Profession:
Lighting & stage designer

Date & place of birth:
July 13 1962; Stamford, Lincolnshire, UK

What was your first job after full-time education?
Briefly the MOD, Civilian Apprentice U206794, REME 35th Central Workshops, Old Dalby, SAH! I was trained to repair field radar and Rapier missile systems.

    I hated it although I learned a lot at college both in electrical and electronics engineering and tech drawing which are all still useful today.

What inspired you to get into the world of lighting?
I first got involved with lighting for a National Youth Theatre production at The Haymarket Theatre in Leicester, and was amazed at the scale of everything. I also did casual work at Loughborough Town Hall which had a lot of bands through in the late ‘70s. I was being conscripted from bars and catering to unloading trucks with the stage department, getting involved with hanging or rigging whatever lights there were (mainly boxed gas Genies), then had the joy of helping de-rig and load-out.
   
Is there anyone you would describe as a mentor?
Rob Gretton, New Order’s original manager and partner in Factory Records. A part football hooligan, part visionary. Working with him from the age of 18, being influenced by his way with everyone, still stays with me today. His legacy in the industry will live for years past his sadly short time.

Your favourite touring memory?
New Order’s American tour in Summer 1989. Two six-week legs with four weeks off between. On the second leg we were joined by PIL and The Sugarcubes with their crews happily adding to the mayhem. They were great shows, mainly outside and it was mostly great weather. Probably the most enjoyable tour I’ve done to date.

And the worst?
A Smashing Pumpkins gig around 1997 at The Point in Dublin. I was at FOH when doors were opened and it seemed like a really lively audience as they came in. The show was going well but then around halfway through a shout came over the comms. Security had pulled a girl over the barriers who was getting crushed.

    The paramedics, positioned by our dimmers, tried to resuscitate her and finally pulled the blanket over her head. The show was stopped two songs later and it was absolutely horrific. People look at me weird sometimes when they ask at the end of the night, “good show?”, and I apparently reply flippantly with a smile, “yep, no one died”.

What are the best pieces of kit that you’ve discovered over the past few years?
Fixture-wise, it would be GLP Impressions (incredibly bright, light and fast), iPix BB16s (an amazingly big chunk of light for inside or out) and Chroma Q’s Color Block 2 (the smoothest LED product I’ve seen). As for control, I’d pick the Jands Vista console (simple yet sophisticated and quick) and the Avolites Pearl Expert (a classic with the extra bits you always needed).

Do you think there is currently enough practical encouragement of young production talent?
Some companies seem great at bringing on new people into the industry and training them up alongside experienced crew, almost like an apprenticeship, but with others I see no evidence at all, unlike the way it was at hire companies in the early ’80s.

What have been the major highlights of your career to date?
It might have been an early headline slot at Glastonbury? But I’ve mostly enjoyed it all. I’m very aware of being incredibly fortunate over the years to have had the chance to design for an amazing number of bands and artists whose music and shows I’ve really enjoyed hearing, seeing and being involved with.

What occupies your free time?
DIY (destroy it yourself!), attempting gardening and growing veg (the new rock’n’roll), and looking after the old folks who live just down the road in the middle of the village. I enjoy walking locally so I joined the Leicester & Rutland Wildlife Trust some years ago which gains you access to some of the quieter areas and  beauty spots off the beaten track.

Your favourite record of all-time?
‘True Faith’ by New Order.

What was the first gig you attended as a punter?
It was probably something like Uriah Heep at De Montfort Hall and it sounded f***in’ horrible!

What would be your advice to a teenage Andy Liddle?
Don’t take it too seriously. You’re only doing lights for a band; it’s not life or death... or even cooking dinner!