Volume 8 Issue 12 the Behind the Scenes Magic Of

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Volume 8 Issue 12

The Behind the Scenes Magic of

mobile production monthly 1 Contents Volume 8 Issue 12

Cover pg Features The Behind the Scenes Magic of Chicago’s Lollapalooza Music Festival 6 Communications Direct: 28 supplying Radios From the Dead to the Pope

8 Marvel Universe LIVE! Feld Entertainment, International Tour, 2015-18

11 Lollapalooza Celebrates 25 years with Four days of music

17 Screenworks Opens Up Shop in Music City, USA

18 Nearly 400 Robe fixtures Catch the Beat at 2015 Amsterdam Music Festival

20 CMA’s Touring Industry Celebration Presents SRO Awards in Nashville

28 The Second Chapter For Lighting and Staging Company Premier Global Production

30 The Behind the Scenes Magic of Chicago’s Lollapalooza Music Festival

2 mobile production monthly mobile production monthly 3 Notes from the Publisher On the edge of the city of downtown Chicago, nes- SM tled between skyscrapers and Lake Michigan, is Grant Park, home of the Lollapalooza Music Festival. Pro- duced by the expert team, C3 Presents, Lollapalooza invites over 100,000 people every summer for three mobileproductionpro.com days of music, art, and culture. As members of C3 Presents expressed to us, it’s like building a temporary PUBLISHED BY city, complete with catering from the cities most pop- Anvil Productions, LLC ular restaurants, art vendors, medical personnel, and 740 Cowan Street, Nashville, TN 37207 ph: 615.256.7006 • f: 615.256.7004 not to mention the numerous stages and the grounds prep and maintenance required. mobileproductionpro.com tourlinkconference.com C3 Presents invited us out to talk to their pro crew about the what it takes to make Lollapalooza hap- HOME OFFICE STAFF pen every summer—an event that takes at least a years worth of planning up to the very last day before Publisher: Larry Smith gates open. And like everyone else in the crowd, our crew experienced first hand a storm evacuation, [email protected] successfully executed, setting a precedent for other festivals and their severe weather plans. Director of Operations: Lori DeLancey [email protected] Included are some additional stories on some recent announcements, mostly pertaining to our home Editors: Shelby Cude base in Nashville, Tennessee. Music City welcomes the new rehearsal hall at Premier Global Produc- [email protected] tions, as well as a new shop for Screenworks—not to mention the CMA’s Industry award show, the SRO Accounting: Sharon Baldwin Awards. [email protected] Writers: Shelby Cude As we close down this wonderful year for not only Mobile Production Monthly, but for the Industry, Photographer: Shelby Cude we are excited to announce that as we retire the Mobile Production Monthly brand, we will be launch- Cover photo by Shelby Cude ing a new publication first of the year at Tour Link Conference 2016—Tour Link Magazine—available on all app stores starting at Tour Link as well as in print. As the saying goes, “out with the old, and in Layout / Design and Website Design: with the new!” We look forward to what the new year brings and hope you continue to join us on this Warehouse Multimedia wild, wild ride. ph: 615.420.6153 • f: 866.929.9651 3050 Business Park Circle Suite 500 Goodlettsville, TN 37072 www.warehousemultimedia.com Larry Smith FOLLOW US Tour-Guide-Publications / Tour-Link-Conference Publisher @mobileprodpro / @TourLinkConf ADVERTISING INQUIRIES For advertising inquiries: [email protected] or ph: 615-260-6699

©2014 Anvil Productions, LLC. Nothing may be reproduced without written permission of the publisher. The publisher reserves the right to edit any and all editorial content included in this publication. The publisher has made every attempt to insure accuracy and consistency of this publication. However, some listings & information may be incomplete due to a lack of information provided by various companies listed. Please send any inquiries to the attention of the publisher. All advertising appears at the paid solicitation of the advertiser. Anvil Productions, LLC, can not be held liable for any errors, omissions or inaccuracies appearing in this journal in the form of editorials, listings or advertising. Member of:

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Job Number 5UA031b Headline encore friendly (seats) Publication Tour Link & Tour Guide 2015 English Event Language 8.5 x 11 Vertical/Portrait [email protected] Client United Trim Horizontal/Landscape Art Director DC Bleed 8.75 x 11.25 16858 Royal Crest CMYK RGB B&W SPOT (PMS) Houston Texas 77058 Copywriter UA Safety/Live 8 x 10.5 281-480-3660 Traffic MR Ad Style SMILE Full page bleed 1/29/2015 collectively rewrite maintaining those client relationships for the software over- years down the road. night in order for the show to go on. www.commdirect.com 866-91-RADIO “You have to think, what’s the best way to cover the beast,” Cokee said and went on to mention that his systems are completely “modular, rather than static.” Having been recom- mended by the Di- Communications Direct: rector of Security for the Pope’s visit to Philadelphia, which Supplying Radios From requires radio coverage throughout a the Dead to the Pope larger radius than most festivals, they’re REHEARSALS • BACKLINE • STORAGE • CARTAGE able to roll in their systems into the el- Generally speaking, what radio rental evator of a 56 ft building, hook them up company, Communications Direct does to any Motorola tower, and do the same isn’t too far out of the ordinary. But hav- exact thing they would at any other ing been the sole supplier of radios for event. Soldier Field, the Washington DC and 750 Cowan St. 3542 -A East TC Jester 1901 E. 51st St. Stage 4 San Diego Convention Centers, 90% The team also runs dispatch. For Lol- Nashville, TN 37207 Houston, TX 77018 Austin, TX 78723 of all Microsoft shows, along with mu- lapalooza, Cokee started every day 615 - 726 - 1165 713 - 290 - 0335 512 - 444 - 0023 sic festivals that include Electric Forest, with an all-call alerting everyone on-site www.soundchecknashville.com www.soundcheckaustin.com Austin City Limits, Lollapalooza and that gates were soon to open. His team everything else C3 Presents throws their also closely monitors weather patterns way, Co-Owner, Eric Cokee knows a and makes the all-call for evacuations. thing or two about taking a basic need, “Guys gotta talk,” said Cokee, and the and going above and beyond the cause only way to do so is through effective for his clients. Sitting down with Mo- means of communication.

