Of BANKS on “The Madness Tour”

Home , Bad Magic, Doc McGhee, Madness Tour, Prismatic World Tour

Volume 9 // Issue 2

Breaking into the Industry with Sooner Routhier

Elite Multimedia Matches the Musicality of BANKS on “The Madness Tour”

Glow Motion & Concert Investor Present: Leading With Technology

The Final Tour OF

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Tour Link Magazine 1 2 Tour Link Magazine related illness; and the identifica- tions in greater detail, and take a tion and use of personal protective deeper dive into such issues as haz- equipment (PPE). Additionally, ESAT ard analysis and safety culture de- covers employer and employee velopment. More information about rights and legal responsibilities on these additional programs will be re- the worksite, as well as regulations leased in the coming months. applicable to event production (in- Event Safety Access Training cluding the conflict between OSHA’s Future deliveries of ESAT-Core are be- Hosted This Year at Tour Link Construction and General Industry ing planned for 2016. To be notified of Conference 2016 standards). additional training dates, please visit http://eventsafetyalliance.org. Story by Jacob Worek While designed primarily for those with limited safety knowledge, ESAT- If you were to ask folks why they at- Core training is relevant to workers tend Tour Link every year, you’re like- of all experience levels. For those ly to receive a variety of responses. just starting out in the Industry, Event Some come to relax, others to talk Safety Access Training will provide shop, and some (ok, most) come to them with the core safety awareness reconnect and to celebrate heartily they need to protect themselves and with their peers. This year, over 60 their co-workers. For more seasoned attendees kicked off their Tour Link professionals, ESAT-Core serves as experience in a somewhat more seri- a refresher on basic hazards that are ous fashion, by attending the Event often minimized or overlooked alto- Safety Alliance’s first-ever Event gether. As Dr. Cooper stressed sev- Safety Access Training (ESAT-Core). eral times throughout the day, com- pleting Event Safety Access Training Launched the Monday prior to will not make one a “Safety Profes- Tour Link, Event Safety Access is a sional”. It will, however, help them to safety awareness training program view their workplace with a critical designed for those working in Live eye, and give them the tools to they Events. Recognizing that the struc- need to better protect themselves ture and content of existing safety against dangerous situations. fundamentals training is often in- compatible with the unique needs Feedback from this first training was and constraints of our Industry, the almost universally positive. Accord- Event Safety Alliance set out to cre- ing to Weather Decision Technolo- ate a program that could be deliv- gies Director of Entertainment Safety ered in a single day, while focusing Solutions Dax Cochran, ESAT-Core specifically on hazards common to a training suited his needs well. “As typical show site. someone with no prior safety experience, I found this training to be the Development and delivery of this perfect introduction into the hazards training was spearheaded by ESA we face everyday. My hat is off to Dr. Executive Director Dr. Donald Coop- Don Cooper and David Calderone. er, in collaboration with professional They really did a great job on the ma- Emergency Manager and Adult terial and presented very well.” Learning Specialist David Calde- rone. Training topics were identified ESAT-Core is the first of what the through an analysis of government ESA envisions to be a three-tiered and insurance-industry accident sta- program, with Supervisor and Man- tistics, as well as feedback received agement-level programs currently from dozens of event industry pro- being explored. These advanced fessionals. Issues discussed include programs will address safety plan- the prevention of vehicle accidents; ning and management considera- falls; electrocution; trips/slips; heat- Tour Link Magazine 3 Contents

FEBRUARY 2016 // Issue 2

On The Cover

20 // The Final Tour of Mötley Crüe “Holy S--t…We Pulled It Off!”

Editorials

3 // ESA Recap 6 // Leading With Technology How Two Guys Went from Booking and 20 // Mötley Crüe Producing Gigs at 12th & Porter Nightclub, to Designing Twenty-One Pilots Production and Winning an Emmy Honor for Super Bowl XLIX’s Half Time Show

16 // Motörhead Magic for Robe

34 // Clair Global Releases New Flagship System: The Cohesion Series 36 // Sooner Routhier: An Asset in the Arena

38 // Elite Multimedia Matches the Musicality of BANKS on “The Madness Tour” 6 // Leading with Technology 36 // Sooner Routhier

www.tourlinkconference.com

38 // “The Madness Tour” 34 // Clair Global 4 Tour Link Magazine Larry Smith Publisher

In this issue, we present the final tour of Mötley Crüe. This veteran act broke just as I was appointed as Senior Director of Talent in my previous gig. I was lucky enough to meet and work with both Doc McGhee and Doug Thaler on the first major coverage of the band. It is hard to believe that we’re all still going after so many years, so this show has very personal ties for me and so many others in our Industry.

Much like the rest of the Industry, we are catching our breath after the most successful Tour Link Conference in our history. We are looking at the shows that are rolling out this season and working hard to expand our staff. In our next issue, we hope to introduce our readers to some exciting announcements regarding our entire operation including conference plans, new apps to make the magazines more accessible on mobile devices, and upgrades to our websites. [email protected]

All of these things require major efforts for our small team, but with our new Editor, Shelby Cude heading up these efforts, I am encouraged that we are heading in the right direction in our plans to provide a better service to the Industry and expand our global reach.

shelby cude editor

As the lyric from Bob Dylan goes, “the times they are a-changin’,” and that’s the running theme for not only Tour Link at the moment, but for the production industry as a whole. Technology continues to baffle us with it’s ability to improve the fan experience and it’s important to stop and highlight the individuals that are pushing us forward. As we look ahead we can’t forget to pay tribute to those that have made their mark on the history books and whom we’ve added into our record collections (or digital devices, take your pick).

We pay special attention to Mötley Crüe, a band that’s been touring since the 80’s when they formed together, and their Final Tour that ended New Years Day, 2016 at the Staples Center in Los Angeles, CA. Many of the Crüe’s crew, have been with the band for decades, while there were also a number of fresher faces involved in their final production, including Top Dog Award Winning Lighting Designer, Sooner Routhier and her role as one of the Production Designers. Routhier shared her inspiring story with us as to how she got started in the industry and her work with S Rae Productions, leading to her working on the show designs of many A-List acts.

In addition to celebrating the final run of the legendary rockers of Mötley Crüe, we also pay tribute to the rock band, Mötörhead, and the lighting of their most recent tour, provided by Robe. [email protected] Looking ahead for what’s to come by means of technological advances, we share with you a story of two guys, living in Nashville, who started by booking and producing shows at a small venue off of Broadway, and how they went on to becoming the Production Designers for Twenty-One Pilots and to owning the tech company, Glow Motion Technologies, who had a major part to play in the 2015 Super Bowl XLIX Halftime show. Justin Roddick and Daniel Slezinger are changing the fan experience as well as developing new production elements, with some serious returns.

