MGK’s live performances show a distinct variety. From high-octane rap tracks to fist-pumping punk anthems, the singer’s enjoyment on stage is evident. What is apparent is his tendency to ‘do what is fun’ bleeds into the production design.
How many other shows would think of building a ginormous head and arm inspired by the Statue of Liberty, resplendent with a giant Zippo lighter that ascends to light a cigarette in the statue’s hand? Behind these moments are a hardworking team ensuring that each mark is hit on time and – more importantly – safety is ensured.
The production, headed up by Tour Manager Lukas Schmitt, Production Manager Mick Pearce, and Technical Director Dan Arbelaez, began in the US. In Europe, a refreshed roster of local specialists in BPM SFX (special effects), Upset (staging and lifts) and Fuse Technical Group (lighting and video), and UK Rigging (rigging and automation), among others.
ELEVATING THE PRODUCTION
UK Rigging’s Mark Horsley, Head of Automation and Operator, and his team oversaw all overhead automation. This included two large lighting pods that doubled up as performance platforms, the all-important automated Zippo, as well as the opening ‘gag’, which saw MGK’s guitar descend from the heavens.
Running on a MOVEKET Expert T-III Console, the team deployed four VMK-500 variable-speed hoists (running at 24mpm) on each performance platform. There were also two VMK-500s used for the Zippo, with a VMC-250 (running at 40mpm) for the guitar which doubled up as a performer and crew access method to the pods in case of an emergency.
“Automation is a relatively similar technology to rigging, with the utilisation of motors, and it’s our belief that a big part of automation is dealing with load management and understanding the basic engineering principles of moving things,” Horseley commented. “I think some people take for granted how much weight shifts during certain movements.”
He went on to explain what it was about the MOVEKET system that had attracted the company to the solution. “We really liked its versatility. Not to mention its safety system is the highest quality, with a SIL 3 (Safety Integrity Level 3) rating.”
Horsley highlighted that MOVEKET systems can handle six major use cases in automation, ranging from moving a truss to flying artists above an audience. “The support from Liftket UK and MOVEKET is second to none. We could have a problem and, in 20 minutes, have a solution,” he enthused.
The other benefit of the MOVEKET system was the speed at which Horsley and the team could get the show programmed. “We had four days for rehearsals when they came over from the States. On the second day, we sat down with Dan, the Technical Director, to go through all the positions and cues. There are some complex moves, but we had everything set out in over an hour.”
This speed, according to Horsley, was thanks to the workflow. “There is a 3D object calculator on the MOVEKET system compared to others, where you would have a spreadsheet or must do complex maths to put things in position – it’s laborious. With this, we set everything up in 3D so we can say this is how it will look on stage.”
The result is a set-up akin to a pre-vis, making collaboration with the wider team far simpler. All the moves were triggered by timecode sent via the playback department. “People used to be very against using timecode for automation, as they didn’t want to give ultimate control away, and there was no easy way to integrate a safe measure like a ‘deadman’ trigger,” stated Horsley. “In MOVEKET, we can incorporate any additional measure we want, such as pressure pads, to signal to the system that it is ready to go before the cue is triggered. The beauty is we can stop that cue and reactivate it without having to reset the system.”
He noted that it was possible to make alterations to the moves even during the show, if necessary. He elaborated: “If the LD wanted an extra metre for a move, I could do that while the show is running. It gives us real flexibility to make decisions in the moment.”
The MOVEKET system provided PSN data to inform other departments. “On this tour, the lighting department is using the PSN data for the Follow-Me tracking system, along with some effects on the video screen,” stated Horsley. “It’s all surprisingly well integrated for a show that was set up with departments being 1,000 miles apart.”
FUSING IT TOGETHER
Going deeper into the utilisation of the PSN information was Jessica ‘Clover’ Rushing, the tour lead on the Follow-Me system. Provided by lighting and video supplier Fuse Technical Group, Clover shared her thoughts on the tracking system: “Follow-Me is such a versatile solution, but it was great for this tour specifically due to the amount of automation we were doing,” she began. “Follow-Me has a great PSN system, as it is able to track the information the automation team is sending, meaning that I can track the performers as and when they are going up and down on the platforms.”
Three operators – one focussed on MGK and two on the dancers or musicians, depending on the song, controlled the pan and tilt of the lights. PSN data came into play as performers entered the automated platforms. “I can create what is called a ‘slack line’, which ensures the spot never falls off the platform, then my operators are just moving left and right to make sure the spot stays on the platform,” explained Clover.
Commenting on Fuse’s involvement with the show were Mike Drew and Quinn Adams. “A key element of the lighting package was the purpose-built risers that were seamlessly integrated with the Fuse pre-rig truss pods, providing automated platforms for MGK to perform on and move across during the show,” stated Drew.