bile Production Monthly at Lollapalooza S in Chicago this year, Cokee explained The long-haired, friendly face that is Eric more. Cokee started with the company years ago with only 39 radios to his name. N According to Cokee, it starts with the “If you ask me how many radios we product. “We’ve got the highest level of have, I have no idea. Thousands and any equipment available,” even down to O crew thousands and thousands,” said Co- the repeaters, which Cokee explained kee. Cokee has been asked to speak I were a government grade product. In at Chicago’s IEG Conference which is the words of Cokee, “better product, focused on new inventions and modern T better chance for success.” The com- innovations about how he’s been able to pany recently invested in a second mo- take a basic service and maximize it’s bile trailer, adorned with a 50ft antenna C one potential. He’s also pretty proud to say and 25ft extender, along with its own that his team worked on the last shows office that can support over 2,000 Mo- of The Grateful Dead at Soldier Field in torola radios. 1995, and again this summer in 2015. U TEXAS But Cokee and his highly qualified team As Cokee told us, “there’s different ways

D take it a step further. His partner in to skin a cow and a goal can be accom- crime, Tim, is a “Motorola programming plished a number of different ways.” genius,” with a direct line to the Motoro- Flexibility is key for Comm Direct and O GEORGIA la programming team. As they monitor it’s arguably one of the main reasons, the frequencies, there have been times besides having an outstanding prod- when new software needs to be written uct and knowledge base, that they’ve R for a festival the next day and Tim will grown as rapidly as they have, servicing get on the phone with Motorola and will events all over the country regularly, and

Marvel Universe LIVE! Feld Entertainment, International Tour, 2015-18 Our design integrated with the state-of-the-art spotlight What It Was: Comics come to life in Marvel Universe tracking system that allows the lighting to follow the char- LIVE! The new, live-action arena production brings some acters during the complex action sequences. To help of your favorite Marvel Super Heroes, like The Aveng- the audience distinguish between the many characters ers, Spider-Man and Wolverine, to the stage for an epic on stage, we lit the heroes with bright, symmetrical, full- battle between good and evil, with evil villains, including range light, while using asymmetrical, shadowy illumina- the Green Goblin, Doctor Octopus, Red Skull, Madame tion on the villains. The lighting also enables the actors to Hydra and more. Produced by Feld Entertainment, the see clearly as they perform dangerous stunts. nearly two-hour-long show combines exciting, live-action stunts with an original story in a dynamic, stage show Why It Worked: We drew on our expertise in theatrical touring production. lighting and virtual environments to create lighting that enhanced this unique, multifaceted production. Our de- What We Did: Lightswitch designed production lighting sign not only helps to tell the story of the characters and that integrated with the virtual set, helped tell the story of integrates with the complex set technologies, but it can the characters, and complemented the live-action experi- also be set up and taken down quickly and efficiently—a ence. must given the tour’s busy schedule.

We partnered with Production De- signer, Joe Stewart, and Video Content Designer, Bob Bonniol, to coordinate the color and patterns of the lighting with the completely virtual, video pro- jection set. Using mock-ups and pre- visualization techniques, we developed Motorola Radio Rental Tour, Festival and Event IT a scheme that incorporated floor light- LIVE IT ing and cutting-edge track technology Mobile Office for Tours Large WiFi Systems to complement the projected set and live characters. 213.261.4444 | bsnlive.com | [email protected]

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Call or email Dan Kahn for a direct quote today. 1-855-567-JETS [email protected] ExcelAire is a Hawthorne Company • www.Excelaire.com

8 mobile production monthly mobile production monthly 9 January 2016 // Issue 1 LOLLAPALOOZA CELEBRATES 25 YEARS WITH FOUR FULL DAYS OF MUSIC

In celebration of 25 years as a world-renowned come. When the party can’t wait for the week- music festival, Lollapalooza is excited to an- end, the movers and shakers make it happen nounce an additional full day of music program- on Thursday! So, we’ve put together an entire ming for the 2016 edition in Chicago’s beautiful additional day of music to celebrate our mile- Grant Park, which will feature more than 170 stone year. It’s going to be a fantastic party!” musical performances over four days. said Lollapalooza founder, Perry Farrell. “It’s our 25th Anniversary and we wanted to do something really special and different for our Lollapalooza 2016 will take place Thursday, July fans. 28 and continue through Sunday, July 31. Four- day General Admission tickets will be available There’s a lot of really great music coming out for $335 (including fees) and single day General in 2016; with the abundance of talent that Admission tickets will be available for $120 (in- wanted to help us celebrate 25 years we got cluding fees) beginning Spring 2016. to thinking...’How are we going to fit all those great artists in one weekend?’ Then we thought www.lollapalooza.com about what a special day Thursday has be-

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14 mobile production monthly mobile production monthly 15 Screenworks Opens Up Shop In Music City, USA Photos and Article by Shelby Cude

