HSL was working for Neil MacDonald’s Clockwork Productions who were appointed by promoters Live Nation to co-ordinate all theLeedssite’s technical production requirements. On site, HSL’s crew of 11 was led by project manager Mike Oates assisted byDebbie Owens. They collaborated closely with main stage production manager Mick Brown.
Taking Saturday night main stage headliners’ Kaiser Chief’s as the starting point in terms of building lighting rig, HSL brought in leading designer Andy Liddle to liaise with all the headliner LDs – Susan Sasic for the White Stripes (Friday), the Kaiser Chiefs’ Richard Larkum (Saturday) and Sunday headliners Daft Punk’s Martin Phillips – Three top bands with three dramatically different lighting designs!
This resulted in a slightly unusual approach in that HSL decided to realise – as far as possible – each band’s complete lighting rig – rather than adapting one generic ‘festival’ system and expecting each artists to rely on their ‘specials’ for differentiation. Although specials remained very much on the agenda.
The Friday and Saturday nights rigs were based around the Kaiser’s design and Daft punk brought in their famous pyramid set for the Sunday
As with all the other departments on site – the HSL crew also had to deal with 3 days of torrential rain before the event opened, making working conditions extremely treacherous and unpleasant.
The White Stripes rig consisted of a front truss and 4 straight over-stage trusses, with 40 Robe ColorWash 1200E ATs and 24 Martin MAC 2K Profiles for the moving lights. Other lighting included 41 Atomic strobes with colour changers, 38 linear 4-lites plus substantial quantities of PARs and ACLs.
The standard generic front truss contained 36K of PAR washes, 12 Robe ColorWash 1200E AT moving lights and two follow spots. There were another 4 Robert Juliat Cyrano follow spots at FOH
Richard Larkum’s design was based around a series of 5 metal goalposts which created a shrinking perspective tunnel-like effect onstage. The White Stripes rig was also designed to be dropped in at the end of their set and have elements removed from their overhead trusses, allowing the HSO crew to start building the Kaiser’s rig really quickly and efficiently.
For FOH control, 3 WholeHog II consoles and 2 WholeHog wings were provided. Onstage, the dimming was all Avo ART 2000 – including some of the £80,000 worth of newAvolitesdimmers that HSL has just purchased to help get them through this phenomenally busy summer season – plus HSL’s own custom Soca and mains distro units.
HSL’s crew chief was Jonny Harper. He was joined by John Gallagher, Rob Starksfield, Andy Illiffe and John Lahiffe, the two aforementioned riggers – Spratt and Barbour – plus Andy Liddle at FOH.
Over in the tented Stage 2 (which proved exceedingly popular with those desperate for a bit of dryness and warmth!), HSL’s Ryan Hopkins designed the rig and operated using anAvolitesDiamond 4 console. This stage featured some serious names include Air, The Thrills, The Bees and many more.
Staging specialists Upstage supplied two two-legged mini-beam ground support goalposts to make the front and back trussing positions. The moving lights were 8 each of Robe ColorSpot and ColorWash 700E ATs, joined by 28K of PARs on the front and 5 4-cell Moles.
The only dry elements to the Leeds weekend proved to be the dry hires from HSL to Electric Fly Productions for the Sony Eriksson arenas at theLeedsand London Wireless sites.
This consisted (per site) of 10 Robe ColorSpot 250 ATs, 10 Robe LEDWash 136 LTs, 8 JTE PixelLines, a 4-legged mini-beam ground support and their newAvolitesPearl Expert consoles. Lighting inLeedswas operated by Jake Jevons.
With Rockness in Inverness the preceding weekend and the newKnowsleyParkthe following weekend, HSL’s warehouse ramped up to meet the challenge of turning around lighting systems for three of theUK’s major festivals in 2 weeks.
They brought in 20 subcontractors to help achieve this goal, plus a local crew from Gallowglass just to concentrate on loading/offloading all the trucks coming and going from HSL’s Blackburn HQ.
“The lads back in the warehouse have been absolutely brilliant – they have worked some seriously long hours and they deserve much bigging up – without them we could never have done it!” states Mike Oates.
Mick Brown says, “HSL’s attention to detail has been most impressive and they have all worked really hard to ensure that everyone concerned has got what they wanted, rig wise”.
Date of issue : 19th June 2007.