The Smashing Pumpkins

US Arena Tour 2018 – “Shiny and Oh So Bright”
UK+Euro Arena Tour 2018 – “Shiny and Oh So Bright”
Fall Theater Tour 2018
Jimmy Kimmel Live Fall 2018
UK+Euro Summer 2019
US Shed Tour Summer 2019

PRESS:

The Smashing Pumpkins ‘Shiny and Oh So Bright’ Tour

As lighting director, or more aptly titled “show director,” he notes, Luke Stratton is in charge of driving all of the lighting, video, and motion control elements for the show. This includes executing a mix cue-to-cue and timecoded song sequences, adding lighting over the top, sending automation movement position and cue data to their Tait control console, and controlling the Mbox media servers. “Also, as on tour programmers, Joe and I would add and tweak cues and programming on a daily basis. Often we would try out new color schemes for songs or add additional cues or executors, so we’re always stepping this up. For example, about halfway through the tour, we switched the color palette for ‘Porcelina of the Vast Oceans’ from warm white to a mix of royal blue and CTB, and we added a subtle wave dimmer and tilt effect to the JCD1s to create an ocean effect over the crowd. It was a relatively simple change, but a very effective one.”

There was a large pixel element to the show, and they pushed them to the max, notes Stratton. The GLP X4 Bar 10, GLP X4 Bar 20, and Claypaky B-Eye K20s were all in full RGBW pixel mode, and they utilized a variety of different elements to get the most out of them, including detailed effects programmed on the grandMA2 as well as Art-Net mapped video pixel mapping via the Mbox media server. “Claypaky Scenius were our key light work horses, and two vertical towers of Claypaky Sharpys as well as six motor controlled trusses filled with Claypaky Mythos were bright enough to create stunning graphic looks with minimal haze. In Europe we subbed out the B-Eyes and Mythos for Robe Spiiders and PRG Icon Edges, respectively, and having gotten my hands on both fixtures, I must say I can’t wait to use them again.”

As mentioned, only six songs in the set list were fully timecoded, as most of the catalog, especially the more well-known rock songs like “Cherub Rock,” “Today,” “Bullet with Butterfly Wings” and “Zero” do not have backing tracks. “There are many video and motion elements throughout the show, and all of these are fired by the MA. On songs without timecode, the basic song structure is cue-to-cue, and then much of the eye candy — hits, strobes, bumps, etc. — are punted over top.”

Stratton gives a shout-out to the lighting crew chief Jason Dixon, saying that without him, the tour just wouldn’t have been the same. “Not only was Jason a fantastic leader for our daily build and load out, but during the show he would man the second lighting console, resetting troublesome fixtures, controlling key light and video logos between songs, and calling all of our followspot cues. While these tasks often fall in the lap of the director, with so many elements in play, Jason really helped me pull off an awesome show that wouldn’t have been nearly manageable had he not stepped up to the plate. I also wanted to thank Doug Hallman, the video tech from Control Freak Systems. He’s really the brain guy on tour. I’ve never met anyone more hardworking or knowledgeable about equipment, both in and out of his ‘department.’ If there was ever a technical issue I couldn’t sort out, Doug was the guy for the job.”

ClientThe Smashing PumpkinsServicesProgrammer, Lighting DirectorYear2018 - PresentLinkwww.smashingpumpkins.com