This month, video production company, Screenworks taste of what they’re capable of. “I’ve been pushing for this (NEP Live Events) opened its doors to the sounds of Music move for over five years, waiting for when we had the right City and invited Mobile Production Monthly to take a tour. facility and personnel to have a fully operational shop. Now According to Sales and Project Manager, Andy Gerber, we’re here and plan to be for many years to come,” said Screenworks’ “bread and butter,” has always been rock- Hoyle. and-roll and as country artists have recently taken on more of a rock-and-roll attitude, it’s paved the way for production The space will serve not only Screenworks gear, but up- companies to cross the genre gap. and-coming video techs, building up their team of experts from within. “It’s our people that sets us apart. We’ve got Providing stunning LED screens for AC/DC and Billy Joel, the perfect combination of expertise and experience that as well as Fleetwood Mac and many others, Screenworks we’re always looking to share with those looking to branch has made their way into the country touring scene with into video,” said Gerber. From recommendations by trusted acts like Kenny Chesney, Tim McGraw and Eric Church. colleagues, Screenworks employs those that are new to With their expansion in genres, it only made sense that the the industry and teaches them the ropes. A new facility on California-based company spread their wings and open up the other side of the country allows for new faces to enter a third location in Nashville, TN. into the industry and learn what they need in order to be successful out on the road. “The magic is in the location,” said Gerber, referring to the fact that now that since they’re closer to the east coast, For more information on Screenworks’ Nashville, contact: they can better service their gear that makes its way to the Andy Gerber South, Midwest, and North East regions. “With our location Sales & Project Manager close to the home base of both our clients and a large num- Office: (615) 370-3880 ber of our freelance talent, tours will have improved access Cell: (317) 220-3211 to equipment during all aspects of a project. From idea to [email protected] design, equipment selection, and tour prep this will allow us to raise the level of service offered,” said Gerber. www.screenworksnep.com

The 17,000 square foot space is 1,500 square feet of office space and 15,000 square feet of heated shop space with 4 docks and space for semis. Conveniently located in the suburb of Cool Springs, at 7108 Crossroads Blvd., Suite 314, the warehouse is just off of Interstate 65, an easy fifteen-minute drive to downtown Nashville and thirty minutes from Nashville Internation- al Airport.

Speaking with Vice President, Kevin Hoyle, he was proud to say that every bit of gear in the warehouse is owned by Screenworks, and not rented from other video distribu- tors. Showcasing their diverse range in video screens at their open house, from the X7B to the X12, the X5C, to the X3C & X10T, they gave Nashville a

16 mobile production monthly mobile production monthly 17 Nearly 400 Robe fixtures Catch the Beat source and as such, the workhorses of the show. They of tight firing out super-punchy beams that completely at 2015 Amsterdam Music Festival were positioned on various trusses above the stage and transformed the room making a big accent to the the arena, and played across the entire space, involving amazement and delight of the crowds! Two days of absolutely banging dance vibes from some the audience in the fun as well as registering really well of the biggest EDM artists on the planet including Armin on camera. The video arcs could also move forward on the upstage van Buuren, David Guetta, Hardwell, Tiesto, Alesso, ris- / downstage axis. ing star Martin Garrix and many, many more … pulled André uses Robe a lot in his work right now, the re- thousands of music fans into the Amsterdam Arena liability of the fixtures make them ideal for the harsh All lighting kit – including approximately 450 more operating conditions of EDM events – and he also likes lights - was supplied by Flashlight. The automation sys- for the 2015 Amsterdam Music Festival (AMF). This As America’s only topped off the five day annual Amsterdam Dance Event the quality and finesse they can bring to any situation. tem was designed and supplied by engineering special- (ADE) which featured with 350 individual sub-events They have used BMFLs on various shows throughout ists WIcreations. nationwide wireless across 80 venues and clubs in the city. the year, but this was the largest amount to date to equipment dealer, feature on a project of The Art of Light. The challenge – as is often the case – was the tight we provide Lighting for this hi-energy extravaganza was designed get-in and technical time which could not commence by André Beekmans of The Art of Light; leading in It was also the first time they had used the BMFL Blade. until the Dutch soccer team finished their match on the two-way radio rentals, creative light design practice in the Netherlands, work- These were deployed as key lights and front lights for Tuesday night. solutions and service the Awards section of the show. André was impressed ing closely with scenic designers 250K for organizers to our customers! Alda events. with the power and the focusability as they were throw- Knowing this, André planned a week of pre-production ing a good 27 meters to the stage. The Art of Light at The Art of Light in Eindhoven with his lighting op- Key to making the whole concept come alive as an actually introduced the trend of key-lighting DJs after erators, Bas Scheij and Michael Seeverens, where they amazing live experience were nearly 400 Robe mov- several years of them being left in the dark concealed were able to visualize the building blocks of the show, ing lights on Andre’s plot - 101 x BMFL Spots, 94 x behind a wall of visual overload! pre-program the grandMA 2 consoles used for control Pointes, 180 x LEDBeam 100s and 7 x BMFL Blades. and arrive onsite well prepared. The 94 x Pointes – chosen for their versatility - were André has been involved since the first AMF. This third primarily distributed around the stage area with 34 of They took their portable WYSIWYG setup to the Arena edition of the event was also recorded for future broad- them on the floor outlining the space. The rest were on which enabled André to check that everything was as cast and live streamed over the internet, all of which four moving circular trusses contained within two scenic he was expecting during the load in, and this was also needed to be taken into consideration when lighting the cylinder flying props, each made up of eight thin metal made available to all the guest LDs so they could maxi- shows. rings outlined with LED strips. mize their time and make the most of the available rig.

A big challenge – and the main objective - for the They offered multiple looks and an endless stream of Several artists also brought their own LDs and The Art lighting design, was to make the vast barn-like arena variations throughout several hours of full on perfor- of Light looked after their own acts on the line-up which packed with thousands of people feel like a small inti- mances. included Armin van Buuren, Hardwell and Afrojack. mate club space. This is also where the experience and imagination of André and his team kicked in to elicit The main curved video screens – which also rotated www.robe.cz some stunning results, integrating techniques from the - were in the centre of these two cylinders. The 180 world of theatre, dance and TV and sharing them with LEDBeam 100s were mounted on the back of the LED Photos : Courtesy Alda Events EDM communities worldwide. panels, so as the arcs of LED panels rotated around to face upstage, they were revealed in a blistering wall Multiple trusses were flown in the roof forming a loose grid infrastructure above the stage and audience, with lights rigged along all sides and at intervals down the length of the auditorium, so ravers could be caught up with the sweeping BMFL beams and pulled into the in- tense energy and pumping bass levels coming offstage, a bold hi-impact effect that worked exceptionally well. It was also vital to have strong lighting coming into the picture from the back of the stage behind the DJ, shooting down the length of the arena skimming people’s heads to ensure they were scooped into the action from all sides.

