Son of Spergy is not your typical arena production. When Daniel Caesar hits the stage in his slippers grasping a tambourine, backed by a gospel choir and a band, you expect a heavily choreographed and timecoded machine to begin whirring. However, musical arrangements and setlists come and go on this tour, keeping the artist and his audience engaged, and the band and engineers on their toes. ‘Organic’ is a phrase used frequently by the creatives, attuned with the singer-songwriter’s freeform approach. No two shows are the same – and that is just the way Daniel Caesar likes it, as TPi discovers at Manchester’s Co-op Live.
As documented in TPi #243, most of the core production team have spent years on the road with Daniel Caesar. “We are protective about the family element,” Production Manager, George Thoms said wistfully, explaining the reason why crew members stick around. “Touring is a human endurance test but there is no need to be rude or not have a laugh. The rest comes naturally…”
To give crew a break, the tour split its vendor labour on both sides of the Atlantic. In Europe, the production team enlisted the support of CSUK Buses (crew travel), PRG (atmospherics, lighting, rigging and video), and Triplex (audio), Fly By Nite (trucking), Mission Control (RF licensing), Blackout (drapes), Rock-it Cargo and Global Motion (freight), 1-2-1 Travel Connections (travel), among others. “Our suppliers provide a great service and support,” Thoms commented.
Yet long days awaited the production and stage management teams, often stretching from 6am to 2am the following morning.To lessen the burden on the wider team, production and stage management adopted a staggered approach to labour calls. “It saves money on local labour, and if you can afford to give crew an extra hour of sleep to ensure the safety of the team, we would go to the ends of the earth to do so,” Thoms said, having risen up the ranks from pushing flight cases to production management. “I understand how difficult the job is. I make sure to remind the crew daily how much they are appreciated, mostly with hugs and coffee.”
On a typical day, the riggers perform their ‘walk and chalk’ between 6am and 7am. Once the rigging is in the air, the lighting grid is implemented before video and the vast PA system. The stage is built at FOH before rolling into place. Departments build in synchronicity, collaborating harmoniously within a tight space and the time allocated.
“Collaboration is vital,” Stage Manager (Personnel), Casey Peterson explained, supported by Stage Manager, Andrew Crow (Production). “We all want to guarantee a great show. There is a lot of technology in proximity. We have had some great crews wherever we’ve gone. Our whole team treats everyone kindly. The carps work hard and are great team players,” Peterson said. “There are a few people experiencing their first tour in multiple continents, and they are exceeding expectations, which is exciting because plenty of us have had the opportunity to rise through the ranks in this camp.”
With an undefined setlist, no cue points on stage, or special effects, the show is uniquely “organic” with a simple overhead lighting rig and an ‘indie film’ approach to video. Thoms elaborated: “It allows him to perform whatever he wants, and that’s what he enjoys. The creative team of Creative Director Ellen Nielsen; Creative Director and Camera Operator, Alonzo Hellerbach work as one mind, with Alonzo on stage directing and operating the camera.”
Thoms was supported by Tour Manager and Monitor Engineer, Mike Rowland and Tour Coordinator, Matthew ‘Riggsy’ Riggs in the production office. “One thing I have learned: I would not do a tour of this scale again without a production coordinator!” he laughed. “Thankfully, I’m on tour with two of my best mates with an amazing artist where all the shows are sold out, so it does not get any better than that.”
Riggsy concurred: “It’s rewarding to see this camp grow through album cycles, tours getting bigger and travelling the world with my mates in conditions that keep getting better… As soon as the lights go out it reminds you why you do it. That privilege is not lost on us.”
With the small matter of marriage in between tour campaigns, Riggsy looked forward to touring South America. However, having seen a show at The O2, the LA-based, UK native said staging a production in the venue was a “full-circle moment”. He added: “The fact that my parents got to see the show, after putting up with me missing school to tour in vans and trailers for years, was a bonus and a proud family moment.”
Read the full story below in TPi Magazine #296…
Words: Jacob Waite
Photos: Cal Halliwell
