team do their job getting every act on in our tight timeframes.
Working with Daz from Eventco Group, as well as the branding team at Architects of Vibe, on the overall look of the festival as a whole, the team decided the best option was the 18m Apollo from Cliftons with some additional towers to increase the overall stage look footprint into over 80m wide.
“We were after a big and versatile look for the two-day festival whilst still hitting the marks for IMAG and brand as well as artist and sponsorship obligations,” Luke said. “Unfortunately, due to weather during the build phase as well as on the actual show days, some of the theming and branding elements had to be removed for safety but the look was still huge.”
Foti was once again on board with the Event Co team with stage and site effects. Georgia and Anthony Foti worked with them to design engaging fireworks shows for each night, which was used on Day 1 for the launch of the 2023 festival featuring Ms Lauryn Hill. On top of the fireworks, they utilised G-flames both onstage and on the branding towers, Co2 Jets and Sparkulars. According to Luke, all the touring LDs were very appreciative of the multiple flavours of FX and Jack Johnson and the team on-site were as always second to none.
Luke adds that working with Damo Pryor and John Hall at 8th Day Sound on Promiseland was a pleasure and they made sure to lean on their expertise and knowledge in their field.? For the 15,000 expected capacity, audio deployment included 16 x d&b J8/12 per side in each main hang, supplemented by side and delay hangs of d&b V8 as well as 16 x B22 subs to make up the sub layout.
“The whole team from 8th Day Sound were fantastic as always and worked incredibly hard all weekend to make the show happen with multiple changes onsite including a very last-minute surprise guest act,” remarked Luke.
Ei Productions provided the 8m x 5m upstage LED Screen as well as LED Superscreens for two IMAG LED Trucks with branding around them. Cameras and OB Truck were provided by CPC, as well as a 10m Camera Jib from Video Fusion.
Video content was conceptualised and produced by Shane Budini from Videoland and it met the brief perfectly. Shane also headed up the onsite Video team as well as dealing with artist content, branding and sponsorship commitment.