The 101 BMFL Spots were the main effects light 18 mobile production monthly mobile production monthly 19 Talent Buyer/Promotor of the sional achievement within the tour- Year- ing industry. The first SRO Awards Brian O’Connell - Live Nation were presented at a black tie gala, Tour Caterer of the Year - hosted by K.T. Olin and Roger Dega Catering Miller, during CMA’s Entertainment Touring Musician of the Year - Expo, which was also known as the Jenee Flexor - Blake Shelton Talent Buyers Entertainment Mar- Venue of the Year - ketplace. Ten SRO Awards were Ryman Auditorium - Nashville, TN presented at the first gala and the Tour Video Director of the Year - number of awards swelled to 19 Jay Cooper - Kenny Chesney before the last were handed out at SRO ’97. In 2011, CMA brought In total Kenny Chesney’s camp took back the Touring Musician of the home 4 SRO Awards, followed closely Year Award. In 2012, SRO Awards by Blake Shelton’s camp with 3 SRO in 14 categories were handed out Awards. It’s also notable to mention in Nashville during the annual IEBA that all nominees for Business Man- Conference and in 2013, the Tal- ager of the Year were females, so way ent Buyer/Promoter of the Year to go, ladies! award was added, bringing the total number of SRO Awards cat- The SRO Awards were originally cre- egories to 15. ated by the CMA Board of Directors CMA’s Touring Industry and Cole Swindell presented trophies Swindell summed it up when he pre- The following 15 winners were in 1990 to honor outstanding profes- Celebration Presents SRO to members of their road families, while sented the SRO Award for Manager of determined by CMA members: Awards in Nashville Jason Aldean, Kenny Chesney, Little Big the Year to Kerri Edwards, “We all know Photos by Donn Jones/CMA Town, Old Dominion, Chase Rice, Blake how hard she works on the team, but it is Business Manager of the Year - Mary Ann McCready - Flood, Bumstead, DON’T JUST SHIP IT, Touring industry members gathered Shelton, Ricky Skaggs, George Strait, nice seeing her recognized by the indus- McCready & McCarthy, Inc. this month at Marathon Music Works and Steve Wariner recorded personal try.” Brian O’Connell, who won the SRO ROCK-IT! congratulatory messages to celebrate Award for Talent Buyer/Promotor of the Coach/Truck Driver of the Year - for CMA’s Standing Room Only (SRO) Kelley Beck - Blake Shelton Awards. Hosted by Jay DeMarcus of the winners. The evening was a shining Year, spoke with passion about how this example of everything that makes Coun- is the tour industry’s CMA Award, “This is FOH Engineer of the Year - Rascal Flatts, trophies were presented James McDermott - Dierks Bentley to the industry-voted best-of-the-best in try Music tours among the most popular our CMA Award for the guys and girls on and profitable business centers for the the road who put it up and take it down.” Lighting Director of the Year - their respected fields. Philip Ealy - Kenny Chesney industry. Manager of the Year - According to CMA Chief Executive Of- Kerri Edwards - KP Entertainment ficer, Sarah Trahern, “Our touring indus- Tour Manager of the Year - try members are on the frontline, every David Farmer - Kenny Chesney day taking our music directly to the fans Monitor Engineer of the Year - in small clubs, stadiums, and everything Brad Baisley - Blake Shelton When you see the Rock-It logo, you’re looking at 35 years of no-fail in between. Their hard work and many Production Manager of the Year - freight forwarding. With that kind contributions to the success of the for- Ed Wannebo - Kenny Chesney of experience, you can be sure that wherever you’re headed, we’ve been mat deserve attention and a standing Publicist of the Year - there...and back. ovation,” which many honorees received Ebie McFarland - Essential Broadcast Rock-It Cargo USA 5438 W. 104th Street | Los Angeles, CA 90045 over the course of the night. Media, LLC West Coast: 1.800.973.1529 | East Coast: 1.800.973.1727 | rockitcargo.com Talent Agent of the Year - LAX • JFK • ORD • PHL • SFO • MIA • ATL • DEN • LAS • MUC LHR • TYO • MEX • SYD • YVR & more than 100 agents worldwide DeMarcus, Dierks Bentley, Hunter Hayes, Darin Murphy - Creative Artists Agency 20 mobile production monthly Pub: Mobile Production Monthly Job#: mobile 656-4011 production Ad Size: 5” monthly x 5” 21 Dana Communications 609.466.9187 Your West Coast Production Partner

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22 mobile production monthly mobile production monthly 23 24 mobile production monthly mobile production monthly 25 FLAMES

PRG Music would like to thank all of the artists and production LASERS teams who made us part of their touring family in 2015. Thanks for a great year.