The company supplied Robe iFORTE LTXs; TMB Solaris Flare Q+; GLP JDC1 Strobes; CHAUVET Professional COLORado PXL Bar 16s as well as ACME Lighting Lyra, Supernova, and Tornado lighting fixtures. “Follow-Me tracking was essential, allowing any rig fixture to function as a followspot, highlighting performers from anywhere on stage,” added Drew. “The PSN data ensured precise automation, keeping cues seamless and reducing the need for manual operation. The result was a show where lighting moved as dynamically as the performance itself, with every moment perfectly in focus.”
For video, Fuse provided an upstage wall consisting of ROE Visual V8T LED panels, with two flanking IMAGs comprising ROE CB5 MKII LED panels. All screens were driven by Brompton Technology SX40 video processors, with the director utilising a Ross Carbonite 2 M/E video switcher to cut cameras. All live footage was captured by three Panasonic AK-UC4000 camera chains and three Panasonic AW-UE150 PTZ cameras on-stage.
“MGK brought high energy to every performance on the Lost Americana Tour,” commented Adams. “Production, led by Daniel Arbelaez and Mick Pearce, provided leadership, direction, and execution. Design, led by Tino Schaedler and TJ Hoover, brought the artist’s creative vision to life through immersive, striking visuals. Fuse Technical Group is proud and thankful to support this artist and team in bringing the show to life.”
FIRE AND STEEL
Upset provided staging elements, along with two automated lifts built into the stage. Representing Upset on site was Paul ‘Choda’ Martin and Rob Taylor. “All the scenic elements – such as the Statue of Liberty – came from the American leg, but then Upset were brought in to provide the UK and European main stage and the two lifts.”
The project presented an opportunity for Upset to deploy its brand-new electric ribbon lift and scissor lift. “Having electric lifts rather than hydraulic versions has made life a lot easier,” commented Choda. “Everything has been designed very well, and with the kabuki, we easily fit into two trucks. Upset’s stage, with its snap braces, means that it is very quick to take down each and every night.”
Greg Smith, Founder of Upset, discussed some of the technical challenges in delivering this project. “The biggest challenge was having to replicate the stage from the previous US leg of the tour exactly,” he commented. “This was imperative in order to ensure their bespoke props from the US leg, a gigantic Statue of Liberty head and arm, would fit seamlessly into the UK and European leg of the tour.”
The whole top section of the set was raked, meaning Upset had to create custom leg frames in-house to ensure this section of the stage fitted together effortlessly and safely. “The process began with the frames being drawn virtually by one of our CAD technicians, before being passed on to our fabrication team,” explained Smith. “There are a total of 38 custom frames which had to be created from scratch within a three-week period. It was a challenging but rewarding operation, as the hard work in the warehouse made the build easier for our on-site set carpenters under time pressure.”
For Upset’s automation offering, the company deployed a star lift and scissor lift built into the set. The star lift, which brought MGK through the mouth of Lady Liberty at the top of the show, was, like the scissor lift at the top of the catwalk, able to rise four metres into the air. “Our lifts were perfect for this tour, as they are fully automated and programmable. As soon as our team input the desired settings into the software, they worked to the second at the same desired speed for every show,” commented Smith.
BPM SFX oversaw the extensive SFX delivery for the show. From Showven Sparkulars to several MagicFX flame units, there was certainly enough for SFX Crew Chief James Manning and his team of two – Nathan Roddy and Tom Lewis – to be getting on with.
Several MagicFX products were deployed throughout the production, including two Flameblazer heads at the top of the stage, followed by further Flameblazer heads down the side of the stage.
“Using the Flameblazer system with external fluid tanks and pumps makes our life easier on the road,” stated Manning. The show was operated via an MA Lighting grandMA3 Lighting desk, with all pyrotechnics fired by a Galaxis controller. The production featured a custom pyro guitar, which the singer played and held during the set.
“It’s a special bit of kit, and we designed and manufactured a mounting system for it,” commented Manning. “They are now taking this out with them for the rest of the tour – he does this gag quite a lot, so we designed and built a tourable version and they now never have to change it.”
To close, the SFX Crew Chief reflected on one of his favourite moments in the show – the gigantic Zippo lighter. “We have installed a Galaxis G-Flame into the scenic lighter,” explained Manning. “As it is an automated set piece, we worked closely with the UK Rigging team on the gag.”
To complete the effect, BPM SFX pumped haze up the arm to then come out of the cigarette after it was ‘lit’. Following the success of the European leg, MGK and the team headed to Australia and New Zealand, before returning back to the States with The Lost Americana Tour.
Words: Stew Hume
Photos: TPi and Jake M Christian
