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Our first two shows were Music Hall of Williamsburg, then Webster Hall,” says Eric Cathcart. “I brought in some zip strips, four Martin Mac 700s, and an MA Lighting grandMA. Third show was Coachella. All we brought in was a 7’ mirrorball. The first real leg was in the UK and Europe right after Coachella. The UK dates were full production with Adlib providing sound and lighting. The European dates were the floor fixtures and the row of two lights for the US truss. We carried a monitor rig for all of the dates.
The next leg back in the US was a floor package provided by Upstaging. This is where I made the switch from moles to LED battens.
In the beginning of the tour, the band bought six Chauvet Scorpion Storm FX lasers for each set of gear and used in most set-ups.
Our next leg was back to Europe for the festivals, says Cathcart. “This time I only carried a 4’ mirror ball, and a grandMA light. We headlined the Wireless Festival in Hyde Park London. This plot supplemented the house rig. This was provided by PRG.
We went back and forth and around the world a few times,” says Cathcart. “I used the US plot for our Australian run.
When we came back to the US for a headlining tour, we kicked it up and went back to full production. Bandit was the vendor this time.
Directly after the US tour, we co-headlined with Hot Chip in the UK,” says Cathcart. “We swapped nights as headliners, here is the combined plot. After that we did Big Day Out in Australia, where I just used the house rig with the addition of seven LED floor cans for our set. We followed Australia with South America which was all local production plus a package of seven LED pars from Bandit Lites.