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26 mobile production monthly mobile production monthly 27 we carry both and then some,” in the world of lighting With their new state-of-the-art rehearsal facility, fixtures. The PGP inventory is also one of the first to fea- added soft goods to their staging division, and an in- ture the brand new Lightsky Aquabeam IP54, an amazing crease in their lighting inventory, PGP has embarked rainproof moving light LED fixture that was a star at the on an aggressive second chapter of its history, a recent LDI conference in Las Vegas. story already full of successes and close client relationships. PGP has stuck its heels into the south and In addition to lighting, PGP offers a variety of standard made it known loud and clear that they are here for compact mobile stages like the SAM555 and SL100 as the long run. The Second Chapter For Lighting and Staging well as their very own steel stages (PGP8060, 6068, and 6040) that vary in trim of either 50 or 60 ft. Over the course www.premierglobalproduction.com Company Premier Global Production of 2015, the company invested in new motors and soft contact Kevin Blevins at By Shelby Cude goods for these black steel monsters, along with new [email protected] black rubber like tread decking. The new soft goods pair Western Canada gave birth to lighting and staging you can’t do in with the steel stages, enclosing the wings and rain proof- distributor, Premier Global Production (PGP), but in this space. Re- ing the space housing backline and set equipment for the 1996 the company made the jump across the border cently the Band bands. There are also new grey roof skins to match the and resettled in Nashville, TN. The move marked the Perry held their wing skins to complete PGP’s new staging façade. first big chapter of the company’s history, a relocating tour rehearsals to Music City that would take PGP to another level of there, hanging Already a long time supplier of stages for Lollapalooza, success. their 40ft video wall, full lighting trusses and PA system, Austin City Limits, Music Midtown, Country Thunder, no problem. The Brett Eldredge/Thomas Rhett Suits and Country Stampede, the Big Valley Jamboree and at least Now begins the second chapter. After roughly a Boots tour also prepped in the space, with both artists a dozen other major festivals, PGP has played a major 14-month renovation to their new building, a major doing full production and band rehearsals. role in some of the world’s biggest outdoor events. With investment in new soft goods for their stages, new the new soft goods, come rain or blistering sun, crews lights for their ever growing inventory and new motors “It’s bigger than Soundcheck and Clair, and the only room and gear are protected from the elements. for both the staging and lighting divisions, PGP spent of substantial size in Nashville that’s fully air conditioned,” millions in 2015, making it known that they are here to said Kevin. Not only that, but when you take PGP lights stay for the long term. on tour, the rehearsal space daily rate is waived. All you’re charged for is the power at less than a quarter per kilo- Kevin Blevins, Business Manager of PGP, sat down watt, making this space an absolute steal. with Mobile Production Monthly and gave us the ENTERPRISE ENCORE PRESENTATION scoop on their brand new facility. Located fifteen min- Besides the renovation, PGP also spent millions on new utes north of downtown Nashville in Madison is their motors and lighting fixtures for their lighting division’s al- 6-acre gated facility, with plenty of bus parking, three- ready extensive inventory. As the sole supplier of lights truck loading dock, and staging shop around back for Metallica, Tim McGraw, Florence and the Machine, hidden from view. In the middle of it all sits the newly Red Hot Chili Peppers, Billy Idol and Brett Eldredge, just remolded headquarters. A private entrance takes cli- to name a few, the need arose to add more Martin Viper ents straight to production offices, a private program- AirFXs and Martin Quantum LED fixtures to compliment ming room (the largest in Nashville), conference room, their extensive inventory from other manufacturers, in- and onto the lighting warehouse floor. Attached to cluding their large Vari-Lite and Clay Paky catalogue. As the lighting warehouse is the 10,000 sq. ft. rehearsal Kevin said, “some people like Ford, some prefer Chevy; Why search all over to find vehicles for your tour space, also accessible by a covered load- when one call to Enterprise can serve all your needs? With great cars and trucks at low rates, ing dock, with an 18 foot elephant door. choosing Enterprise is the right call. Yes, you can drive a tour bus right into the room! At 125 ft long and 75 feet wide, n Single point of contact for ALL rental vehicles the rehearsal space is the jewel of PGP’s in the United States and Canada new home. It is insulated, soundproof, n More than 6,000 North American locations and fully air-conditioned (which is a bless- n Delivery available ing during the hot summer months in the n Consolidated billing south). Outfitted with 1600 amps of power, more than some arenas have by the ©2015 Enterprise Rent-A-Car F03955 02/15 way, and with a super grid that can hold To make a reservation with our Entertainment Division, 30,000 lbs., from production rehears- call 800 411-RENT or e-mail: [email protected] als to tour rehearsals, there is not much 28 mobile production monthly mobile production monthly 29 30 mobile production monthly mobile production monthly 31 The Behind the Scenes Magic of Chicago’s Lollapalooza Music Festival Photos and Story by Shelby Cude

There was a day in time where Lollapalooza was a small, six stage music festival that took up about half of Chicago’s Grant Park in the heart of downtown; where Perry’s Stage was a small trailer set up in the corner as a place for DJ’s to spin away, and whose first headliners included acts like Widespread Panic, Weezer, The Killers, and The Pixies, in 2005. Since then, the festival has graduated into an eight stage, pop-up city where one hundred thousand people flock to daily every summer for three days of music, arts, and community, spanning the majority of the park; where Perry’s Stage acts as a third main stage for EDM acts, and whose headliners, such as Paul McCartney and Metallica, bring in double digit semis in order to preform the same show that will sell out arenas.

Producers of the festival for ten years running, C3 Pre- sents, invited Mobile Production Monthly out to experience the festival, from the load-in to load-out. From barricade- jumping crowds to intimate acoustic sets, MusicCares providing free custom earplug molds for crew’s, to Love, Hope, Strength, preforming cheek swabs for potential matches for those needing bone marrow transplants; from 360 lighting fixtures on Perry’s Stage to the 20 semis of steel and staging required to build the massive Samsung stage; lobster corndogs to Chicago’s famous deep dish pizza, and clear sunny days with bottled water in abundance to a park evacuation due to high winds and rain; we came, we saw, and we experienced in full some of the reasons why Lollapalooza continues to be considered one of the best festivals to attend in the United States. Welcome to the World of C3 Presents

It all starts with the structure that C3 Presents has created. Festival Director, Tim “Tuba” Smith, works directly under- neath the three Charlie’s that make up C3, overseeing all of the festival departments except for talent buying. That includes everything that pertains to transportation, artist relations, production, operations, vendor coordination, guest services, festival managers, and quantity based items such as golf carts and security.

