PREFERRING NOT to influence their stage designer Andy Hurst, Rick Astley and his team gave him free rein to create a look which he felt reflected his latest album, Beautiful Life.
Hurst felt it warranted a “classy, sculptural” design which he achieved by inviting production company HSL to provide lighting.
The stage comprised two identical lightweight 10mm Leyard video screens, each measuring 12m wide by four metres high, one upstage and one which flew in and out on Kinesys points, downstage. These were connected by a grid of raked trusses which provided over-stage lighting points.
“I wanted a connected look with the sense of one structure that could be unfolded,” says Hurst. “Something elegant and dynamic but with a definite edge.”
To emphasise the architectural parameters of the design, he specified Martin Sceptron LED battens to fill the spaces in the ‘roof’ section between the eight six-metre lighting trusses making up the grid. This itself was outlined with GLP X4 Bar 10s and 20s.
Video equipment was supplied by Universal Pixels and included a media server by manufacturer disguise and five cameras – two Hitachi SK-1200s stationed at front-of-house and in the pit, with three Agile 360 Lite remote cams onstage.
The tour plays venues including Liverpool’s Echo Arena (cap. 11,000 – renamed M&S Bank Arena from January), London’s Eventim Apollo (5,000) and Nottingham’s Royal Concert Hall (2,300).