“∑(No,12k,Lg,17Mif) New Order and Liam Gillick: So It Goes…’ is a bold and
original collaboration between gurus of electronic music New Order and conceptual
visual artist Liam Gillick, which is orchestrated by Joe Duddell and presented for the
2017 Manchester International Festival on Stage 1 at the iconic Old Granada Studios
in the city.
Lighting was designed by the band’s long-term lighting designer Andy Liddle, with
equipment supplied by Blackburn-based rental specialist HSL, project managed by
John Slevin and coordinated on site by Andy Chatburn.
The show presents selected deconstructions picked from New Order’s vast body of
work, played by the band and a 12-person synthesiser ensemble from the Royal
Northern College of Music.
Gillick designed the stage set comprising the 22.5 metre wide by 7-metre high
structure upstage of the band that houses the 12 synth players. This was engineered
by Star Events and, together with the trussing providing the overhead lighting
positions, had to be shoehorned into the Studio’s 24.5-meter wide 1979 Space Frame
superstructure, a delicate operation undertaken by UK Rigging.
A striking large-scale louvre system, created by Scott Fleary, is integral to the set and
sits in front of the 12 keyboard cubes, fabricated by Hawthorns and installed by Take
One Scenic. When closed and in transition, the 12 louvered panels act as a front
projection surface, and when open, a vibrant array of lighting and other visual effects
are revealed.
“Many inspiring people and excellent companies have united to make this production
happen’ stated Andy, “It is energising, highly cerebral and fertile and many ideas
have been discussed in a very invigorating atmosphere,’ he enthused.
Production manager Dave Lawrence oversaw the whole process, and Andy was
delighted to hear that HSL would be the stage lighting supplier.
In addition, HSL are supplying the site-wide electrics and power distribution, general
lighting for the bar and foyer areas and safety lighting throughout the space.
The stage lighting trusses are installed above the node points of the Space Frame to
keep the aesthetics clean, minimal and defined.
Liam left it to Andy’s expertise and knowledge as a touring LD and his long history
with New Order to shine through as the show evolved into a multi-layered visual
presentation.
Andy was keen to have a standard touring system in terms of fixtures but concealed
to maintain the look and vibe of the show. With that in mind, all the lighting – apart
from two fixtures – is in the roof and secreted at the sides behind the PA.
Robe BMFL Spots are the main hard-edged lights of which there is a double row rigged
on two trusses above the stage and set. These were chosen for their intensity,
flexibility and the very wide range of effects that can be created.
For side lighting, Andy picked a combination of more BMFLs, ETC Source Fours and
Claypaky Sharpies.
Inside each of the 12 cells of the structure is a Robe DL4X Profile fixture, used both
for projecting onto the white lining of the cell and blasting beam and breakup effects
through the louvres. Each cell is internally lit with two SGM P5 LED floods giving off a
subtle range of intensities.
Martin Atomic 3000 LEDs are used over-stage and above the audience. As well as
being an integral part of the show, Andy is taking advantage of their full duty-cycle
and using them as venue work lights, supporting a grid of Martin MAC Auras, also in
the ceiling, utilised for walk-in and room lighting.
Four-lite Molefeys are rigged on a different rail of the upstage trusses in a mirror
position to the rear BMFL Spots, and the front and key lighting come from a row of
ETC Source Fours.
All of these luminaires are installed discreetly, so the source is visible rather than the
hardware. With the heavy side lighting, Andy has taken more of a dance than a rock
show approach.
Liam’s only specific lighting request was for only two lights on the floor with which he
wanted to create some dramatic silhouettes onto the closed louvres.
Andy recalled the last time he dared to position any lights on the floor for a New
Order show, which was Berlin, May 1981, a gig in the SO36 club, where Bernard
Sumner ceremoniously kicked a pair of Altman fresnels offstage, and Andy swore
never to put any lighting instrument in that position again.
This time, two Martin Axioms hybrids were positioned strategically to produce the
effect that Liam was looking for. “I asked HSL to find the toughest narrow source
fixture they had available, and these Axioms worked a real treat. I will definitely use
them in the future,’ he said, adding that they, happily, stayed in position.
HSL supplied two brand new Avolites Arena consoles for Andy to control lighting for
the five shows that played out during the 18-day MIF17 event.
Andy has enjoyed working with HSL on the project for which Andy “Top Hat’ Chatburn
acted as the chief LX on site. “The whole HSL team has been fantastic, as always. The
kit has been excellent’.
The artistic and engineering challenges included dealing with the building – effectively
a found space. As the Space Frame was installed in 1979, there is no electronic
drawings or structural information available.
Andy made at least three reccies, and he and UK Rigging’s Ken Johnson measured the
frame with laser equipment to detect the node points. “Andy (Chatburn) and Ken
pulled an absolute blinder to get the rig in there,’ commented Andy. “It’s been a real
joy to work with Liam and on a presentation collaboration beyond the realms of
normal concert touring. He is a great communicator. His whole take on live
performance is very different, and I think we are all very proud of the combined
results.’
The intricate video content was created by Matt Lee, controlled and manipulated by
Ryan “Simba’ Staplehurst via a d3 media server.
To fully realise Liam’s creative vision and start experimenting with visual effects, a 3d
model of the stage was built during pre-production and imported into d3 allowing
proxy content and the louvre movements to be simulated long before rehearsals had
begun. Using this simulation, the d3 was utilised to control the four projectors
responsible for the mapping and to generate the DMX required to control the louvres
themselves. This combined control ensures that the mapping remains pixel-perfect as
the dynamics of the set shift.
Says John Slevin, “HSL and I have worked on a number of MIF events now, and it is a
great experience. The venues are different, the artists are interesting, and the shows
always make you think. Working with Dave, Andy and MIF17’s head of technical Jack
Thompson is a real pleasure.’