When asked how on earth he had the time to sit and talk for ten minutes, he humbly replied, “I give full and complete credit to the staff.” He went on to state, “the team we have now in this setting is irreplaceable,” simply because everyone that is part of Team C3 has been working together for years, both on and outside of Lollapalooza. 32 mobile production monthly mobile production monthly 33 Team: Production Manager for the exclu- sively EDM-rage-stage Working under Tuba is Production “[Ray] is the heart and known as Perry’s. Director, Brandon Sossamon. Sos- soul of the Production samon is a prime example of a vet- operation. Stage Manager for second eran to the festival, having started main stage, the Bud Light back in 2005 as a contractor, and stage, a mile away from its sib- hasn’t missed a Lollapalooza since. ling main stage (Samsung), Jeff As Production Director, it’s his job to ” Wendt commented that he’s fallen make sure the festival has the neces- Under Sossamon are the eight stage in love with festival production and sary production needs, from stages, managers that work for C3. The his role. The morning of the second lighting vendors, audio companies, Stage Manager position for the fes- day of the festival Wendt explained backline support, and video screens tival is different in some ways than two trusses: a video wall for Kid Kudi where video is necessary. Sossamon what would be required of a stage and a lighting truss for Sam Smith, called it, “a giant mobile production,” manager out on the road, being that the headliner for that stage that even- since the crews out on tour are the one of their main roles is to communi- ing, and that they had an hour and a people his team is directly working cate between the artists’ production half to strike the video wall and posi- with. designers and the given production tion the lighting truss, while rotating vendors to determine what’s doable gear on stage counter-clockwise. And Working closely with Sossamon, Ali- with space and the set change time a festival production team wouldn’t be son Ray is the face of Production as slots. Perry’s Stage Manager, Tyler Considering the many stages and tec- complete without someone watch- C3’s Production Coordinator, deal- Crain, commented that his job is to structures that make up Lollapa- tion, waste, ing the weather. Spike Falana, Struc- ing closely with all vendors, account- make sure the gear is in the hands of looza, you can’t forget about the trailers, storage, and site de- ture Coordinator, wears many hats mit- ing and other internal departments. those that need it, when they need labor force. Scott Ramey, the Labor sign, all fall under Bain’s realm. Fielding the numerous requests from it. Crain has been part of the pro- Coordinator, handles one of the big- such as building the main entrance ted. portal and two directional towers, vendors—from golf cart needs and duction crew for Lollapalooza for 12 gest budget line items and one that “My biggest goal is to make sure monitoring the staging structures as With hundreds of tents, eight stages, meal tickets to answering payroll years, starting out in operations and can get out of control quickly, deal- we have the best crowd flow possi- well as keeping a close eye on the and numerous viewing risers, every- questions—according to Sossamon, slowly graduating over time to Stage ing with 3-4 unions, such as Local 2, ble,” said Bain, emphasizing the fact weather. While it’s very much a joint thing requires structure permits, not onsite. The load-in starts two weeks that safety is paramount. C3 works effort between the City of Chicago to mention what’s required of pyro in advance, additionally, Ramey has closely with the City of Chicago’s po- and C3, it’s ultimately the City that companies (who fortunately deal di- upwards of 300 workers on site lice, fire and health departments in all makes the call to evacuate. On their rectly with the city), Union laws, traf- just for load-out on Monday. Work- things regarding crowd control and own, C3 takes safety very seriously fic closures, alcohol permits (held by ing as a contractor out of California creating a safe site, soft planning so with their high wind action plan on FBR) and the fact that the two main and owner of labor company Scott far as a year out. Bain also admitted each stage and working closely with stages have their own alderman, Ramey Productions, Lollapalooza C3 has vested interests in maintain- The Chicago Office of Emergency Sokol starts the planning process a 2015 was Ramey’s forth festival. ing Grant Park’s grounds. “I like the Management in the case of an evac- year in advance. fact that we go into a new environ- uation—like what happened day “It’s like Tetris,” said Morgan Di- ment that people are playing frisbee three of this years’ festival. With a little over 100 acres of land, Bona, Stage Manger for the Sprint in the day before, create a city for a the city has approved only 100,000 Stage, in regards to what it’s like few days, and when we leave we try attendees per day, and use Closed to manage so many moving parts. to get it back to as close to what it Team: Operations Circuit Television (CCTV) to keep When asked if there were any chal- was if not better than before. If any- track of pinch points and watch bar- lenges, Justin Wilcox, Stage Man- thing’s damaged, we’ll fix it.” ager for the Sprint Stage’s twin, the But production is only half of what it ricades. “If we see anything we need takes to make Lollapalooza happen. to change, we’ll do it overnight,” Pepsi Stage, recalled a set change Acting as the middleman—or rather The other part of the equation falls un- Sokol stated, maintaining C3’s main that involved 7 risers and one ramp “middle-woman”—between Sos- der David Bain, Operations Manager priority of providing the best patron for load in’s and out’s, and every- samon and Bain, Festival Manager, for Lollapalooza, working under Tuba experience. one agreed that weather is always Lindsey Sokol handles the difficult and with Sossamon. According to a concern. But with the years of ex- permit process with the city of Chi- Bain, the job requires him to “provide Also part of the Operations Team perience everyone has with working cago. “It’s always hard to come into infrastructure to the festival,” dealing is Mike Walker, the Special Pro- on the festival and with one another, a city where you’re not a local. We’re with all things related to building and jects Manager and former Opera- the processes improve every year not always the first to know of chang- creating the site for the crowd and tions Manager. Sokol and Mike both like a well-oiled machine. es when meetings are held with city production team. For instance, all spend on average one month out of officials regarding permits,” Sokol ad- things related to power, ground pro- the year in Chicago for various meet- 34 mobile production monthly mobile production monthly 35 ings regarding ground ordinances. The Samsung Stage is Lollapa- two SAM 555 stages (Pepsi and When asked what sort of “special looza’s largest structure where Paul Sprint Stage), two SL100s (Kids and projects” he’s involved with, Mike McCartney, Metallica, and Florence BMI stage), and the steel PGP6040 laughed, “I’m basically a gardener.” & the Machine rock out to a sea of Perry’s Stage. Having worked with tens-of-thousands of fans the three C3 for 10 years, he has seen the He further explained, “we need a nights of the festival. It also happens festival grow and has been able to good park for all of these things to to be Mountain Production’s largest adapt to the changing stage loca- take place and things such as trim- structure, measuring 160ft wide by tions. ming trees and spraying dust sup- 63ft deep (80ft wide performance pressants can seriously cut costs space), traveling by means of twenty “The cool thing about the SAM 555 later on.” In 2011, Mike stated they trailers, and taking four days to build. is that it deploys very quickly,” said paid $1.4M in repairs to the park, But to Lead Staging Supervisor, Grossenkemper, saying it only takes caused by big weather. In years Jake Smolenak, “it’s one of the more eight hours tops to create the main since, he’s been able to cut that cost mindless gigs. Brandon [Sossamon] performance areas. “You can just down significantly by taking nec- has everything so dialed in and even back it in and park it. While it doesn’t essary preventative measures like had platforms built so the tractors pop up like a transformer and does spreading mulch and “turfus” to help can be driven down the hill onto the take some labor, it’s the fastest build combat the park’s drainage problem, grass.” and most economical stage on the and is involved in ongoing capital im- market.” provements to Grant Park at it per- Smolenak pointed out that the build tains to drainage, basic infrastruc- is complete with four delay towers, The Sister Stage of Main Stages ture, and improvements to access. VIP decks and FOH riser, like a typical — The Bud Light Stage stadium show. Following C3’s lead, In all, the C3 Presents team is fully they’ve stationed the delay towers The three main stages—The Sam- committed to selling the patrons of in straight lines to take up less of a sung Stage, Bud Light Stage, and Lollapalooza an experience. In the viewing area, as well as offsetting the Perry’s Stage—are spread fairly words of Tuba, “it’s not a moment, FOH riser and allowing the roof to re- evening around the mile long Grant it’s an experience; we want people to tract. Jake’s brother, Zack Smolenak Park. Not quite as large as the Sam- come and have an experience. Any- also works for Mountain Productions sung Stage, but not as new as Per- one can sell a show, but it’s about and led the build of the other main ry’s Stage, the Bud Light Stage sits the impact we can have on not only stage, the Bud Light Stage, a mile in its own corner away from the two individuals, but on the environment north, that required nineteen trailers powerhouse stages, drawing its own and on a community.” of materials. unique crowd. With artists like The Weeknd and Sam Smith as headlin- From BOH to FOH — the Production Premier Global Production (PGP) out ers, it’s fully loaded with video walls of Lollapalooza of Nashville, TN provided five of the provided by GoVision and Faber other stages (the one not accounted Audiovisuals, lighting and rigging Staging Provided by Mountain for is a permanent structure apart of provided by Bandit Lites, and three Productions and Premier Global Grant Park). Jamie Grossenkemper, delay towers and rockin’ audio pro- Production Project Manager for PGP, was onsite vided by Thunder Audio. and said that this year they supplied

