BRISTOL, U.K. — Working with LD Robin Haddow, HSL is supplying all lighting equipment and crew to the current U.K. and European tour for Massive Attack. Haddow worked with the band’s video and show designers, United Visual Artists (UVA), along with Massive Attack founder 3D. The result is a multi-layered integration of lighting and video elements into a tightly timed show. The video content also includes the liberal use of text. XL Video is supplying the O-Lite and D3 system and the PA comes from Wigwam, all long-term suppliers of Massive Attack.
With the music and the message at the core of a Massive Attack show, the band is heavily backlit, with only the individual singers’ faces being gently key-lit during specific songs.
The band is once again touring with 15 custom modules of Barco O-Lite 510 video screen upstage, making a back wall measuring 15 by 3 meters.
A Robe ColorWash 250E AT moving light is attached to the base of each O-Lite frame. Upstage of the screen is a truss, rigged about a meter high off the ground on tank traps, on which is mounted 15 Vari*Lite VL3500 Washes.
The VLs are used extensively through the show, shooting beams through the transparent architecture of the screen, going from a tight pencil beam to a wide wash. The screen produces numerous break up opportunities and is a bit like “having a giant gobo,” Haddow said.
Haddow uses eight Robe ColorSpot 700E ATs, four on stands for the downstage edge of the stage and four a bit further upstage on flightcases, for side and front lighting. There are also Atomic strobes and 4-lite Molefeys dotted around behind the band, but in front of the screen.
Haddow said his favorite effect involves 32 Robe REDWash 3â—Â192 LED wash lights and eight customized sections of trussing designed by HSL’s Rupert Reynolds. Each trussing section has been adapted to be quick-fitted with four REDWashes for easy setup.
These sit on the floor upstage of the screen, attached via steels to a trussing mother grid up in the roof, and are flown in and out on a 3-way Kinesys automation system operated by Andy Iliffe, one of HSL’s crew.
The effect is used sparingly for highest impact — it stays hidden at the start and then emerges half way through the set during “Angel,” then is used primarily towards the end of the set.
The resulting visuals combine the smooth glide of the Kinesys and the movement and power of the REDWashes. The rectangular light field and narrow beam spread of the fixtures complements the screen aesthetics.
Haddow credited the fixtures for their true white and RGB functionality, using it to produce white light in different colors, qualities and textures for the aesthetics of the show as a whole.
Also behind the screen, there are five A&O Falcon 3K searchlights with Flower lenses, which provide bright multi-pinspot effects through the screen. (One of 3D’s specific requests had been for “refracted” light, but absolutely no mirror balls or other cliches).
The show is run via three control systems — a Hog 3 setup which also drives a PixelMAD system that supplies content to the REDWashes (which are also programmed as conventional lightsources).
UVA’s D3 video control platform that runs all the content for the O-lite screen also fires certain lighting cues, operated by Icarus Wilson-Wright.
The three control options are integrated via a Luminex IP merge device. This allows Haddow to select which source — and which individual channel — is controlled by which system. “It works absolutely seamlessly,” he said, adding that it’s a step forward from last year’s tour.
Prior to the latest tour, the band and crew did a week of technical production rehearsals at HSL’s new space next door to their warehouse facility in Blackburn.
“It’s great to be working with Robin and Production Manager James Baseley and Tour Manager Dave Lawrence and their team again,” said HSL project manager Mike Oates. “Massive Attack have been one of the U.K.’s most influential and creative bands over the last two decades, and their live productions are always inventive and interesting. This one is no exception”.
“HSL have been fantastic,” said Haddow. “Once again, Mike Oates has excelled himself at ensuring we receive amazing service and support, the kit is in great condition and the crew are fabulous.” Chris Roper from HSL is also supporting the tour, which runs through the end of November.
For more information, please visit www.hslgroup.com.
