Adlib helped bring all the drama, excitement and glamour of the CMT TV series Nashville to the stage as ‘Nashville in Concert’ returned to the UK for the second run of sold-out arena shows following the success of 2017’s tour.
The Liverpool-based production specialist was asked to provide full production – lighting, audio and video – after making a great impression in 2017 on the production crew from Grand Ole Opry in Nashville, Tennessee.
Adlib this year provided the key disciplines of lighting and sound plus the IMAG video package. Having 1 production supplier simplified logistics & administration, and enabled Adlib to offer both excellent continuity of service and a cost effective deal. The format was as before, a fabulously tight house band supporting a selection of cast from the series including Jonathan Jackson, Chris Carmack, Clare Bowen, Charles Esten and Sam Palladio.
They played a vibrant set of new and favourite songs from the latest series together with their own original material and, as always, a few surprises! Creating the Look Adlib’s Dave Eldridge co-ordinated all the lighting and video elements.
In 2018, Adlib was also asked to create a production lighting design after receiving a brief from the production team led by Betsega and Mike. They wanted something that was fresh and different from last year, but that also related to the overall Nashville concept, so Eldridge and Adlib LD Tom Webber, who programmed lights and operated the show on the road – used the striking Nashville in Concert backdrop as a starting point. Eldgridge and Weber were keen to combine a theatrical feel with a sense of spectacle as well as a touch of television.
The fixed backline in place each night offered a great opportunity to use the spare floor space in and around it for lighting fixtures, which added depth and dimension to the performance space. The structural aesthetics were based on 3 straight trusses overhead and a classic combination of spot and wash moving lights, for which Martin by Harman MAC Viper Washes and Profiles were selected, with 18 and 21 respectively of each type on the flown rig.
On the floor were 6 more Viper Profiles on raised podiums to elevate them slightly above the backline for impact and to blast through for eye-catching silhouette effects. These were joined by 8 Martin by Harman MAC Quantum LED washes on the deck dotted in between the backline kit. 8 Robe picklePATTs on stands were positioned behind the Viper Profiles on the podiums adding a dynamic aspect to the overall look which also tied in well with the backdrop, bringing a nice tungsten-style effect to the stage.
A splash of retro in a contemporary setting as well as looking fantastic in the ‘back-of-camera’ shots. A combination of 2 lite Elation Professional CuePIX WW blinders and Chauvet Professional STRIKE 4 LED blinders were dotted around the rig. With such a diverse range of songs and atmospheres to be created, ranging from bouncy up-tempo pop numbers to soulful blues to delicate ballads, they “really needed a full and flexible range of attractive static looks plus all those huge hi-impact beamy effects that really animate the stage,” explained Eldridge. The backdrop itself was up and down-lit with a total of 18 Chauvet Professional COLORado Batten 72s which gave it definition overlooking the whole stage.
Webber chose an MA Lighting GrandMA2 light console on which to programme and run lighting. The IMAG video package comprised 4 Sony HXC-100 cameras, 2 positioned at FOH for the long and overall stage shots, and 1 hand-held onstage to capture the action close up. The fourth was a static non-operated camera onstage, deployed behind the piano and used for contrasting cutaways.
The camera feeds were sent to 1 of Adlib’s Blackmagic 2ME vision mixers being operated by Iain Christie. He cut the mix and sent it to the 2, 20 x 11 ft. 3-inch Stumpfl side screens, each of which received images from a pair of double-stacked Panasonic PT-DZ21K 20,000 lumen machines. The results were really eye-catching, and the styling of the show received lots of positive feedback.
Adlib’s crew chief Kevin Byatt tied all the production elements together, taking an overview of the lighting and video systems.
Eldridge commented: “It has been great to be involved in both the lighting and video elements as our team has had the opportunity to offer a cohesive result’’.