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OUTLINE. THE PASSIONATE PURSUIT OF PERFECTING PRO AUDIO SINCE 1973 OUTLINE ITALY SRL - Tel.: +39 030 35.81.341 - mail to: [email protected] OUTLINE NORTH AMERICA LLC - Tel.: 516 249 0013 - mail to: [email protected] www.outline.it 36 mobile production monthly mobile production monthly 37 Speaking with Adam Vahl from Go- was onsite with his team of 5 techs main stage. Vision, he mentioned they also pro- as site coordinator and talked to us vided video screens for Metallica’s about the Thunder’s full service phi- Speaking with Andy Smith from Sol- performance on Samsung Stage and losophy. omon Group, he stated that rather the video wall for the Pepsi Stage. But than the video and lighting to be cod- being that video walls can be built in “It’s better to cover the area really ed in with the audio, “every change all sort of shapes and sizes, for Bud well than just enough,” said Snyder, you see is coming from FOH.” Being Light, Vahl explained for one act, it referring to the PA and sub set up. that they were only expecting 4 guest may be 30ft by 50ft, and the next act, The PA coverage from the front of LDs traveling with the artists set to it’s 33ft by 30ft and moves up 16ft. the stage effectively covers 620ft play, everything else was manned by With a 10 person crew partnered up back with a 700ft diameter across. their own LDs. With 360 lighting fix- with the Union stagehands, they’re The three delay towers take care of tures, 2900 square feet of LED, 4100 able to strike and build the walls in the rest. “We’re going to give it to linear square feet of truss, and 2000 under fifteen minutes. you and give it to you hard;that’s amps split between four 400 amps our approach to what a system can and two 200 amps, the level of pro- But who designs each show to be deliver and what it provides our cli- duction compares closely with pro- unique to the artists’ lighting design- ents,” said Snyder. That being said, ductions of major EDM festivals. er’s requests? That’s where the com- his team is very much aware of the pany 3scCreative plays an imperative fact that they’re there for three days With such a heavy loaded visual pro- role in the production design for four in a row and create consistence duction, you’ve got to have a sound out of the eight stages, including Bud to avoid overdriving the system system to match and ECTO Produc- Light. Speaking with Seth Jackson, and risk component failure. Shar- tions has supplied just that. Alex Sos- founder of the design company, he ing C3’s philosophy, to Thunder tarich, President and CEO of ECTO, stated that their role is to act as the it’s about taking care of the client, was onsite and explained the set up. middleman between C3 Stage Man- allowing them to take care of the Having worked closely with the same agers and the artists’ production de- fans. companies that provide audio for Ul- signers, designing a show the artists tra and EDC, they came up with the want with the production resources The Rainbow Road of Gaff Tape low end heavy configuration of subs available by the stage managers. — Behind the Scenes on Perry’s and hanging PAs. Stage According to Jackson, their role Being that EDM is very low-end and streamlines communication with the Stepping onto what’s known as sub heavy, the configuration is pretty multiple headliners because they’re Lollapalooza’s EDM Stage, Perry’s extreme in comparison to the other able to determine what each band Stage looks like a post-modern, stages. Twelve “fat-stacks” of two needs for every show and can use the high-tech structure from outer d&b J-Sub Triple 18s stacked on a same vendor as opposed to employ- space. With multiple video screens d&b J-Infra Triple 21s line the front of ing multiple vendors based strictly and hundreds of light fixtures pro- the stage. The PA main hang consists on artist lighting designers’ requests. vided by Solomon Group, numer- of d&b J series with d&b V series on Bands don’t have to drag a lot of pro- ous subs lining the stage provided the delay towers,with the FOH con- duction in with them either so it’s even by ECTO Productions, and a stage sole being of course an Avid Profile more economical for them. Headliner, rigged with pyro from Pyrotecnico, and onstage console, an Avid SC48. Sam Smith, was a prime example of it’s no wonder why Perry’s is con- “There’s more than just a left and a this, being that he used exactly what sidered to be Lollapalooza’s third right with DJs,” Sostarich joked. was on stage, plugged in, and gave the crowd a breath-taking performance.

