Queen were renowned for having monstrous lighting rigs in the 1980s, but that was before moving light technology really took off, so Halpin was in the position of being able to make the show look massive, with fewer fixtures and the application of some intelligent and lateral programming. “It’s probably the most intensely cue-heavy show I’ve ever done” says Halpin, “Each Queen song is like plotting a mini opera but the end result is worth every minute”

He also approached Queen’s lighting with an organic outlook, primarily because of the extremities of the show’s musical dynamics. Halpin has no shortage of visual tricks up his sleeve. His show veers from very simple, intimate stage looks for the acoustic numbers to massive ‘wall of light’ mayhem for the pumping power rock anthems, with no shortage of the traditional imaginative drama and pomp associated with Queen.

The set is simple but high impact. Its centrepiece is four specially fabricated upstage searchlights, their chassis scenically modelled on classic World War II units, each containing Syncrolite 3K units, complete with dousers and colour scrollers. They were constructed by UK-based Steel Monkey. They are manually operated and apart from moving on their own axis, are also mounted on a track and dolly system enabling them to move sideways on and off stage. They follow a series of choreographed moves throughout the show. Halpin says” Working with Mark Fisher is always a pleasure. He is a true professional and he captures the essence of Queen’s grandeur and showmanship with just the right theme and style for this tour.”

There’s five 60 ft moving trusses over-stage, split in the middle to make a ‘roof’ of lights. Halpin wanted an architectural structure to the rig that could change shape and redefine the nature of the stage environment as the set progressed – and this was how he achieved it.

The workhorse fixtures on each of these 10 trusses are 120 Martin MAC 2Ks. There’s a 60 ft rear truss that also moves and a static 60 ft front truss. The moving trusses are all made up from James Thomas ‘Broadway’ truss, except that the lamps are not swung from the travel position. The ‘wings’ are effectively left in the down position enabling Halpin to turn the lights onto them, tone them and let them become a feature.

Having all the lighting and cabling travelling and ready in the trusses has made a huge difference in terms of the daily rigging time. It means the show can be back-to-backed with the crew still having a reasonable schedule for the working day.

Halpin is using 143 MAC 2K washes, dotted all over the stage and set, at the sides on flown bars and on the floor. They are used as the 21^st century equivalent of PAR cans! There’s also 6 side-drop trusses, introduced to give some dynamic side lighting and perspective. “Much of this show is about beams, timing and power” explains Halpin.

Bandit has also supplied 24 Coemar I-Flex spot moving lights for spot effects, chosen because they produce both spot and a wash effects, and because their bulbs can be tweaked between 1200 W and 2K. They were one of the few spot fixtures available that can match the intensity of the MAC 2K washes says Halpin.

Thirteen 3K Syncroilites - the four in the searchlights plus five on the back truss and four on the side trusses– are a favourite Halpin lighting tool. Here they’re used for specific epic moments in the show, their razor-sharp beams elevating the likes of Rodgers and Queen originals Brian May and Roger Taylor to a shimmering Godlike onstage status.

The antique elements of the lighting department are further buoyed with 21 bars of ACLs, ten 8-lite Molefeys and fifty-four 4-lite Moles, scattered across all the trusses...

A Catalyst digital Media server, operated via the lighting desk proved a major solution in the video department. It’s used sparingly in just 3 songs - “Last Horizon, “Days of Our Lives” and the Queen classic, “Bohemian Rhapsody”, which includes montage footage of Freddie Mercury performing live. The last clip is MIDI triggered on cue from the Whole Hog and linked to the FOH sound desk, engineered by ‘Trip’ Khalef. Video equipment also includes a 20 x 30 soft screen and two Barco R18 projectors and is supplied by XL Video and crew chiefed by Andy Joyes.

Halpin is running the show himself from two WholeHog 2s MIDI’d together and being over-driven to deal with the 10 lines of DMX and approximately five thousand channels!

Bandit are also supplying a 5ft mirror ball, revealed, as if by magic for Brian’s guitar solo, and some half mirror balls at the back of the stage. There’s 8 follow spots – four onstage (Lycian 1200 Stark lights) and four Lycian 2K Xenons FOH, all supplied by Bandit.

The lighting rig alone weighs 23.5 tonnes. Bandit have supplied all the lighting trussing which is hung underneath an overall mother grid, with motors and an IBEX control system supplied by Star Rigging. The show is rigged by Phil Broad and Steve Armstrong.

Halpin is working alongside a Bandit crew of 8. Crew chief is Nick Barton, who also calls the follow spots; John Wood and Jason Hyne are looking after the two dimmer cities – stage left and right; Ed Jackson is the moving light tech; Gary Reece tech’s the follow spots; Andy Beller is the moving motor tech and the team is completed by Andy Cooper and Rob Starksfield. “My thanks to Nick Barton and all the great crew provided by Bandit, they truly have done a stunning Job. Mark Powell must get special mention for all the attention to detail and the help and assistance with all the usual issues associated with putting together a big show such as this. The equipment is in top condition and the support staff very helpful” states Halpin

Audio is being supplied by Clair Brothers/Audio Rent. Monitor engineer is Steve May and production manager is Des Jabir assisted by Jonie Conarty.