CANARY ISLANDS, Spain – Alicia Keys' 2010 Freedom Tour of North America and Europe used a set design from Baz Halpin and Chris Nyfield lit with GLP impressions fixtures. The tour promoted Keys' 2009 album, The Element Of Freedom.
Carrying much the same production as on the American leg (the prime difference being the reduction in the number of video screens), the show has been programmed by Bryan Barancik of Luxious Design.
The set designer was first shown the compact LED washlight by GLP's Director of Key Global Players, Mark Ravenhill, when he was searching for small fixtures to be placed on top of the curved set pieces. "I needed something light and bright – and the impressions fitted the bill."
Barancik had seen the GLP impressions on the Billy Joel/Elton John tour in 2009, and got the chance to use them himself for the touring production, Star Wars In Concert, where he was associate lighting designer.
"They are truly a work horse," Barancik said, also crediting the fixtures for serving as "important scenic lighting elements" for both Star Wars and Alicia Keys. "They were integrated into the scenery because of their size, weight and performance," Barancik said, of the 7.5kg-impressions.
For the Freedom tour, the impressions sit on top of 24 curved aluminum poles set on the top riser and protruding from the band risers, which allowed for a variety of beam effects and looks.
The set also incorporates the different LED screens, each on its own automation line and flown by cable winches on individual lighting headers under three lighting trusses, and Barancik credited the Impressions for their output.
"For the majority of the show, we have had to run the screens at 30 percent to keep them aligned with the rest of the stage," Barancik said. "Fortunately, the impressions are bright enough to play along nicely with 1200W wash and spot fixtures as well as the screens."
The impressions, each outfitted with 90 RGB LEDs, serve three distinct functions, according to Halpin. "They are used as side lighting for the band, as well as for the dancers downstage and on the upstage riser. They also light the curved pipes upon which they were placed as well as providing a great beamy backlight."
All the impressions used on the tour were from the inventory of PRG, who provided the lighting production support.
For more information, please visit www.glp.de.
