Ayrton fixtures provide power and resilience for Robbie Williams Britpop world tour
Robbie Williams 14th world tour, in support of his 13th studio album, Britpop, kicked off in Edinburgh’s Murrayfield stadium on 31 May at the beginning of a 37-date tour of the UK and Europe, reaching mainland Europe by late June before its scheduled culmination date on 7 October in Istanbul’s ITÜ Stadyumu.
Lighting designer Paul Normandale of Blackburn-based Lite Alternative, the tour’s lighting supplier, selected a total of 132 IP65-rated Ayrton fixtures including Perseo Profile, Veloce Profile, Argo 6 FX and the new Mamba, as the mainstay of his rig for this demanding tour.
This is the second time Normandale has toured with Williams; this time the Stufish-designed set is a dynamic construction of moving set pieces, large video screen flying pieces, a 25m wide main stage, a B-stage at the end of a catwalk and a C-stage further out into the crowd. The tour list mainly comprises stadiums, arenas and outdoor venues.
The IP65 rating of the Ayrton fixtures was an essential feature in Normandale’s fixture choice, proving invaluable in the summer storms and intense heat that have washed across the continent this summer. But a major challenge is in lighting the transition from daylight to dusk/dark that comes with summer stadium concerts, combined with the output from the video screen set pieces.
“I needed bright, IP65 rated fixtures capable of handling all these scenarios, which is where the Ayrton Veloce and Mamba are especially valuable,” says Normandale.
20 of Ayrton’s new laser-sourced Mamba fixtures were chosen specifically for placement on the main stage wings from where they add width and scale to the stage in the stadium settings and provided stunning aerial effects.
11 Veloce Profiles are rigged on the front truss at a trim height of 16m and used for aerial effects, while a further 18 Veloce Profiles are in floor positions for backlighting and further aerial effects. A single Veloce Profile is employed as backlighting for band solo positions, bringing the total to 30. “The Perseo has become a work horse fixture, but the extra output of the Veloce is useful in stadium and large screen environments,” confirms Normandale.
67 Perseo Profile fixtures, Ayrton’s first compact multi-function IP65 rated fixture, are rigged on numerous ladder frames around the stage and on two flown trusses, and used as the show’s main effects lighting.
Finally, 15 Ayrton Argo 6 FX are rigged on the front truss for dancers’ wash light, and on the delay towers at a distance of 50m-85m from the main stage, providing key light for the C-Stage, B-Stage and thrust, with one Argo 6 FX held in reserve and positioned on the Rocket on which Williams makes his entrance, for backing vox and effects lighting.
Tour Lighting Director, Glen Johnson, adds, “The Veloce has been the standout moving light on the tour for me, with great optics and output, and the bonus of light and heavy frost turning it to a fantastic wash beam. The Mambas have caused the most interest from everyone with the punch, and great 3 beam options for Spot, Beam and Special mode. Regarding the Perseo, it has just been as reliable as the first time I used them even though they take the most punishment on the show!”
The lighting is programmed and operated using 2 grandMA3 Full Size consoles (running MA3 software) and 1 grandMA3 Lite as a tech and support desk. Johnson highlights the significant improvements the MA3 brings over its predecessor, particularly in the fast-paced environment of a touring stadium show.
« Timecode is simpler and quicker, and with plugins it’s amazing to work with. It’s a huge improvement from the MA2, » says Johnson. « Reference positions are also a massive time saver, cutting down the workload on over 80% of the palettes I need to build each day. »
He also points to the console’s Phaser Engine as a powerful creative tool. « Once you get your head around what you can do with Phasers, you’ll never go back to an MA2. The possibilities are endless. »
Creative Credits
Creative Director: Kim Gavin
Lighting Supplier: Lite Alternative
Lighting Designer: Paul Normandale
Lighting Director: Glen Johnson
Motion and Set Build: Wi Creations
Set Design: Stufish
Special FX: ER Productions
Video: Phil Mercer – Universal Pixels
Text: Julie Harper
Photos: © Paul Normandale
