In the build-up to the third edition of BLUDFEST, YUNGBLUD returned to the touring circuit, bringing a classic rock-inspired spectacle to arenas across the UK and Ireland, supported by a vibrant and road-tested crew.
Production Director, Steve Down of Only Helix oversaw staffing, budgets and liaison with management and creative departments, handling the logistical groundwork before the tour hit the road. He enlisted a trusted network of technical vendors including Adlib (lighting and video), CSE Crosscom (radios), EFM (freight), KB Event (trucking), Kearsley & Sons (rolling stage), Multicast Audio (communications), Music First Partnership (travel), Opto Live (playback), Ox Event House (band risers), Popcorn Catering, Production Park (rehearsals), SETSTAGE (set pieces), Solotech (audio), Stage Miracles (local crew), Strictly FX (special effects), TAIT (monitor riser), Vision Factory (creative) and Zeppelin Nightliners (buses).
“I’ve worked with these companies in various guises over many years,” Down said. “They are best in class and provide great technical support on the road. It’s an ambitious project within the available budget, and they’ve all gone above and beyond to deliver.”
Down explained that the production needed to “step up” in line with YUNGBLUD’s ascent. “The first time I saw YUNGBLUD, I saw someone bringing back the spirit of ’90s rock ’n’ roll. Since joining the camp 18 months ago, it’s been a privilege to be part of the journey and help make his vision a reality.”
YUNGBLUD’s shows commit to keeping ticket prices affordable. “That means getting creative; our suppliers are happy to collaborate on delivering something impactful within the budget,” Down said.
TPi Award-winning designer Sam Tozer of Vision Factory worked alongside Set Designer Flora Harvey and James Lockey at Motion Department – Vision Factory’s new content division – to deliver the visual identity for the tour. Newly formed company, Once Held, managed the archival side of the production, centralising recorded material for repurposing across social platforms. “Everything was ingested into an online portal after each show,” Down explained. “Using cloud technology, three line cuts from the cameras were automatically transcoded into the cloud, allowing the socials team immediate access to edit content. It’s proven invaluable, especially when touring across different continents.”
TPi Award-winning Production Manager Jake Mazzuca of Only Helix kept the show moving on the road, supported by Production Coordinator, Sam Brown and Tour Manager, Elliot Taylor. “This is the first tour where it’s felt like we’re playing the rooms we should be playing. The core crew has been around for a while, so it’s been about building on that with keen and talented people who want to grow with the artist,” Mazzuca informed TPi backstage in Leeds.
“We’ve worked hard to bring everyone together and maintain a positive atmosphere despite the long hours,” Production Coordinator, Sam Brown added, crediting her background in cognitive psychology with helping her foster that environment. “Being honest, sincere and empathetic with the crew, and checking in during both the highs and lows, makes all the difference. This is also still a very male-dominated industry. Having a woman in the production office gives the women on the team someone they can confide in, while also bringing a different perspective and approach for everyone.”
For Tour Manager, Elliot Taylor, joining the camp felt like a natural fit. The tour brought together a close-knit group with shared roots in the South Yorkshire music scene. In addition to supporting the artist, audience welfare has become one of the most important considerations of his scope.
“We’re no longer selling tickets exclusively to younger audiences,” he explained. “We now have a multigenerational fanbase with different needs and expectations. That’s why robust showstop procedures and clear communication are important. We work with venue security teams, and security staff regularly check in with fans before the show. Building that connection helps create a safer, smoother experience for everyone.”
To ensure clear communication on site, Multicast Audio supplied a Riedel Communications Bolero system, implemented by Communications Engineer, Victoria Hofflin. CSE Crosscom supplied a further 72 Motorola Solutions DP4601e handheld radios, remote speaker microphones and Peltor headsets housed in rolling touring cases. “The team are well organised and collaborative, which makes it easy to coordinate channel layouts and ensure the radios are set up and ready well in advance,” CSE Crosscom’s Dan Howroyd commented. “It’s been a pleasure to be part of their touring journey.”
Read the story in TPi Magazine #294…
Words: Jacob Waite
Photos: Tom Pallant and TPi
www.yungbludofficial.com
www.onlyhelix.com
www.adlib.co.uk
www.csecrosscom.co.uk
www.efm.global
www.kbevent.com
www.multicastaudio.com
www.musicfirstbybfpgroup.com
www.optolive.com
www.oxevents.co.uk
www.popcorncatering.com
www.productionpark.co.uk
www.setstage.co.uk
www.solotech.com
www.stagemiracles.co.uk
www.strictlyfx.com
www.taittowers.com
www.vision-factory.co.uk
www.zeppelinnightliners.com