Furthermore we’ve added in some industry news, with releases from Clair Global and their new Cohesion series PA and subs system; Nashville production company, Elite Multimedia, and their work with the genre-bending artist BANKS; and a recap of what The Event Safety Alliance was doing this year with us at Tour Link Conference and the launching of their first Event Safety Access Training (ESAT).

We are embracing the changes as they occur and have been inspired to make a few changes of our own. From here on, Tour Link Magazine is officially available on all Apple and Android devices in addition to our growing print readership. This modern adaptation is the first of many as our annual directory, The Road Book, is soon to follow. Thank you to all of our supporters for allowing this growth and we hope to see you down the road…

Director of Operations … Lori DeLancey - [email protected] Staff Accountant …...... Sharon Baldwin - [email protected]

Layout / Design … Warehouse Multimedia Inc.- ph: 615.420.6153 • f: 866.929.9651 3050 Business Park Circle suite 500 Goodlettsville, TN 37072 www.warehousemultimedia.com Websites Graphic Design Online Marketing Video Contributing Writers...... Shelby Cude Peter Ferguson Jacob Worek Contributing Photographers ..... Todd Moffses (Cover) Louise Strickland Tour Link Magazine 5 Leading With Technology:

6 Tour Link Magazine How Two Guys Went from Book- Winn Elliott, produce the first show and operate cameras, produce shows and ing and Producing Gigs at 12th with eight people and in ten minutes time so on. At one point I managed the facility & Porter Nightclub, to Designing they set up a three-story air screen with by myself, working eighteen hour days,” Leading With Twenty-One Pilots Production and two 24-foot trucks of concert PA and a Daniel recalled. Winning an Emmy Honor for Super couple of projectors to play R.E.M.’s live Bowl XLIX’s Half Time Show DVD after the game. Anyone who’s been After working with Justin on the Sounds to Nashville in the spring knows that it’s of Summer project, Daniel decided to not uncommon for it to be sunny one introduce both Justin and Winn to the Technology: Story by Shelby Cude minute, and snowing the next, and after owners of “The W Building,” Brent and it snowed in April, the Sounds pulled the Scott Ware and after a few meetings, the From promoting shows at a Nashville plug on the project. guys joined on to help manage the facil- night club to not only designing and ity. For a few years, the guys did every- providing full production for Twenty-One But it was through that experience that thing from shooting music videos, host- Pilots, but founding the tech company, Justin met his soon-to-be business ing high-end corporate events, holding Glow Motion, which worked on the Katy partner, Daniel. Haling from Kansas intimate concerts with top notch artists Perry’s Super Bowl XLIX Half Time Show City, Daniel moved to Nashville when he and musicians, as well as helping pro- in 2015, Justin Roddick and Daniel Slez- was seventeen with, as he recalls, “forty duce sales conferences. On the week- inger have achieved mountains of suc- dollars, a suitcase, a cell phone and a ends the building hosted a teen night cess in a very short amount of time— dream.” event, calling it “CLUB DUB,” complete three years to be exact. Sitting down with popcorn for a quarter and also at- with Justin and Daniel, the guys shared Like many successful individuals that tended occasionally by the mayor’s kids. the story of their success—where they work in the production industry, Daniel came from, what they risked, and what’s accepted the fact that a formal college From Booking Shows to Building next, not only for themselves, but for the education wasn’t the path for him. In- Shows… industry. stead, he started out as a volunteer for Lighting Designer, Tony Fransen, under In 2004, Daniel and Justin joined to- Once Upon a Time in Nashville… whose council he learned how to pro- gether as business partners and started gram a Hog 1000. “I remember staying a production company they called Con- As a graduate of Belmont University up one night and reading the entire man- cert Investor, providing audio, lighting, with a degree in Music Business, in ual, and Tony coming in the next day to video, through a distributor and design 2001 Justin Roddick worked the iconic answer all of my questions,” said Daniel. in-house. bottom-of-the-barrel job pushing the Sleeping on an air mattress in a guest mail cart at the William Morris Agency bedroom, he borrowed a car and spent This partnership really came into play in Nashville. “My biggest responsibility his off days working at Premier Global when Daniel and Justin started book- involved making sure we had the right Productions, prepping and cabling tours ing and producing all of the shows at milk in the fridge for the agents,” Justin like O Town, Backstreet Boys, and Tim the Nashville nightclub, 12th & Porter. told Tour Link Magazine. After a year of McGraw. He’d help build the rigs by day Situated near downtown off infamous checking expiration dates, Justin real- and would stay up to watch the designer Broadway and close enough to all of the ized the “talent agency world” wasn’t for program by night. major universities Nashville has to offer, him and switched gears to event pro- the club was a hotspot for anyone over motion, working closely with promotor Also, in stereotypical, music industry the age of 18. Justin booked the artists Al Antee who for two years taught Justin fashion, everything happened all at once and Daniel produced the shows, running everything about concerts and events. for Daniel, when in one day he received lights and recording videos for about two job offers: one, to help build a pro- two years. When the club went bankrupt After two years of working with An- duction studio, and the other to go out in 2007 the guys were given a chance tee, Justin decided it was time to be on the road as a lighting technician. Not to take over ownership, which they did, an entrepreneur. With the relationships knowing initially who the artist he’d be and in doing so, installed a lighting rig he’d made working as a promotor, In working with was, he took the produc- that Nashville had never seen before ex- 2004 Justin worked on a project called tion studio gig, only to find out later cept perhaps in it’s larger venues. Sounds of Summer, where after eve- that the band he passed on was Rush!. ry “Thirsty-Thursday” home game for Working with a small team, Daniel helped “We got a lot of bigger bands because Nashville’s minor league baseball team, build the multi-million dollar production of the high production quality allowed in the Sounds, Justin suggested having a facility and recording studio called, “The the space,” said Justin. Not only were giant blow up screen deploy on the field W Building.” “While working with people the guys booking acts like Cage the of Greer Stadium and play current video like Bart Barlettano, Michael Allen, and Elephant, Three-Six Mafia, Neil Young, footage of live concerts. Marty Allen, I learned a lot about AVL and Ke$ha, but they started filming the signal flow, how to tech lights, program shows for the labels. “As bigger bands Daniel Slezinger was onsite helping his multiple consoles, mix audio, edit video, would come through Nashville, they’d friend and Justin’s business partner, Tour Link Magazine 7 play a show at 12th & Porter to build taking the fan experience very much to rate is 100 percent,” said Justin. the hype and in turn, we met the whole heart. As Justin told us, they saw it as a town by doing these showcases.” Host- once in a lifetime ride as bands with as In 2013, Justin and Daniel sold 12th & ing around 2,000 acts in one year be- a unique fan base as theirs don’t come Porter because working closely with tween two stages, needless to say the around very often. Following the creative Twenty-One Pilots hasn’t been their venue was always popping. meeting with the band and managers, only “project”. While working on a few drawings were drafted of the production one-offs with The Weeknd and provid- That’s where they happened to meet design which were then sent back to the ing gear for Ingrid Michaelson’s 2015 two guys from Columbus, OH, who managers for approval. Upon approval, Summer Tour, the boys have been busy called themselves Twenty-One Pilots. Daniel and Justin got to work, they hit owning and operating tech company In 2012, the genre-bending musicians rehearsals for a week and off on the Glow Motion, which is changing the way took the stage at 12th & Porter, building road they went. we will all experience live music perfor- the hype up for their first show at Bon- mances. naroo Music Festival in Manchester, TN. “It was the perfect relationship from the After experiencing Twenty-One Pilots very beginning. We were all looking to Started from the Club and Now We’re live for the first time, Justin and Daniel accomplish the same thing—to make Winning Emmys? were hooked, not only by the energy Twenty-One Pilots the biggest band in coming from the band, but the response the world,” said Justin. Over the next A few months before meeting Twenty- from the fans. two years the team expanded. James One Pilots, in 2012 Justin and Daniel Miller from Accurate Staging led the way were connected through a mutual friend “Growing up and being a fan of artists with fabrication and staging needs, Mol- with Pete Bailey and Colin Probert, two like Nirvana, R.E.M., and Weezer, stay- ly Gray and Chris Schoenman from Tan- “weekend-inventors” selling electronic ing up all night and camping out before trum created the custom video content, components from the United Kingdom. a show was just what you did because and Brett Tillett from Image Engineering Pete and Colin had invented a prototype you loved the band so much. That’s how helped with the pyro, lasers, and cryo. interactive LED crowd device. Justin Twenty-One Pilots’ fans are. They’re in They all work together as partners, pro- and Daniel partnered with Pete and Col- love with the band,” said Justin. Daniel viding anything and everything a club- in and founded Glow Motion Technolo- and Justin recognized this unique op- touring band could want or need. gies. In August of that same year, they portunity and pitched their management created 350 first generation LED wrist- on letting them provide full production— Now having circled the globe twice in bands for the DJ Keebz Silent Disco audio, video, lighting, and design—after two years with the band, the announce- showcase at 12th & Porter. hanging with the band and managers at ment of their 2016 Summer/Fall tour, Bonnaroo; a semis’ worth of gear, free The Emotional Road Show, to hit are- Everyone that attended the show re- of charge for a whole year. All the band nas and amphitheaters across the US, ceived a wristband that would light up had to cover was shipping and paying including almost two sold out nights as apart of the show production. “I re- their techs. at Madison Square Gardens, it’s been member our bartenders would come quite the Cinderella story for not only the in early and help us get the wristbands And thus was the start of something band, but for Daniel and Justin. “Once ready,” recalled Daniel. The wristbands beautiful. “I just kept thinking, ‘how you see a live show and experience the had been programmed to run in sync crazy can we make it?’” said Justin, energy, you’re a fan. Their conversion with the music in real-time, wirelessly,

