HSL creative director Andy Hurst collaborated closely with Tinie Tempah’s artistic director Willow and show producer Anthony Randall to create a concept for the popular rapper’s recent sold out UK arena tour.
The main priorities onstage were making sure that the band were well lit and matching the massive energy and vibes of the set with an interesting visual space.
With video content and stream of visual information being fast and furious, Andy wanted to ensure that the lighting was supportive, complimentary and uncomplicated. He sought to produce a clean and uncluttered look and a specific style of lighting that required plenty of precision and thought. Timing was – naturally – crucial!
On the cover of Tempah’s debut album Disc-Overy, the artist appears in a triangle. This initiated a flow of ideas, but having seen many sets already featuring this look, the creative team required something edgier and more original as a stage setting, so decided to invert the shape, which was then reinforced with a series of ‘V’ trusses.
Andy specified a combination of moving lights for his ‘pop meets hip-hop’ oeuvre, including 16
Martin Professional MAC III profiles, 30 Martin MAC XB Washes with PC Lenses, 12 Martin MAC 101 LED Wash Lights, 16 Robe ROBIN 600 LED Washes and 22 Clay Paky Sharpies. The Sharpies were on the deck to provide a good juxtaposition to the overhead fixtures.
Andy loves the Sharpy for its small size and massive punch. He also really likes the Martin MAC III and comments that the Robe LEDWash 600s are great for a rich wide range of colours. Using a careful selection of products from different manufacturers – all pulled from HSL’s vast hire stock – gave him the flexibility and scope to ensure that the Tempah rig was dynamic and had great impact. “I chose fixtures that I knew would work well together and produce plenty of big, sumptuous arena looks,” he comments.
In addition to the moving lights, there were 16 Martin Atomic Strobes with colour scrollers, 30 LED Colour Blocks for truss toning and general washes and 24 linear 4-lite Moles, with atmospherics provided by two strategically positioned Jem ZR 33 smoke machines and two Le Maitre Stadium hazers.
A High End Systems Whole Hog Full Boar console was spec’d for control, and this was operated on the road by Arturo Ollandini.
HSL’s crew chief was Tim Oliver, and he worked alongside Stuart ‘Wales’ Picton looking after dimmers and distro and hard working techs Jon Trincas and Dan Oswald.
We just sent you an email. Please click the link in the email to confirm your subscription!
OKSubscriptions powered by Strikingly