Production Manager, Jon Bumgarner turned to Entec Live’s technicians for support during the post-pandemic production of Christmas With Il Divo Tour, under the recommendation of Eighteentwentysix Director of Touring, Matt Doherty.
Representing Los Angeles-based production company, Eighteentwentysix, US native Bumgarner harnessed Entec’s intimate knowledge of smaller 2,000 to 3,000-capacity UK venues in secondary locations that the multi-national quartet were playing and tapped into the company’s ability to singularly source the technical infrastructure required for the production.
“I have done a lot of shows in the UK over the last 15 years but mostly arenas in big cities such as London, Birmingham, Manchester. But a lot of places on this tour were new to me,” Bumgarner admitted.
Il Divo is a new account for Eighteentwentysix. Explaining how they arrived at the company, Bumgarner reported: “We were approached by Red Light Management [who represent the band] at the end of September. They were looking for a new American production team and I was brought on board.”
Bumgarner has been with the company since 2016 when he took on a full-time production role with Calvin Harris. “After lockdown, I was available and ready to get on the road again,” he said.
However, it was experienced production manager Matt Doherty, Eighteentwentysix’s Director of Touring, who had recommended Entec. “Matt has endorsed our work on more than one occasion,” noted Entec Live Managing Director, Noreen O’Riordan. “Il Divo is a different style of music but it continues to show our strengths as a turnkey company.”
Rehearsals in London began on 22 November, whereupon the retinue set out for their first show in Gran Canaria before returning to kick off the UK leg at Southend’s Cliffs Pavilion. It was clear from the outset that the union would be successful. “Once Matt had made the introduction to Entec he connected me with Noreen, and she and Patch [Cleaver] were a pleasure to work with — they were top notch right across the board. It certainly helped streamline things having a one-stop supplier,” he continued.
“When that option is available we will take it as it makes prep time, truck pack and so on much easier, with everyone on the same team.” The stage itself had been festively decorated with a 2m diameter light-up wreath, truss garlands, a Christmas tree and meet and greet option.
Bumgarner was assisted by Production Assistant, Jill Martin-Byers, while Entec provided the core team. This included another Entec fan Ed Hammond — who had previously recommended the production company on several occasions — and Alex Chapman as System Technician.
Alberto Bonardi was mixing the band and 17-piece orchestra at FOH through a d&b audiotechnik KSL and V series systems on Entec’s DiGiCo SD10, while Jonn Roscoe mixed monitors on a similar desk at the stage end. Other members of the production team included Andrew Small (MD), Jon Barker (LD), Phil Howey (Playback) and Robert Morrison (Wardrobe).
As for lighting direction, Barker had been introduced to the tour late in the day. Piloting an MA Lighting grandMA2, he had an assembly of cutting-edge Robe lighting, Martin by Harman and Elation Professional moving heads from Entec’s inventory at his disposal.
In conclusion, Bumgarner acknowledged that in addition to being able to meet the rider requirements it had been Entec’s ability to have pre-existing room presets, that could be tweaked and deployed on site, that had really proved its worth.
“Their experience in venues with which I was not familiar was invaluable,” he confirmed. “Thanks to their intimate knowledge of the layout we were able to get the rig up, dialled in and ready in quick time. The experience was nothing but wonderful and anytime that I’m in this part of the world I’ll be rooting for Entec.”
