After documenting his breakout shows in 2016 [see TPi #203], Kygo has since had a successful career in the dance scene, one that has seen him launch his own festival, garner multiple top 10 hits, and embark on his first 35-date worldwide arena tour since 2018, supported by a dedicated crew.
With the show described by the artist as ‘the biggest production we’ve ever done’ on his social channels, TPi caught up with Production Manager, Joel Stanley of Production Value, to get an insight into the production.
“This tour has been amazing, we have a really good bunch on the road with us,” he said, retracing his history with the artist. “Kygo is my longest-standing client, I’ve been with him and the camp for 10 years over the course of a 1,000 shows.”
Stanley, too, has stayed loyal to his trusted suppliers, enlisting the support of Solotech (audio), Neg Earth Lights (lighting and rigging), ER Productions (lasers), BPM SFX (special effects), TAIT (staging and set), Comix (video content), Video Design (video), Beat The Street (artist and crew travel), Freight Minds (freighting and carnets), Mission Control (RF coordination and communications).
Transam Trucking provided 16 trucks and experienced drivers, plus a pre rigging truck for a one-off performance in Trondheim, Norway. “Having worked with the production team on previous projects, it was great to be a part of this arena tour, and an absolute pleasure to work with the crew,” commented Transam Trucking’s Natasha Highcroft.
Bite Tour Catering fed 130 tour personnel on the road. Lead Caterer, Paul Fearns, commented: “We had a great team around us – from production through to our local promoters, we were surrounded by nothing but happy faces and great conversations.”
Working hand-in-hand, the collaborative efforts of each vendor resulted in an impressive live show that was full of lasers, confetti, and Panda’s playing lighting fixtures like a Xylophone [more on that later…]. The ambitious production design also featured a circular B-stage, connected to the main stage by an extended walkway, bringing the artist closer to the audience.
“Now that he has an extensive back-catalogue, it is more about his performance and connection with the fans than ever before,” Stanley explained, further citing his approach to staffing. “It is important to have a crew that I have a good rapport with. Being able to have special relationships with the people I have on the road, and the staff at the venues we are visiting is crucial, because even if we have a bad day, we can leave with handshakes and smiles on our faces.”
MHFA England-qualified Production Coordinator, Rachel Walsh supported the crew should any problems arise. Taking into consideration the strain that often befits life on the road, Walsh felt the addition of ‘Rachel’s Crew Welfare table’ in the production office helped break down a barrier for the crew and helped foster space to be open, request anything they may need, or take a break and have some chocolate.
“The crew love it, it gives them an opportunity to come in and catch up or grab something that might make their day easier,” Walsh commented. “When I first enrolled on a First Aid course, I had no idea how I would take it into touring but thankfully, given the tools I’ve learned, I’m able to adapt my role to be more meaningful to the crew – making sure they have everything they need or an ear to listen. It is a tough industry, and you get out what you put into it, but working conditions are improving. I’ve been touring for three years, and even in that brief time, it has changed so much with more women being hired in technical roles. This crew are particularly wonderful, and I have made friends for life. This tour is a big point in my career and has been brilliant!”
Read the full story below…
Words: Alicia Pollitt
Photos: Johannes Lovund and Mathias Sæther
