“We lift the whole wall up six feet to accommodate set changes,” says Trussell. “With the wood taking light exceptionally well, it fits into the design perfectly.” Tye Trussell at Gallagher Staging fabricated the lighting pods so the wooden sections making up the triangle are actually built into the design,” Mosier explains. “The idea with the wood set piece is we have something else we can light with colors to make a look. This, along with an LED lit globe (dubbed the Orb) hung over the stage were all ideas of the artist. The rear wall of PARs is separated in the center by a wooden triangle set piece. “I’ll agree, it makes quite a statement when they’re all on.” “There are times when Ron used the robocams to capture part of the stage such as some PARs on full, then uses that content on the video wall to simulate even more PARs, essentially giving us a complete floor to ceiling look of PARs,” says Mosier. Completing the look is a rectangle of video that runs across the top of the lighting structure. The pods are divided into a rear wall, a couple of side panels and an additional overhead wall. The rig looks massive, as 400-plus Vari-Lite VL800 EventPARs built into truss pods, make up the bulk of the system. Everyone out here had some input into the final production.” ‘Why did we choose this look?’ Some changes were made, but the basics were in place.” Etters, the video director for the past year, adds, “This whole tour is a collaborative effort between Becky, Mac, and the entire video team. Mac and I started looking at looks we’d come up with and questioning ourselves. Eighteen months later we regrouped,” explains Fluke. “We did one show in Corpus Christi-then pulled the plug. “It was a bummer to polish up this project only to sit on it for about 18 months, waiting for the tour to get the green light.”įluke, who has been with the artist since 2013, confers with Mosier and Etters on the show’s visuals. “We programmed just prior to March 2020 when Covid shut us down,” he comments. Mosier has been lighting bands for some 40 years including looking after Stapleton’s live shows since 2018. “It’s a great thing when you have an artist and production team that supports a unique tour design, and the audience reactions are a good indication that we’re doing a good job.” “This new design has similar details but includes a great amount of light in the sculpture of it,” he explains. The fun challenge is to mix the visual design with smart acoustic design.” Rodgers designed Stapleton’s last tour, creating a touring band shell that was scientifically designed to react like a recording studio. “But he’s also a sonic expert, having spent most of his career in recording studios and various types of venues. “Working and designing with Chris Stapleton is always an interesting process because he is a very visual person who has strong opinions on style and materials that fit his brand,” says Rodgers. From that piece of paper and Ron and Becky’s input, I put together the plot.” So says Lighting Designer Mac Mosier, who teamed up with Production Designer Bruce Rodgers, Creative Designer Becky Fluke, and Video Director Ron Etters to design Chris Stapleton’s 2021 All American Road Show tour. “It all started with a napkin sketch from the artist portraying an old school PAR can rig. It takes the whole team to support the All-American Road Show
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