Hurst and Byars got together when Hurst was planning the design, knowing that he was already committed to work with Kasabian at the time of the tour. He articulated his ideas to Byars – an LD in his own right – and he already had PixelLines in mind as the primary effects lightsource. They went to a PixelLine demo together – and with Byars known as a Pixel and PixelDrive aficionado, Hurst was happy to also let Byars help develop this area of the show.

From the first time the Pixels jump into the set - shimmering ephemerally in the 3^rd number of the set - they get a massive audience reaction. The show builds from there, with Byars illustrating the massive potential and scope for a PixelLine rig to look completely different throughout the whole set.

He explains: “PixelDrive is absolutely instrumental in this show, they are effectively controlling the PixelLines with video clips and other visual images. Apart from the massive amount of programming time this saves, it produces a limitless range of dramatic effects very quickly, which can also be tweaked and changed quickly if needed.”

Byars is running the PixelDrive as a mix of graphics layers and chases, squeezing the max out of the system’s internal chases, plus live image and source manipulation on top of that. For some songs he runs the fixtures as one graphics layer, tweaking the speed, image rotation and other effects on-the-fly as the music evolves and builds. Heavily dance orientated, it lends itself ideally to this live ‘touchy-feely’ modus operandi.

For specific songs, he uses up to 8 images, chasing between them. For others, he utilises PixelDrive’s internal sequences, which become fascinating patterns and effects in themselves as a spin-off of the sluggishness of the DMX signal - creating a situation where different steps of the different chases start becoming alternative sequences.

Video content is projected above the PixelLine walls for most songs. This element is operated by Simon Schofield, with an array of original material produced by Fred Deakin – one half of Lemon Jelly - who also runs a graphic design company, Airside.

Byars and Schofield have worked closely since the tour started to make the video and lighting effects, segue into one liquid visual equation. With no production rehearsals, this was primarily improvised at the early shows once Byars could see how the video show was running. It’s worked surprisingly well. “Achieving this with PixelDrive - finding Pixel effects that work and fit with the video content - has been extremely quick and intuitive and a relatively painless process,” says Byars. The other creative spin-off of working under this pressure has meant being decisive and sticking with many gut instincts about how the visual content looks and works.

The majority of the time, Byars runs the intensity on the Pixels at between 3 and 15 per cent. The few strategic moments when it’s cranked up to full receive an overwhelming reaction from the audience. There’s been no shortage of positive feedback from the audience, fans and friends about the lighting.

Other lighting equipment includes 10 High End Studio Spots, 24 PC Beams and 4 strobes, all floor mounted, and run off an Avolites Diamond 4 console. Byars is working with lighting tech Ray Wheelan on the tour, and all lighting gear is supplied by PRG. The video equipment is being supplied by PSL and audio is sourced locally at each show, and mixed by Lemon Jelly’s FOH engineer, Kevin Pruce.