JONAS BROTHERS
Marking their first campaign since 2013’s Live Tour, and their first studio album since 2009’s Lines, Vines and Trying Times, Jonas Brothers returned to the road with their biggest production to date. Part of a long lineage of Disney Channel artists that have successfully bridged the gap from TV screens to sold-out arenas, the trio have consolidated their position as the archetypal princes of pop rock. TPi caught up with the production team six dates deep into the European tour. Production Manager, Joel Forman began working with Jonas Brothers during the group’s 2008 When You Look Me in the Eyes Tour, back when the trio were still boys. Following successful PM stints on Bruno Mars’ 24K Magic World Tour and BTS’s Love Yourself World Tour, Forman and Tour Director and Accountant, David Licursi, were brought in 20 shows into the band’s latest tour to ensure that it was as efficient as possible. Forman worked closely with Silent House Productions’ Baz Halpin, who, as well as designing the show, also played a key part in the selection of visual vendors. Their suppliers of choice comprised Solotech, TAIT, Clair Global, Five Points Production Services, Pyrotek, McGuinness Trucking, Beat the Street, Legacy Power and Mojo Barriers. “Relationships and numbers matter in this business,” Forman acknowledged. “Budgets are important, but when dollar for dollar are equal, there is something to be said about the power of people involved.” He signified Backstage Coordinator, Phoebe Baldwin, and Stage Manager, Brian Bassham, as important cogs in the touring machine. “The reality is, all of this gear could be sourced by different companies. Anyone with a credit limit can get their hands on gear, but the people are the key factor – you could have the nicest kit, but you need to have the right people as well.” Creating efficiencies where possible, the video and staging setup was altered to account for space and weight issues in Europe. “It’s a game
of getting everything and everyone lined up perfectly and dealing with problems as they arise,” Forman explained. “We’re constantly coming up with ways to fit a square piece of kit into a round hole.” Reflecting on the undertaking, the PM said: “It certainly doesn’t feel like an 18-truck tour – and that’s credit to Baz and the amazing crew out here. He has devised a show that loads in and out really well. As soon as the house lights hit, I still get a kick out of it.” ‘AN INSPIRING AND EDUCATIONAL TOUR’ Leading the lighting charge on the road was Joseph Troup. The Lighting Director utilised one of five full size MA Lighting grandMA2s on the rider. A main and back-up was situated at FOH for lighting, in addition to a further main and back-up for video, with a grandMA2 Lite purposed as a tech backup, which was housed backstage. Troup’s charge required keeping the followspots in line and calling spots via a “three pronged” Robe RoboSpot system of six Robe BMLF Followspot LTs, with each fixture sandwiched between 10 Robe BMFL WashBeams (five per side). “There are three controllers tracking six lights, so I have to be really diligent in watching the three brothers on stage,” he explained. “No matter where they go, the three-pronged lights chase them around stage.” The main stage was lined with 430 custom TAIT linear LED products, which Troup referred to as “the glowing bits that look like the Starship Enterprise”. GLP impression X4 Bar 20s end to end – 61 in total – lined the edge of the main stage and the catwalk towards the B stage. Troup noted: “We had TMB Solaris Mozarts lining the B stage in North America, but over here we went for lighter 19 Color Kinetics iW Blast TRs.” Accompanying the Happiness Begins Tour were some 200 Ayrton Khamsin LED profile fixtures. Specifically, 118 Ayrton Khamsins and 96 74