Robert Juliat Lancelot satisfies The Rolling Stones
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U Arena is now France’s largest indoor arena, and one of the biggest in Europe, and a prime host for the Stufish-designed set comprising four massive video walls over-reaching a part-canopied, 60-70m wide stage and 14m thrust which only just succeeded in containing the exuberant performances from these youthful rockers.
The Rolling Stones’ long-term lighting designer, Patrick Woodroffe and associate lighting designer, Terry Cook, of Woodroffe Bassett Design, specified Robert Juliat’s most powerful followspot because they wanted them as the prime source of front-of-house illumination for the artists on stage.
“The minimalist, clean lines of the stage design had no advance truss, so most of the front lighting on the artists relied on followspots, with just some LED fixtures located on the rooflette to provide some key light, and footlights to outline the main and B-stages and catwalk,” explains lighting crew chief Andy ‘Fraggle’ Porter of Fraggles Rock Lighting Ltd. “Lancelot was ideal, not only to cope with the long throw distances, but for several other factors.”
The Rolling Stones like their followspots to deliver a big rock and roll look with beams passing across the auditorium to draw the audience’s focus directly onto the artists. “This is a very important function on some of the larger shows,” says Fraggle. “The audience come to look at the band, but an LD often wants to make a statement with the rest of the lighting that doesn't necessarily involve lighting the band. As technology advances, there are new ways of achieving this and having a 4000W followspot pointing directly at the artist from out front is a very strong, dynamic look.
“Also in the sheer vastness of some of the arenas on the tour, a bit of direction is often needed – not only from the audience’s point of view, but for the ever-present cameras, whether they are for broadcast or for IMAG input. Lancelot is particularly valuable in this respect because it has a flicker-free electronic ballast and a very uniform field. The fixed optics on RJ spots make it much easier to achieve a consistency across all eight units and much quicker to set up, which is a great advance on tour. A few years back it would have taken several days to achieve this.”
The Lancelot followspots were rigged on two front-of-house towers located mid-field beside the lighting and sound pits, from where a pair of each were trained on Jagger, Richards and Wood, with the final pair lighting the bass player, Darryl Jones, and acting as a spare when guests were not on stage.
The highest followspot position was occupied by veteran followspot operator, Barry Branford, who reprised his long-term role as Jagger’s chosen followspot operator, having worked with the band for over 20 years. This topmost position is reserved for Jagger’s followspot as it gives the best angle and shadows to show the energetic and highly mobile lead singer to best advantage, on stage and screen. This was mirrored on the opposite tower where the top position is the reserve of Richards’ spot, with each artist also having a second spot at #2 position on the opposing side. Branford has used many followspots in his long career: “Lancelot is the easiest spot of its size to use in these kind of situations,” he confirms.
“Good, consistent spotlights are key to lighting a Rolling Stones show,” says the tour’s lighting director, Ethan Weber. “Our goal is to make sure that all band members - principals and back-ups - are lit well enough that the audience can watch whomever they want at anytime during the show. I think, largely due to the Lancelots, that we’ve achieved that.
The RJ Lancelot fixtures were supplied as part of the total lighting inventory by UK-based Neg Earth Lights. The job of rigging and setting up the Lancelots at each venue fell to the tour’s followspot technician, Dan Wiseman.
(Jim Evans)
