Robbie Williams prepared for the launch of his definitive new album, "Intensive Care" on Sunday with a special one off gig at Berlin’s 8,000 capacity Velodrome, complete with production rigging by Summit Steel. The live show was beamed to over 20,000 fans across Europe via high definition cinecast to selected cinemas. The show was also recorded for a TV show to be screened the night preceding the album launch.

Summit serviced the last Robbie Williams tour in 2003 with rigging and automation, and has also worked with the artist before that date. The Summit team in Berlin was led by Jon Bray and 5 riggers from the UK plus up to 9 local riggers. The get in commenced on the Monday 6 days ahead of the Sunday night show.

The show involved a 50 tonne total load - the maximum allowable load in the venue - comprising various elements of production lighting, sound and set. The hoist count was 180, and three trucks were needed just to transport the rigging to site. he show’s lighting was designed by Al Gurdon. Much of Summit’s work involved various aspects of this department. In addition to an extensive rig over the main stage area, there was a large circular rig over the central ‘B’ stage in the auditorium.

All the show’s hoists and lifting gear was supplied by Summit plus most of the trussing, with main lighting contractors PRG supplying the bulk of their lighting truss-work. Sound was supplied by Britannia Row. Summit worked closely with lighting, sound, set designers Studio Fish (Ray Winkler) and constructors Steel Monkey from the outset to produce an overall show rigging plot well in advance that catered for the needs of all departments.

They then liaised directly with the promoter and venue to get these production plans approved by the building’s engineers. The Velodrome is a circular building with a fixed cycle track. It was a challenging environment in which to stage a live show, but ideal for the DVD shoot - the major reason it was selected for the occasion.

One of the most exacting elements was the rigging of the show’s ‘backdrop’, which comprised an elegant upstage arc made up of 15 curved large metal panels known as ‘tusks’. An imposing 11 metres high and 3 metres wide, the tusks alone weighed over 10 tonnes. The tusks were fitted with nearly 5000 6 Watt RGB LED units, supplied directly from the manufacturers in Canada. These acted as a low res video screen.

Correct positioning of the ‘tusks’ was vital, with the 15 individual pieces having to form a smooth curve and hang at the correct angle. Summit installed a 28 point mother grid specifically to hang these in the exact positions. A bridled pickup with adjustable legs was used to allow the hanging angle to be trimmed. Summit’s custom designed hoists controllers came into their own for lifting two separate truss grids each with 30 points. The combination of linked power, emergency stop circuits and ‘load-lights’ to confirm electrical connections helped to make this sort of lifting operation as safe as possible.

"The aim is to get it right first time by thorough advanced planning" explains Jon Bray. "With a show on this scale you need to get it right first time. Production Manager Wob Roberts has built an extremely professional team around him that really helped it go smoothly"