Thunder Audio supplied Bud Light Stage with a JBL VTX system that consisted of VTX V25s and VTX S28 subs. Like every Lollapalooza stage, it came with an Avid Profile console for ease of the FOH engineers traveling with the artists. Thunder’s Business Development Manager, Greg Snyder 38 mobile production monthly mobile production monthly 39 “It’s an EDM stage. Might as well have some fun with it.” -Tyler Crain, Perry’s Stage Manager

40 mobile production monthly mobile production monthly 41 A goal they were able to achieve vacation with your friends and fam- happen. But with thousands of ra- should something go down, that they can loan to for the festival was maintaining an ily.” Also part of the Aggreko team is dios in inventory, plenty of charged help people get through their show. all digital signal driven path. “Once Kevin O’Brain who creates graphic batteries, and an expertly trained we hit the mic preamps the signal plots for the union crews to abide by, team including a Motorola program- Riding in Style and Practicality with KC Carts stays 100% digital to prevent any rather than strict written instruction, mer, Cokee’s team can handle any analog noise or loss over distance. and Jackson Beck, the Project Man- curveball thrown at them. Golf Cart rental company, KC Carts from Kansas City, The LM44 Lake processors at FOH ager. Together with Sunbelt Rentals provided the festival with a whopping 375 golf carts are networked via Dante with Attero and C3, they work hard to create a In addition to simply supplying ra- this year. After working with Lollapalooza for 10 years Tech unDAES-O units at the amp safe experience for patrons, as well dios, CommDirect also has the abil- now, “this show’s pretty much dialed in,” said co- racks that feed 96 kHz AES to the as work to ensure they’re not im- ity to make an “all-call” out to every owner Andy Leiker. As the first guys on the ground d&b D80 amplifiers,” said Sostarich. pacting the park grounds. single channel, not only in case of supplying golf carts to production crews, and being emergencies, but also in the morn- the last to leave the site, Leiker spends a total of 25 From City Park to Festival Grounds Flawless Frequencies and Rock ing, counting down until the gates days onsite, facilitating check-out, maintenance, and — Site Operations of Lollapalooza and Rollin’ Radios open so everyone is aware. check-in.

Building the Foundation of the With 100,000 patrons each day, as Brooks Schroeder from Frequency “It’s amazing watching it grow,” said Leiker, remem- Festival well as hundreds of union workers Coordination interfaces with Co- bering when they only needed to supply 125 carts and production crews, having effec- kee, monitoring the radio frequen- in the earlier years of the festival. To Leiker and his It goes without saying, you can’t tive lines of communication is imper- cies as well as assigning channels four person team, their biggest challenge is getting have a music festival without a pow- ative. Working side by side to ensure and keeping track of what the art- the right gear on site on time. From 6 passenger golf er supply. Supplying a whopping 74 messages are received through the ists are bringing along for production carts, 4 wheel drive utility and flatbeds carts, KC Carts generators, ranging from 25 Kilo- airwaves is CommDirect supplying and communication. As his 6th year caters to what C3 needs to ensure efficient transport watts to 1500 Kilowatts, 22 miles of radios for all festival workers, and monitoring frequencies at Lollapa- of production crews, site workers, VIP patrons, and cable including 4 aught cables for Frequency Coordination Group, looza, he’s well versed in C3’s struc- medical responders. the main stages, QBS for vendor maintaining the available frequencies ture and expectations. booths, and 400 cases of serialized for anyone using a microphone, in- www.c3presents.com gear such as distribution panels and ear monitor, or radio. Forty days out, a webpage is posted www.lollapalooza.com transformers to main circuit panels, where every production crew can Aggreko made sure every stage, Sitting down with the friendly Eric submit what they require in terms of every vendor booth, every tent and Cokee from CommDirect next to his frequencies and they allow the list amenity was fully powered. new, custom trailer, he explained his to build. In one day Schroeder will process. With hundreds of radios in monitor 350 frequencies. His five George Long admitted his love when circulation for the festival, sometimes person crew includes two interns it comes to working with C3, as it batteries die and sometimes they get and a technician located at each ©2014 Todd Kaplan ©2014 Todd started as a business relationship dropped and break, or in more seri- of the main stages, equipped with lighting and has grown to something more ous instances, require new software a frequency counter and spectrum personal. “It’s like taking a summer to be written overnight, things can analyzer, as well as spare equipment trucking

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