"HAYLEY WILLIAMS AT A BACHELORETTE PARTY" TOUR
THE ETHEREAL LOOK
For the current run, LMG scaled the show up from the two earlier legs into a larger video and lighting build, and the centerpiece is its projection. Tobias Rylander's design pairs soft goods with projection, a combination you rarely see at an amphitheater, and it has produced one of the most distinctive looks of the run.
Rather than fly the projectors overhead, LMG kept everything low: side projection at the edges of the stage and the IMAG projectors down in the pit at the front of the stage. To fill a 30-plus-foot surface from only about 16 feet away, each projector stands on its end facing straight up and fires through a snorkel lens that turns the beam sideways onto the soft goods. It is a lot of picture out of a very short throw. Because subwoofers share that same pit, LMG added network isolation to keep the video system clean of the low-end energy sitting right next to it.
VIDEO & LIGHTING
The camera package is 4K, with Blackmagic cinema cameras handling the POV angles throughout the show. Control runs on GrandMA consoles with a Blackmagic switcher tying the video program together.
Michael Strong's lighting is built around a heavy Astera investment, and here the fixtures are meant to be seen. Many are stand-mounted and left in view on purpose, used for shadow play across the stage, with custom clamshells and lampshade-style pendants shaping the looks. The production also carries roughly 40 points of automation. LMG did not provide the automation, but the lighting is designed to move and read against it, so the two systems are cued to work as one picture.