8 Tour Link Magazine Tour Link Magazine 9 10 Tour Link Magazine and from a DMX console. Fresh out of by the Russians used a different kind of distribute their product in mass quanti- the gate, they worked perfectly and to technology that involved infrared trans- ties so for Ariana Grande, they designed say that the fans loved it was an under- mission, and being that the medallions a pair of LED cat ear headbands that statement. were worn around the neck, a lot of sig- were apart of the gift fans would receive nals were blocked and the look never if they bought the VIP package. With the amount of technology flow- really came together as intended. Dan- ing throughout the room, between the iel and Justin call it the “greatest gig we “It became a big social media thing, that headsets worn by all patrons, DJ Keebz never did.” everyone had to have a pair of the cat infrared DJ rig that he controlled using ears,” said Justin. Fans that didn’t buy body recognition, and the programmed But that was just the beginning for Glow the VIP package could still get their cat- wristbands, the show was something Motion. Much like the failed Sounds of ear headbands at the show—for $40 a you’d imagine existing way into the fu- Summer project that both Daniel and pop. They hit record breaking sales at ture. Following the show, it was official Justin had worked on years before, they Madison Square Gardens with 6,000 that Daniel and Justin were all-in as ac- learned from the experience and moved headbands sold, and according to tual owners of a tech company, playing on to something else—in this case, the Justin, the latest overall count is up to the game and risking everything. Super Bowl 2015 Half Time Show with 70,000 total. Katy Perry. Not a bad jump… “The next thing I knew, I’d maxed out Glow Motion has also designed custom both of my American Express cards, Working with Super Bowl show de- set pieces, like a drum orb for Garth while my wife and I were expecting our signer Bruce Rogers, Glow Motion, Brooks’ Tour. Partnered with SetCo, second child, had just bought a house provided over 660 giant LED beach Glow Motion provided the wireless in the 12th Ave. South neighborhood, balls on the field, playing a major part LED elements for the orb. As Justin and running 12th & Porter, booking four in Katy Perry’s performance. Manned explained, “anyone can have a battery shows a day,” said Justin. As Nashvil- by performers, the giant light-up beach operated light but to be able to control lians know, some of the prices of 12th beach balls were controlled by Lighting it with the same DMX consoles you’re Ave. South homes have doubled over Designer Bob Barnhart and Jason Ru- taking out on the show, it’s a turnkey op- the course of a few years and as Justin dolph, the shows Lighting Director. Us- eration with very little extra added cost explained, that was their marker as to ing a GrandMA2 lighting console that to the overall production.” how far into debt they could go. He was was networked with Glow Motion’s con- only half way joking when he told us, “we trol system over a fiber network, Artnet Looking ahead… just figured we’d sell our houses to get was translated into Glow Motion’s be- ourselves out of debt.” spoke wireless protocol. In doing so, Outside of the arena/club/venue, Glow Glow Motion caught the eye of some Motion is in the process of creating a But if they could keep 12th & Porter go- of the biggest designers in the industry home platform complete with personal- ing for eight years, Daniel and Justin that are starting to understand the differ- ized “Glow” products. From shoes, to figured they could do anything. They ences that technology allows, and they jackets, to wristbands, to whatever your met Vince Dundee who believed in the even won themselves an Emmy honor crazy fan-girl self can imagine, Glow technology and partnered with the guys, for Outstanding Lighting Design/Lighting Motion is developing a means of tak- giving them an operating budget that al- Direction for a Variety Special. ing those items and without going into lowed them to make an initial inventory too much detail, creating a way where of 250,000 wristbands. Aside from the Super Bowl, Glow Motion concert-goers can reprogram their Glow was involved in a merchandise deal with Products and create a Glow Motion With production for Twenty-One Pilots Live Nation for pop-star Ariana Grande show all of their own, with the use of up and running, they turned their atten- and her Honeymoon Tour. Daniel and their smartphone or computer. tion to the Winter Olympics in Sochi, Justin recognized the cost involved to Russia—go big or go home, right? Their idea involved everyone wearing LED medallions around their neck and as the torch entered the arena, the medallions would light up as the torch passed by. They contracted Gabriel Mark Lipper, a storyboard artist from Portland, OR., to draft the design of that part of the show and pitched it to the Olympics commit- tee.

