Neg Earth Lights supremo Dave Ridgway came to the assistance of Creative Director and Lighting Designer Terry Cook when he was seeking a new generation washlight.
“It needed to be bright, versatile, bold and strong,” said the designer, one of three partners at Woodroffe Bassett Design (WBD). And so Ridgway recommended GLP’s impression X5 IP Maxx, promptly arranging a shoot-out.
Cook commented: “It brought meanness, real character and was unapologetically angry. It was definitely an AC/DC light,” he exclaims unequivocally. “We have a history of embracing new technology on AC/DC tours and the Power Up tour was no different.”
Neg Earth Lights had been contracted as tour vendors by the band’s production director, Dale ‘Opie’ Skjerseth. As soon as the designer had greenlighted GLP’s washlight, it wasted no time in ordering 172 of the fixtures – the first rental company in the world to do so. “Dave [Ridgway] knows I take nothing as guaranteed and so we looked at each fixture twice, using light meters to measure it, and to understand what each light could do and how they balanced together,” reported Cook.
Lighting designer Patrick Woodroffe, who originally set up WBD, has an association with both AC/DC and Neg Earth Lights stretching back decades. “The band hadn’t toured for a while for various reasons,” noted Cook. “We were contacted about them returning for a one-off show at Power Trip Festival in California and they would then try something in Europe.”
WBD witnessed the signature rawness and WBD were soon back at the drawing board once the European tour was confirmed. “There were to be no gimmicks, it was very much about connecting the band, the music and the fanbase,” continued Cook.
The lighting designers worked closely with Stufish, which was responsible for the stage design and size of video screens: “I realised I could replicate the shapes of the video with five large lighting pods, filled with one type of light. Stufish suggested putting a video frame around the pods so we could drag the video off the screens and immerse it into the roof and sides of the stage. Suddenly the idea was born and we knew we had a winning combination.”
Three identical overhead pods were offset by two further pods, stage left and right, aligned on the vertical plane. Each contained a matrix of impression X5 IP Maxx – which made up the bulk of the 168 units that toured. The remainder were set on the upstage side of the front truss to illuminate the band’s 8ft high signature wall of Marshall amps, stacked three high.
The challenges in bringing this to fruition were many, not least ensuring the vast inventory of X5 IP Maxx could be shipped in time. “We also had to work out how we were going to build these lights within the trusses, even-spaced in a matrix and at the same time get the correct beam angles. The rig was something of a throwback to a parcan rig of yesteryear, when we were specifying the Molefay,” suggested Cook. As for the trusses, individual custom bracketing had to be produced for each piece, with a custom [load] spreader built into each hang.
The next decision was the DMX programming mode for the X5 IP Maxx. Cook recalled: “When I first turned one cell on, at just 3%, I knew immediately it was going to work. We wanted to have cell control so that we could change the shape of these lights and so choosing the correct mode was vital.”
“There’s one moment in ‘Thunderstruck’, an iconic song, when we wanted 168 linear stripes of light, rather than circles, to loosely represent a lightning bolt delivering real sparkle and flare across that big iconic intro,” he elaborated. After consideration, they opted for the fixture’s Mode 4 Multipix Advanced mode. “This gave us an incredible 141 DMX channels, with two lights per universe. It may have given Neg Earth a heart attack, but we wanted the flexibility to create the pixel effects.”
Cook also knew “from the get-go” that he wanted to integrate the GLP washlight into the Follow-Me follow spot system “and so at a moment we could sweep all 168 lights onto [frontman Angus Young] if we wanted a big guitar moment and pull a vast section of lights down to him.”
Cook paid tribute to a number of people for bringing the show to fruition, led by the head of GLP UK, Simon Barrett. “We must have used every fixture in GLP’s catalogue over the years. I can’t tell you how good Simon and GLP’s customer service are. To have direct access to the manufacturer was really useful.”
“We worked very closely with the set designer Ray Winkler [of Stufish] and Jeremy Lloyd at Wonderworks, who did the technical design, working out how to rig it safely, putting the engineering side of the pods together. Finally, there was Sam Patterson’s team at Treatment, who do video creation,” Cook added.
“By the halfway stage of the tour the team hadn’t swapped out a single light – despite them getting extremely wet in atrocious weather, particularly at load-in and load-out,” Cook continued. “But they are a great fit for an AC/DC show and the biggest compliment that I can give is I’d spec them on a show in a heartbeat!”
The show itself was naturally piloted by the band’s Lighting Director, Cosmo Wilson, while Joe Bay and Michael Hankowsky were brought on through Early Bird to handle the lighting and video programming. The last, and newest, member of the FOH team is WBD’s own Fraser Walker who, like Cosmo, runs the video screens live each show, with no timecode used, “it’s lovely to see Cosmo and Fraser operate this show,” remarked Cook.
Opie and WBD made the decision that, having been impressed with the young crew appointed by Upstaging on a recent American show, to request similar from Neg Earth Lights. The rental company delivered, providing another professional team with an average age of just 28. Other crew members included Jim Mills, Lewis Willding, Niccolò Grigolato, Ben Tinniswood, Zac Saleh, Euan Odd, Charlie Strangeways and Holly Brightman working under crew chief Alan Fotheringham. Neg Earth’s team who assisted with all the prep, comprised Joao Magalhaes, Jack Prior, Fiore Fillarini and Greg Gadomsk.
