WHEN THE live music version of television show Nashville toured the UK, producers Grand Ole Opry (GOO) preferred to simplify logistics by using a single production company for all services, according to Phil Kielty of Liverpool-based Adlib.
He says his company was chosen to provide staging, light and sound for the live version of the show, after its work with the 2,350-capacity US venue in Nashville, Tennessee, where the production was staged last year.
GOO’s Betsega Bekele and Mike Sponarski briefed Adlib’s Dave Eldridge on a production lighting design which focused on a “striking” backdrop emblazoned with the Nashville in Concert strapline.
He deployed three straight trusses overhead with a classic combination of spot and wash moving lights, Martin MAC Viper Washes and Profiles, with 18 and 21 respectively of each type on the flown rig. Six more Profiles were located on the floor on podiums, to elevate them above the backline.
“The fixed backline in place each night offered a great opportunity to use the spare floor for lighting fixtures, which added depth and dimension to the performance space,” says Eldridge.
Audio for the production, which visited venues including London’s The O2 (cap. 21,000), Manchester Arena (21,000) and Birmingham’s Genting Arena (15,700), comprised an L-Acoustics system, typically configured as 16 K2 loudspeakers with 15 KARA for the side hangs.
The IMAG video package comprised four Sony HXC-100 cameras, two at FOH, one hand-held onstage for close ups and a static onstage camera for contrasting cutaways. “The atmosphere behind the scenes is great,” says Kielty. “Providing the IMAG was a happy challenge and the show looked incredible.”