Faithless hit on the road again in 2015 after a four year break, taking their
infectious dance rhythms to an eager public celebrating 20 years since the
formation of the band in the heady 1990s, when rave culture became a defining
musical genre of the late 20th century. Faithless have left their stamp on the scene
with rousing electro anthems like “God is A DJ’ and “Insomnia’.
Andy Hurst was asked to create a visual concept and Blackburn rental company HSL
supplied lighting equipment which included an investment in 300 Martin VDO
Sceptron 10 LED battens, which were rigged on custom structures to form a giant
“88’ digital clock face.
The large digital figures were an idea that Andy and Sister Bliss from the band had
thought about in the quest to have something different from conventional video with
large screens and content onstage. When the dialogue with Andy started, he
suggested that an impressive low res LED sign could be utilised for a number of
different visual elements including writing the new album title, 2.0.
Once the idea was settled, Andy proposed using 264 Sceptrons for the sign which
he’d seen launched at LDI 2014, and HSL went ahead and made the investment.
Andy also wanted to have an intense laser show … both for sheer impact and to use
as an alternative effect that was different and fresh, deciding on 25 x Beam Bursts
and 28 x Lazer Blades on various trusses, some 18W RGBs at the back on the floor
all provided via ER Productions. The Pangolin lazer control system was also
triggered via the Full Boar.
When it came to choosing lights, Andy wanted a number of beam fixtures to
compliment the lasers and a load of LED strobes to contrast them, for which he
chose 50 x Philips’ RGB Nitros which also worked as a hi-energy wash source across
the whole area.
In the roof HUD-style pre-rigged trusses were installed and, together with six 3
metre high truss towers on the stage, were rigged with 44 x Clay Paky Sharpies and
24 x Martin MAC Auras, with all the cabling and connectors traveling in the trusses
making it extremely quick and straightforward to get in the air each day.
Twenty-four High End Shape Shifters were dotted around the forestage area on
stands and on the floor to provide another layer of high-impact LED light sources.
While IMAG video was not part of the show look, Andy felt the performance space,
when the show stepped up to the arenas, needed extending to the sides, so
traditionally there would be IMAG side screens, two additional trusses were flown
and loaded with Sharpies, lasers and strobes.
HSL’s project manager and co-ordinator was Jordan Hanson. The company also
supplied two front truss follow spots, plus crew members Steve Bliss and John
Trincas who joined Richard on the tour, which started with production rehearsals
and a gig at the Rockhal in Luxembourg in May … and has just completed in UK
arenas.
The tour’s massive success was mirrored by the popularity of the new album which
hit number one of the UK album charts … proving there is still plenty of love out
there for one of the most exciting and original electronic bands.
