Classic Tales of Yes tour featured a Martin Dudley and Chris Davey light show that included 12 CHAUVET Professional Rogue R2X Wash units from Martin’s Lights.
“At the start of the project, we were told that it would be a ‘no haze’ tour,” said Dudley. “Therefore, we knew that the lighting had to be about colour, pattern and texture, rather than beams of light and movement in the air. Many of our lighting designs are quite understated, and after the first couple of shows, the feedback from the band was that they wanted “more” of everything, so we went for it!”
The vision powering the flowing design continued to evolve throughout the tour which resulted in one of Dudley’s favourite looks for South Side Of The Sky. After the initial programming was done, Lighting Director Davey added a multi-coloured gobo to the cloth backdrop for this song.
“It looked like the Northern Lights we’d recently experienced in the UK!” said Dudley. “Chris and I did a day’s programming in a WYSIWYG suite and another day at production rehearsals, but Chris overhauled much of the programming once the tour actually got underway, removing things that didn’t work and adding more great looks, no mean feat whilst dealing with different in-house lighting rigs every day. I’m grateful too to lighting technician Simone Bigum, who got the rig up and running every day, and tour manager Dick Meredith, a contact from the very earliest days of Martin’s Lights, who brought us on board.”
Coloursound Experiment supplied a “house lighting” system that consisted of two flown trusses of CHAUVET Rogue R2 washes and moving spots. (In-house lighting fixtures at different venues were used for follow spots and front light.)
The Rogue R2X Washes in the floor package remained the workhorse of the rig. Dudley positioned eight of the washes upstage on the floor, using them to put colour onto the white back cloth and occasionally to backlight the band. The other four wash units were hung on four 2.5m tall truss towers and used to light the band from the sides.
“The washes did a lot of the heavy lifting in the show, putting rich, saturated colours onto the cloth for almost every song,” said Dudley. “Colour and gobo patterns were key to the looks we created. Yes is a band with a long history stretching back to the early 1970s and the classic projected “light shows” of the time.”
Although Dudley and his team weren’t directly attempting to copy those shows, he says that the use of gobos with and without prisms, augmented by a lot of rotating, zoom and focus effects were what he termed – “a reference to the history” of the band.