Unfortunately for Glow Motion the Rus- sians used the design, and included it in an RFP sent out for other companies to bid on. The company commissioned Tour Link Magazine 11 We invest in the early stages of undeniably talented musical artists and bands. Concert Investor gives bands the best gear available for little or no upfront costs. Our theory is that if you support a band in its infancy stage, you just may spark a massive fire.

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14 Tour Link Magazine As for Daniel and Justin’s production has taken on the full production behind short time frame wouldn’t exist. company Concert Investor, they’re open pop-country artist, Kelsea Ballerini with to working with other acts, granting a tour with dates to be announced. The While the industry has come a long way similar deal that they gave Twenty-One guys can’t discuss specifics, but judging in technological advances, it’s people Pilots. According to Justin, “a single by their track record and Kelsea’s talent, like Daniel Slezinger and Justin Roddick means nothing to us.” The guys are in- it’ll be a show worth seeing. that have continued the trend of en- terested in acts that have an organic fan hancing creative production possibilities base, solidly selling 1,000 tickets in a city There are many pathways to success in which in turn benefits all of us. Because (or coming off a club tour, selling 500- working in the music industry. We’re not of Glow Motion, the show is no longer 700 a night), since most smaller venues encouraging everyone to max out their limited to the stage, and with the help of can’t support their power requirements AMEX cards to start a tech company Concert Investor, the production value of for video, lighting and audio. and give away free gear to bands, but two talented artists have been drastically it’s a risky business and Justin and Dan- increased with only positive reviews from “We’ll support you with audio, video, iel have thus far played their cards pretty fans. lighting and production design for the well. There’s a lot to be said for building first year and for the next three years and maintaining relationships in this fast- Be on the look out for Twenty-One Pi- you get your gear exclusively through paced industry—relationships with dis- lots and Kelsea Ballerini coming to a city us, which is right at market rates,” Justin tributors, with management companies, near you to see their work for yourself… explained. But aside from the facts and with artists, with other vendors, industry figures, to Daniel and Justin, it’s a mat- professionals, and those trying to break For more information on Glow Motion Tech- ter of personality. “You can’t fit a square into the industry. If it weren’t for the solid nologies, visit www.glowmotiontechnologies. peg through a round hole. You’ve gotta partnerships Daniel and Justin have de- com be someone we want to work with,” said veloped over the years and their drive Justin. to push the technological limits for pro- Get the Magazine app for duction, it’s safe to say that this article exclusive interactive video! As of most recently, Concert Investor highlighting their achievements in such a

Tour Link Magazine 15 system making it more agile and bomber superstructure fully laden maneuverable than ever before. with lights and cables added up to around a tonne and was flown Their shows have always been on six vari-speed chain hoists. uncompromisingly rock ‘n’ roll, On top of that, the lights needed and this one very much mimicked to be properly ‘multi-purpose’ to that oeuvre, however Caio broke create all the big WOW factors as- new ground in 2013 when asked sociated with the bomber. onboard by previous LD Stefan Sjoland … and became the first As well as the moving lights on the to introduce moving lights to the bomber, another 16 Pointes were stage with 24 x Robe Pointes on dotted around the other trusses, Motörhead the “Aftershock” tour. with four more LEDWash 600s on Magic for Robe the front truss and four Robe 600E Photos : Louise Stickland Previously, Motörhead had been Spots for key lighting. It wasn’t so staunchly traditional in lighting re- many fixtures for a show of the Motörhead, one of the most tru- quirements, but the reaction to the size, profile and attitude … but ly iconic bands in the history of Pointes, and their massive versa- Caio made all these interlinked el- heavy, hard and speed metal, with tility enabled Caio to make a mon- ements work extremely hard. an illustrious and thunderous ca- ster size show out of an expedient reer that blasted off in the 1970s amount of fixtures made a good The set was fast, furious and full- and rocked gloriously loudly for impact … so … moving lights on from the first chords of “Motör- the next 40 years until their last were ‘in’. head” to the last strains of “Over- live gig in Berlin on 11th Decem- kill”, with only a couple of short ber 2015. When it was decided that the pauses for breath in 90 minutes! bomber should fly again on “Bad The band officially ended on 28th Magic”, the time was also right to Caio loves Pointes and specifi- December 2015, two and a half upgrade this prominent structural cally the speed at which they re- weeks after that memorable show piece, so the original superstruc- act, again perfect for heavy metal in Berlin, and part way through the ture was fitted with four Pointes shows and the intense operating “Bad Magic” tour with the passing and four LEDWash 600s – chosen style needed to match the energy, of founder, lead singer and rock for their light weight - together with loudness and excitement of the ‘n’ roll warrior Lemmy (Ian Fraser a selection of generics including music. With the Pointe being a Kilmister) aged 70. PARs, strobes and LED battens. beam and a spot fixture, he’s also effectively doubling the capacity of The “Bad Magic” tour was sup- Lightweight fixtures were fun- the rig. porting of their 22nd studio album damental to the design as the – for which lighting designer Caio Bertti sculpted a classic rock ’n’ roll look with the contemporary twist of moving lights from Robe. The famous Motörhead bomber set piece also flew again for this European tour – its last as it would turn out – and its first time on a tour for many years. It was com- pletely refurbished and brought bang up-to-date with new lighting including Robe Pointes and LED- Wash 600s plus a full automation 16 Tour Link Magazine One of the many things initially Magic” dates, lighting was sup- persuading the band to give mov- plied by GLS, part of the HSL Landing the Motörhead LD job ing lights a chance explained family, which also has the biggest was a dream come true for Caio, Caio, was their concerns that it stock of Robe moving lights in the who had been a fan for some might resemble a disco, but when UK. GLS has serviced the Motör- years. he assured them the classic PAR head account for several years, like looks could be replicated very and Caio really enjoyed working He’s also LD’d Brazilian heavy well with Pointes in Spot mode, with all of them. metal legends Sepultura for 7 they let him make the transition. years which made him a great can- He was joined on this tour by GLS didate. “I love the music, lighting Caio – also a director of leading crew chief Karen Brown, techni- is my medium and it was a great Brazilian rental company LPL, cian Chris Randall and Jamie Catt honour to be able to help present based in Sao Paulo – has been who looked after the automation the band on stage. For me, every using Robe products in his work and piloted the bomber using a show was a huge adrenaline hit!” since 2010 and shortly after this, Kinesys Vector system. he concluded with pride. LPL started to make major invest- ments in the brand. They now Caio ran all the lighting from an For more product and general info, check www. robe.cz or call + 420 571 751 510. have a large stock of Robe mov- Avo Sapphire Touch and although ing lights and service many major he had cues for all of the songs, tours and events. the show was operated com- pletely live – with impressive per- For European Motörhead “Bad fect timing.

