Bewitching. Ethereal. Enchanting. Few tours in recent memory have embodied these qualities quite like Florence + The Machine’s Everybody Scream Tour. Each night, the artist leaves it all out there – emotionally, through a deeply introspective record, and physically, as she paces the stage barefoot, charging up and down the thrust before casting herself among the crowd. Surrounding her, a dance troupe known as the Witch Choir twist and contort, shaping their bodies and expressions into arresting, otherworldly forms. For the production team, the brief is anything but straightforward: to create a performance environment that underpins and amplifies this narrative, forges a connection between audience and art, and navigates the logistical, technical and financial realities of touring.
Thankfully, Production Manager Wob Roberts orchestrated the tour, drawing on the expertise of Britannia Row Productions (audio), Neg Earth Lights (lighting), Strictly FX (special effects), Solotech (video), Vis-A-Vis (cameras), All Access Staging & Productions (stage mechanisms), The Next Stage (staging), Tysers and Acre Jean (drapes), EPS (barriers), Sarah’s Kitchen (catering), Nicely Done (furniture), CSE Crosscom (radios), KB Event (trucking), Phoenix Bussing (crew travel), LH2 Studios (production rehearsals), Silent Partners Studio (video content), Silent House Productions (show design), and Equinox Travel (travel agents), Skytime Jets (charter flights), Goldstar Chauffeur (ground transport), among others. “It’s a complex production that requires collaboration,” Roberts informed TPi from backstage at Liverpool’s M&S Bank Arena.
A hive of activity and vibes, Tour Director, Lucy Graubart, Tour Manager, Emily Holt and Production Coordinator, Sophie Kemp, among others, supported Roberts in the production office. “They are invaluable,” Roberts said. “Very few production managers can operate effectively without a supportive team.”
Kemp played a pivotal role in the tour’s administration and logistics. “With Wob focussed on the technical side, I support everything else alongside the production office, HODs and stage managers,” she explained, citing responsibilities from crew travel and accommodation for more than 90 personnel to immigration and advancing.
Prioritising wellbeing, Kemp also ensured the crew were rested and supported on the road. “When the drapes fell on opening night and everybody screamed, it made all the long hours worthwhile,” she enthused.
“It’s been incredible to see the process come to life, from rehearsals through to the first sold-out night in Belfast,” said Tour Manager Emily Holt, who was responsible for booking, managing and overseeing all schedules and logistics for the artist, entourage, band and dancers. Her remit covered travel, itineraries, guest lists and all backstage logistics. “We run a tight schedule. We must account for everything from vocal and physical warm-ups to glam and general welfare. It’s essential that we build in time for individual needs; while still ensuring there’s space to switch off.”
As with most modern tours, routing, which is often determined before the show’s creative is finalised, means the team must work with the hand they are dealt. “I came in too late to make any changes, but what we can do is look after the crew and treat them well,” Roberts stated.
When scheduling prevents the team from reaching the next venue in time, an advance rigging team is dispatched to plot and install 64 of the 130 points. The remainder is completed once the main crew arrives. “It’s a substantial build but we’re fortunate to have an exceptional team: Stage Managers, Felix Baird and Matty Roberts, with Yose Lawson as Head Rigger, supported by Tom Armstrong and Kieran ‘Beano’ Bean,” Roberts explained.
Tour Director, Lucy Graubart oversaw and streamlined budgeting, show settlements and HR, acting as the main point of contact for financial matters and any wider issues beyond day-to-day logistics.
“A show of this size is designed creatively and then must be realised in production while maintaining that vision,” she explained. “That takes teamwork and flexibility; and sometimes plans change and elements don’t quite function as originally intended, so you must implement new systems to make it work. That can incur additional costs, so it’s about being flexible and holding sufficient contingency.”
Nicely Done supplied sofas, lighting, foliage, pipe and drape, dressing both the backstage areas and front of stage, with stock sourced from its warehouse in Newark. “It’s been a cool experience,” said former bricklayer Lewis Williams of Nicely Done. “Time is our greatest challenge. I was nervous as it was my first tour, but it was seamless and the team made me feel welcome straight away.”
Crew welfare is paramount, as Graubart explained: “Even for seasoned touring personnel, life on the road can feel isolating, so it’s vital that people know they’re looked after and supported. Our door is open if anyone needs to talk. We’ve organised crew activities on a couple of days off during the tour. Sarah’s Kitchen has been feeding us incredibly well.”
Reflecting on the tour, Graubart said: “It’s a fantastic team of people. To work with so many women as well, even in this industry today, is brilliant. Everyone has come together to make this project really something special.”
Read the full story below…
Words: Jacob Waite
Photos: Madison Julie Creative, Lillie Eiger, Silent Partners Studio, Neg Earth Lights, Clair Global and TPi
