Making the leap from scream-teen idol to indie bard boy,
Robbie Williams needed a live production team who were able to react to his
needs. Access all areas caught up with the tour in Southampton.
After the
high exposure he received in his previous band, Take That, Robbie Williams decided
to test out his new "indie" credibility on the live circuit this autumn. The
result was an energetic, almost sell out tour, which avoided arenas in favour
on smaller clubs and town halls. "The management company felt it important not
to go for the big arena style of Take That," says tour manager Andy Franks.
"The idea was not to put Robbie into Wembley Arena and risk two thirds filling
it, but to have a few thousand people who can’t get in," agrees front of the
house sound engineer, Dave Bracey. "Robbie also wanted that element of closeness
to the gigs." The intimacy of smaller venues may be an advantage, but it has put
limitations on the equipment.
Britannia Row supplied sound on the tour.
"Because of the size of the venues we decided to use smaller mixing consoles
than we normally would for this sort of act," says project manager for Britannia
Row, Mike Warren. "Front of house we use a DDA forty channel and a Yamaha OR2.
It’s not like a standard mixing console as it has its own digital way of rooting.
On stage we’ve got a Soundcraft SM12. Because some of the venues are very small,
it would be difficult to get an XL3 on stage."
The PA, a Turbosound Floodlight
and Flashlight rig powered by BSS amplification, was joined by effects including
a Lexicon 480L, EvenTide H3000 and a Yamaha SPX990, along with two Summit TLA200
stereo compressors.
"Most of what we’re using is pretty standard," says
Dave Bracey. "We knew Britannia Row were the company we wanted to deal with.
I know what their equipment will do and if something breaks down we know it
will be immediately replaced," he continues.
Stage lighting was provided
by Vari-Light and CPL.
Again, the venues caused problems, as lighting
designer Liz Berry explains. "The tour straddles an uncomfortable bridge
between clubs and city halls. If you were touring all clubs maybe you’d
design something that’s all groundsupported, but with venues such as this
(Southampton, Guildhall) that kind of rig restricts you to a height of about
12 or 16 feet." To counteract this Liz had to come up with something that was
suitable for the larger venues but that also made sense for the smaller venues.
"We’ve had to treble in size on some days. The set really has had to be flexible,"
says Liz.
The desk is run off an Artisan. Lighting equipment includes
8 bars of 6 and 4 bars of 4 ACLs, 6 Vari-Light 2Cs, 8 VL5s, and 4 Altman
Baton used as ground rows. Liz also adapted 4 Cyberlights, taking off the
heads and replacing them with Vari-Light CLM mirrors.
"Any moving mirror
light can’t get light behind itself because of the head shell," explains
Liz. "By using the Vari-Light CLM we can get light on any part of the stage."
The stage set, designed by Supot Co, somprisses four horizontal blocks,
each consisting of four panels of corrugated material. Liz adapted the
original design by adding metal panels between the plastic ones. "Because
all the venues have been so small, this is the first time I’ve been able to
hang them all," grins Liz. "We’ve got down to as little as two panels before
because the ceilings have been low."
The companies were chosen for the service
and equipment they provide. "It wasn’t a case of beating everybody up for the
best possible price," says Andy Franks. "The management have taken a long term
view on this and given us the leeway to do things right." The tour hits Europe
this November. "We’re scaling everything down as Robbie isnt’ as well known
in some places as he is in the UK. The crew will take their own desks but use
the venue’s monitor system. It will be harder both for them and the musicians
as the sound will change every night," says Andy. "But we’ve got the best
people - so we’re not scared!"