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Tour Link Magazine 19 The Final Tour OF

20 Tour Link Magazine The Final Tour OF

tacular gigs,” said Tour Man- ager Tim Krieg of his self- labeled crew of pirates. “We could have just said f--k it and left it in the truck a few times “Holy S--t…We Pulled It Off!” but we didn’t. Everyone pretty much had their hearts on their Story by Peter Ferguson; Photos by Todd Moffses sleeves. [You] knew where anyone stood on a day-to-day Mötley Crüe has unapologeti- basis by just looking at them!” cally done whatever they wanted to do for the past 34 years, Looks That Thrill and the production of The Final Tour embodied this attitude. After a few years of playing Culminating in a three-night casinos and B-level arenas, stand at the Staples Center in Mötley Crüe prepared for a Los Angeles, the show trave- tour to catapult them back into led from North America to Asia, the form they helped to cre- Australia, Europe, and South ate: the hairband arena rock America. Over the course of its show. Prior to hitting the road, two years on the road, a small the band members signed a but dedicated crew dreamed “cessation of touring” agree- up, designed, and deployed ment which effectively banned an over-the-top production to them from touring together af- bring this unforgettable final ter 2015. While this was a dis- tour to fruition. appointment to their dedicated fan base, having an end in sight Mötley’s Crew pushed the band and crew to design a show that would ce- Anyone who has spent time ment their legacy as “The on the road understands that World’s Most Notorious Rock the relationships within a crew Band.” are akin to those of a family. Production Manager Robert To catalyze the development Long cultivated this mindset by of this tour, SRae Produc- bringing the same crew mem- tions’ Robert Long and Sooner bers out on productions for art- Routhier collaborated to cre- ists such as Rage Against The ate an ambitious design. These Machine and KISS. two have worked together for more than 10 years, design- The close-knit nature of this ing for clients including Rage crew was essential, consider- Against the Machine, KISS, ing the rather slim personnel The Weeknd, and Mötley Crüe. list. “The final Mötley Crüe tour was “Everyone worked their asses consistently marketed as a fu- off, especially our crew. They neral for the band,” Routhier pulled off some pretty spec- explained. “As with any funeral Tour Link Magazine 21 or memorial, we needed to im- Two unique elements of the show it actually helped us achieve the plement a sense of reflection on included the roller coaster drum proper look for the stage.” the band’s life. We came to the gag and a 30-foot-high steel- table well before the first date of frame pentagram that burst into The Crüecifly: Staging Provid- the tour almost two years ago. It flames at the end of the show. ed by SGPS was important to design some- Tommy Lee dreamed of pulling thing that would carry the band off a drum gag of this magnitude The whole crew contributed ideas through an 18-month cycle that since he was a kid, and Mötley and solutions to make the drum included elements from through- Crüe used the pentagram as a gag a reality. out the life cycle of the band.” band symbol starting in 1983 with the release of Shout At The Devil. “Most drummers ask their tech Bassist Nikki Sixx and Drummer Each of these presented produc- for a white drum kit with black Tommy Lee both invested time tion challenges never seen before hardware and a 26” kick drum. and energy into developing the on the road. Tommy Lee asks me for a drum design. After Production Designer Routhier recalled how the roller kit that flies over the crowd, spins Routhier and Production Manag- coaster affected the initial draw- upside down on a lateral axis, er Long brought an initial propos- ings. “Because [the roller coaster] lights up when he hits it, and al to the table, Sixx and Lee gave became the massive centerpiece can be wireless. When I ask him input into the final design. This of the room, it was the first thing about colors and drum sizes, he creative rhythm section used their to go into the drawings,” she ex- doesn’t care,” quipped longtime vast understanding of production plained. “We had to work around Drum Tech Viggy Vignola. to solidify some larger-than-life it to make the rest of the rig fit. It ideas. looks a bit messy but that is ex- Lee strived to create a “produc- actly what Mötley Crüe is about… tion within the production” during his drum solos. Long recognized this when he started with the band in 2008, and the drum gags kept getting bigger. Constructed by Show Group Production Ser- vices (SGPS) in Las Vegas, the appropriately-monikered Crüeci- fly brought larger-than-life drum solo dreams to fruition.

Stage Manager Patrick Murphy found that workflow during load- in was the main challenge presented by the Crüecifly. The are-

22 Tour Link Magazine na floor was essentially divided in of complexity to the stunt. Eve- After working as LD with Mötley half while the roller coaster truss rything on the Crüecifly had to Crüe from 2010-2014, a suc- was assembled. As a result, de- be secured, as it would invert cessful business venture took partments were unable to move mid-solo. To keep it from falling, Cooper off the road. While still gear from one end to the other the drum rack was welded to the involved with the lighting design, until the truss was flown. Effective platform. Drum hardware and he handed over the road duties to case positioning was essential to microphone mounts were then Mills. ensure productivity. welded or otherwise attached to the rack. Stuart noted, “there isn’t Routhier, Long, Cooper and Mills Murphy saw the tours grow from really a book on mic’ing a drum designed a show to match Möt- four to 12 trucks during his seven kit on a roller coaster.” ley Crüe’s unique vision. “We all years with Mötley Crüe. His un- brought amazing ideas to the ta- derstanding of the logistical con- Stuart and Monitor Engineer ble for this tour,” said Mills. “It’s siderations inherent with produc- Scott Diamond also had to send great because we give each other ing this show ensured effective microphone signals to patch creative freedom, but also weren’t load-ins and load-outs during two since no XLR cables could dan- hesitant to jump in and say, ‘I years on the road. gle behind the platform as it tra- was thinking we go this direction versed the arena. The solution: for this part of the show.’ What’s With 155 feet of truss protruding Shure UR3 Plug-On Wireless great about that is when it does out past front of house, Lighting Microphone Transmitters. These happen, it opens up even more Designer Matt Mills and FOH En- were attached to the edge of the creative ideas moving forward.” gineer Adam Stuart were forced Crüecifly, and split XLR cables fed to construct their rigs on rolling signal to both the UR3s and the Sixx and Lee were present for risers before they were shifted into detachable drum sub snake. much of the programming pro- their proper positions. However, cess. Cooper remembers how only so much could be accom- Anarchy for the LD: Lighting Lee would skip the hotel to hang plished before the roller coaster Provided by Christie Lights out and help with cues all night was completed. Stuart recalled, long. “At times every department would While Long and Routhier devel- Amongst the fixtures that Christie get behind [the Crüecifly] to en- oped the overall design for the Lights provided were 37 High End sure it was put up properly – not show, Lighting Designers and Shape Shifters. This light was in- just audio, but lighting, carpen- good friends Matt Mills and Mike troduced by Routhier and imple- ters, pyro, and backline. Every Cooper took care of the specifics. mented by Mills. “I loved what I department worked through the These two met while working at was able to get out of them so challenges and we always had a Christie Lights years ago. Every- much that I added 10 of them to show.” thing from fixture choices to trig- a design for a group I’m work- gering lighting cues fell to them. ing with in 2016,” Mills reported. Audio added an additional layer “What an amazing, bizarre light!”

Tour Link Magazine 23 Holy s--t. We pulled it off! Good Luck Topping this one. It’s going to be awhile before something this ridiculous is attempted again. - Matt Mills

24 Tour Link Magazine Holy s--t. We pulled it off! Good Luck Topping this one. It’s going to be awhile before something this ridiculous is attempted again. - Matt Mills

Tour Link Magazine 25 Prior to the final run of the tour, Long and Mills decided to per- form a slight redesign in order to give the roller coaster truss its own lane when flown. High- lighting how much the production revolved around the Crüeci- fly, Long conceptualized that the roller coaster truss and lighting trusses could work like a spine and ribcage. Mills produced some mock-ups and figured out how to implement this idea in the arena. The new design proved to setup while Castaneda assem- and James Bump maintained a streamlined load-in and setup. bled video world. substantial rig provided by Clair Global. Primal Screen: Video Provided At the heart of video world, a by PRG Nocturne Grass Valley Karerra HD2ME Clair i-5 enclosures were used for switcher and a Panasonic MX- main and side hangs. Cardioid In the past, Mötley Crüe avoid- 70 switcher were used to opti- arrays of Clair Cohesion CP-218 ed an expansive video element mize Crüe’s video element. PRG self-powered subs were hung be- in their shows. Even though the Nocturne provided the switchers hind the mains to reinforce low band utilized eight cameras and and the camera package, which end. Additionally, a center mono two large screens on this tour, included two Grass Valley LDX array of CP-218’s was placed on Video Director Rob McShane pri- 86 (4K/ World Cam) broadcast the ground and steered to 120 marily used video as a production cameras, one long-lens and one degrees to cover low end across element rather than simply image handheld, as well as three Pana- the floor. magnification for the audience. sonic POV cameras and three HD robotic cameras. For video pro- Controlling low end in the arena McShane, along with the video jection, they provided two Chris- was a high priority for Stuart. crew of Video Engineer Alex Cas- tie 20K Roadster projectors. “Everyone likes a bit of low end in taneda and Projectionist/Camera a rock show without taking over Operator David “Detroit” Klann, Saints of the Sound Booth: a mix,” he mentioned. “However, took care of all things video from Audio Provided by Clair Global this can pose problems on stage load-in to load-out. Klann prepped with the band, who don’t spe- the handheld cameras, McShane Aside from developing a wire- cifically like low-end rumbling on ran cabling and power for the less drum kit, Stuart, Diamond stage (besides Tommy). Steering subs and cardioid patterns were essential.” Stuart ruled front of house from a DiGiCo SD7. “I love the Digico platform and audio quality. It offers extreme flexibility both with I/O and processing,” he explained. Stuart took full advan- tage of his SD7, integrating its onboard multi-band EQ with various pieces of outboard gear including Emperical Labs Distressors and 26 Tour Link Magazine “Since 2010, EmpireCLS is the only ground transportation company I turn to. I can’t take the chance of not having perfection on my side.” –Angie Warner, Tour Manager, Imagine Dragons

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Tour Link Magazine 27 DBX 160As. playback system [is] bulletproof, searing flames, inverted drums and when you’re working with and wailing of Mick Mars’ guitar. Diamond and Bump took care of computers that’s saying a lot,” re- The work performed as a crew- monitor mixes for Mötley Crüe. marked Lee. member on any major tour is seri- While Diamond only mixed for ous business, but at the end of vocalist Vince Neil, Bump ran in- Crüe’s Sweet Crew the day it is about showing the dividual mixes for the rest of the audience an unbelievable show. band. Both monitor engineers While Mötley Crüe pulled off this used DiGiCo consoles: an SD10 massive production, a hint of Scott Diamond took this attitude for Diamond and another SD7 for playfulness radiated through the to heart. After two years, it kept Bump.

All three audio techs helped to load in PA at each show, while still making time to build their rigs and go over notes from the previous night’s performance.

Kickstart My Backing Tracks: Playback Control

After 19 years on the road with Tommy Lee, Viggy Vignola knew that the Crüecifly stunt called for a creative playback solution. His answer was the Playback Control system, developed in collaboration with Tour Supply. Extensively used throughout The Final Tour, this rig doubles as a playback setup for playing with backing tracks and MIDI interface for triggering drum sounds.

Redundancy is crucial when dealing with computers in a live production. Vignola rig uses RTR, or Real Time Re- dundancy, technology to run independent computers in sync. If one signal is lost, the other kicks in instantly.

Playback Control is on the road with a wide range of artists. Vignola made sure to uti- lize it with Mötley Crüe, who valued its reliability. “[This] live 28 Tour Link Magazine him going from night to night.

“I think what inspires me to keep doing this is remembering what it was like to be a kid in a crowded show, [and] how life-changing it can really be,” reminisced Dia- mond. “I was at a show in Central Park in 2003 and I remember one spot in the show, the down beat was huge, every single light hit you in the eyes, and every hair stood up on your body. That’s when I realized that I was some- how going to do that to people when I grow up. I love being a part of that experience for people.”

Neil, Mars, Sixx, and Lee went out with an epic tour matched only by the expansiveness of their 34-year career. Mötley’s crew proved themselves small but mighty, from design team to techs, as they put on arguably the most over-the-top touring production ever produced.

Matt Mills summed it all up perfectly. “Holy s--t. We pulled it off! Good luck topping this one. It’s going to be a while before something this ridiculous is attempted again.” www.motleycrue.com www.sraeproducitons.com www.playbackcontrol.com www.lightingprogrammer.com www.toadseye.com

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Tour Link Magazine 29 Crew List

Band Members: Vince Neil - Vocals Tommy Lee - Drums Nikki Sixx - Bass Mick Mars - Guitar

Motley Crue Crew List: Tim Krieg - Tour Manager Robert Long - Production Manager Juan Guerra - SGPS Patrick Murphy - Stage Manager Shirley Minne - Production Coordinator Rob Mc Shane - Video Blaine Brinton - Accountant David Klann - Video Ryan Atkinson - Security Alejandro Castaneda - Video Sofia Toufa - Dancer Allison Kyler - Dancer Eric Fuller - Head Rigger Chris Sorensen - Rigger Scott Diamond - Vince Monitors Adam Stuart - FOH Dale Bryant II - Carpenter Jeff Wuerth - Systems Tech Casey Long - Carpenter Scott Megrath - Audio Tech Ethan Merfy - Carpenter Robert Oberdorsten - Guitar Tech Matthew Varley - Bass Tech Andrea Frith - Wardrobe Viggy Vignola - Drum Tech Nick Jones - Merch Nick Engle - Drum Tech Andrea Goodrow - VIP Dea Porter - VIP Assistant Matt Mills - LD Samara Goldhecht - Promoter Rep Mark Abra - Lighting Tech Alan Gregg - Lighting Tech Wesley Tischoff - Catering Kelsey King - Lighting Tech Jeffrey Trinidad - Catering Tyler Pigeon - Lighting Tech Nate Serkland - Catering Michael Salafia - Lighting Tech Jeremy Criscitiello - Catering Arnold Pereira - Lighting Tech Christopher Cruz - Catering Hoda Elmustafa - Catering Kariyama Price - Catering Christoph Buschor - Pyro Leander Mobius - Pyro Kurt Fetty - Bus Driver (Nikki) Alexander Hammel - Pyro Brandon Jones - Bus Driver (Vince) Marcin Okupnik - Pyro Eric Held - Bus Driver (Mick) Gabriel Depose - Bus Driver (Tommy) Steven Davidson - SGPS Kevin Harber - Driver Vince Gallegos - SGPS Rodney McClure - Driver Julian Aguirre - SGPS Rodney Traylor - Driver Angel Aguirre - SGPS John Patrick - Driver Ryan Chrosniak - SGPS 30 Tour Link Magazine Juan Guerra - SGPS

Rob Mc Shane - Video David Klann - Video Alejandro Castaneda - Video

Eric Fuller - Head Rigger Chris Sorensen - Rigger

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Tour Link Magazine 33 Efficient Design and new Clair Global clients as they hit the road. Expect to expe- In addition to the sound quality, rience this technology at shows special emphasis was put into with artists such as Carrie Under- maximizing efficiency. “Based wood, Billy Joel, Bruce Spring- on feedback from our clients, we steen, The Weeknd and Black knew that our job was to design Sabbath, just to name a few. a system that does more with less. Now we offer a 270-degree Learning the System coverage system that fits into 30 feet of a truck. The system is en- In addition to Clair’s comprehen- gineered for speed and safety,” sive in-house training program, said Shaun Clair, VP of Sales for they are expanding their curricu- Clair Global Releases New Clair Global. lum to offer specialized education Flagship System: classes for The Cohesion Series. The Cohesion Series It’s a “Green” System This ensures that all of Clair Glob- al’s road staff remain current with Clair Global listened to their clients The Cohesion Series was also the new technology. Clair also and is now offering their new flag- conceived to be a very “green” provides regular field training with ship system: The Cohesion Se- system. By reducing the weight their personnel at events in order ries. The philosophy that inspired and size, less fuel is required to to guarantee maximum quality The Cohesion is centered on cre- transport the system from gig to control, consistency, and safety ating the highest quality and most gig. All Cohesion Series ampli- on all of their systems in addition efficient speaker system. The Co- fiers, including the CP-118 and to the new flagship line. hesion’s unique design allows for CP-218 self-powered subwoof- exceptionally smooth horizontal ers, are Power Factor Corrected “I am proud to be part of the pattern control throughout its’ for extremely high-energy efficient team that is boldly advancing the entire range in a very compact operation, both of which allow entertainment experience for the package. The Series consists of tours to reduce their carbon foot- next generation,” said Matt Clair, five speaker enclosures that pro- print significantly. Director of Operations for Clair vide high output reference-quality Global. sound within a smaller footprint in both truck space and in the air. Who is Using The Cohesion System “The Cohesion combines the best possible sound quality, high- In 2016, The Cohesion Series is est maximum SPL capability, being deployed to both existing and incredible efficiency. We re- duced the weight and size of the PA considerably, while improving virtually all aspects of its acous- As America’s only tic behavior,” said Jim Bowersox, nationwide wireless Clair Global Design Engineer. equipment dealer, we provide “The new Cohesion Series is go- two-way radio rentals, solutions and service ing to give other manufacturers a to our customers! run for their money. It’s absolute- ly amazing,” said Derek Brener, FOH Engineer for The Weeknd.

34 Tour Link Magazine Tour Link Magazine 35 Sooner Routhier: An Asset in the Arena Story by Peter Ferguson

There is no book written on how to break into the touring and production industry. There is no typical path up the company ladder, especially when that ladder is in a new city every night. However, there is an unwritten library of stories from the many paths leading to success in this world of speakers, stages and swatches. Production and lighting ace Sooner Routhier found her way through hard work, persistent networking and just enough trail-by-fire to keep her on her toes. Routhier’s story highlights the power of experience and preparation, on the road and in the design studio.

Routhier’s first venture into lighting oc- curred in a dance class during her soph- to a small liberal arts school, hoping that numbers instead of the typical ‘R,’ ‘B’ omore year of high school. The dance inspiration awaited in a more conven- and ‘G.’ I knew every color by number instructor offered extra credit if a stu- tional career area. because of my nerdy study habits. He dent volunteered to join the tech crew. was impressed and I asked if I could “I was a nerd in high school, and was Despite her parents’ wishes, Routhier head to their next adventure to start very concerned about the cost of uni- nurtured her love for stage lighting while learning the ropes.” versity,” quips Routhier. While joining the honing her chops at university. She tech crew did up her grade a notch and quickly made contact with the theater An adventure was just what Routhier garnered some financial support, it also department and began operating the found. After a summer on the road, New sparked a newfound interest in lighting, lighting console for every show on cam- England Audio Tech (now Rainbow Con- which quickly surpassed her love for pus. In her spare time, she would bury cert Productions) hired her on part time, performing. her head in swatch books to memorize and she transferred to Emerson College gel color-codes. This preparation paid to complete her BFA in Theater Design/ After seeing her first concert, a date from off when the band Strangefolk came Technology. The Smashing Pumpkins’ Melon Collie through town. and the Infinite Sadness Tour, the deal After graduating, Routhier was hired as was sealed. “I realized that it was actu- “[Strangefolk] brought in extra produc- Lighting Designer for a Chevelle show. ally the music that I loved to light. There tion from a New Hampshire-based pro- Under advice from Production Manager/ was something about colorful lights duction company called New England FOH Engineer David Pinsky, she fulfilled flashing to the beat of music that was Audio Tech,” she remembers. “The light- the band’s request to immerse the ven- really intriguing,” Routhier recalls. Youth- ing designer, Brian “Pappy” Clark, asked ue in total darkness in between songs. ful intrigue aside, her parents were more me to run the console while he focused She was immediately hired for Chevelle’s interested in career stability and sent her lights. He labeled his console using gel next tour.

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36 Tour Link Magazine During the first few years of Routhier’s needs. Routhier and Long have created To learn more about SRae Productions, touring career, she always tried to be innovative designs for Mötley Crüe, The visit www.sraeproductions.com an asset in the arena. “I worked as hard Weeknd, Justin Moore, KISS, Rihanna, as possible, helping other departments Chevelle, and more. when needed, [and] made sure [that] I did as much as I could to ensure a per- As the company develops, Routhier fect show. I learned a lot through trial and Long look forward to branching by fire. I’m sure I cried in corners a few into the production world as well. Their times, but I always learned from the ex- vision involves providing full production perience,” she explains. support and show design in-house for a manifold client list. Networking was key in taking Routh- ier’s career the next level. Naturally In regards to SRae Production’s im- easy-to-talk to, she never missed an pressive portfolio, Routhier advises, opportunity to follow up with a contact. “Most of our involvement with our art- One of these contacts, AJ Penn, would ists stems from previous relationships end up hiring Routhier substitute LD on with management companies and tour- an upcoming Audioslave tour. The Pro- ing personnel. It’s all about networking!” duction Manager on that tour was her future business partner, Robert Long. Routhier’s focus on networking is only matched by her work ethic and “can- Routhier and Long created SRae Pro- do” attitude. Her career journey has ductions, a full-service show design not been a street lined with gold, but company. This creative coterie offers a winding mountain pass with chal- a one-stop shop for production, light- lenges around each bend. Not one to ing and graphic design. Additionally, back down, Routhier rises to the occa- SRae Productions provides stage and sion with experience and preparation production management, assists with to guide her. Expect to see her work in personnel placement for tours and can arenas for decades to come. direct clients to vendors for specific

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Tour Link Magazine 37 38 Tour Link Magazine Elite Multimedia Matches confident that Elite Multimedia had the gear necessary to make the tour a success. Af- the Musicality of BANKS ter speaking with the account managers about the ominous and sexy environment on “The Madness Tour” desired, they developed a lighting package that included 22 Clay Paky Sharpy and five Cour Design once again works with the Clay Paky Mythos luminaires, along with 14 Nashville-based tour provider and creates a Martin MAC 301 Wash LED fixtures and a soulful lighting design that accentuates the Martin Jem Glaciator X-Stream ground fog R&B sensation machine.

With the release of her first full-length al- “During our initial discussions the tour de- bum Goddess, the R&B sensation BANKS sign aesthetic we were looking for was al- recently embarked on “The Madness Tour” ways very clear, but we did end up going playing alongside The Weeknd and selling- through several different design concepts,” out houses across North America. To create explained Droitcour. “Having worked with a soulful lighting design that would best ac- Elite Multimedia on designs in the past, we centuate the passionate singer/songwriter, were very comfortable choosing them as her management team approached Gordon our tour provider once again. They always Droitcour and Erik Anderson with Cour De- have very competitive pricing on a wide sign (www.courdesign.com). Working with range of products and the support network lighting designer Darien Koop, Droitcour they provide is one of the best. They really and Anderson eagerly accepted the oppor- helped us through the prep and rehearsal tunity to work with the indie artist, and to do phase to get us the best gear possible and so they once again enlisted the assistance develop the ideal lighting package for our of the Nashville-based tour provider Elite vision of the tour.” Multimedia. With the lighting gear in place, Droitcour “This was actually our first tour with BANKS and lighting designer Darien Koop got to and our first time working with her Mono- work putting all the pieces into place. When tone management team as well,” began they started to explore how the show would Droitcour. “As we began looking at the tour transition between the artists each night, design, we knew we would be sharing the they did encounter a small challenge, but stage with The Weeknd, so we wanted to quickly identified a design solution. generate a look that would stand on its own. Since they would have a large produc- “The biggest issue we faced was the really tion package, we decided the best way to the time allotted to get the gear off stage be in contrast with their set-up would be to during the artist changeover,” added Droit- go in the opposite direction. Using a lighting cour. “To make the changeover possible, package supplied by Elite Multimedia, we we ended up putting all of the lighting gear were able to create a simple yet dramatic on wheels using a mix of skateboard decks tour design that really highlighted her style and GT truss. With these elements in place, as an artist and it worked great.” we were then able to move all the gear off stage in under five minutes. Our lighting As Droitcour began envisioning the light- tech Amanda Tullis, who toured with the ing package that would fully encompass production, really did a fantastic job and we the emotionally expressive design, he was couldn’t be happier with how it all came to-

Tour Link Magazine 39 gether.” plified that aesthetic. We loved the idea of your vision whether partnering with you in using fixtures that could create beautiful air a rental, systems installation, or sales rela- Now that the full design was in place “The effects and give the artist an environment to tionship. Through an unconditional desire to Madness Tour” was free to begin selling-out express herself freely. Elite Multimedia really make your production or project a complete performance venues across North Amer- listened to what we wanted to accomplish success, our passion and knowledge to in- ica. Looking back, Droitcour is extremely in this design, and provided excellent sup- novate knows no bounds. For more infor- pleased with how the lighting design came port so that we could create a sharp and mation on how Elite Multimedia is the right together and how it worked in complete uni- stunning design that really matched the mu- partner for you, visit www.elitemultimedia. son with all the other design aspects for a sicality of BANKS.” com, follow us on Twitter at @EliteMultime- wonderfully memorable experience. dia or find us on Facebook. Elite Multimedia is a privately-owned, lead- “This design was one of my absolute fa- ing supplier of the most up-to-date audio, Contact: David Venus vorites that we have done to date,” conclud- video and lighting technologies today. With [email protected] ed Droitcour. “The excellent video content a combined 85 years of industry experi- 615.457.3540 created by Barnaby Roper gave the tour its ence, our team of dedicated professionals true heart, and the lighting design really am- knows how to pair the right technology with

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