Bandit Lites is supplying lighting production and crew to Production North for the first ever X-Factor tour. It’s also the first time that Bandit has worked with lighting director and programmer Arturo Ollandini – who was recommended by Bandit’s business development & project manager Lester Cobrin. Ollandini is very impressed with the results, "The kit is all in great condition and some of it was new for this tour" he says, adding that it was great to be working with Cobrin again. 

Ollandini collaborated closely with lighting designer Peter Barnes (the UK’s guru of pop lighting), who also designed the set. The set mimics Simon Cowell’s hugely successful talent seeking TV series – the first of which spawned a host of new and undiscovered stars – most a break from the saccharine pop mould - including winner Steve Brookstein.

The overhead rig is dominated by a large, gently raked, ‘X’ shaped truss skeleton, constructed from Tomcat 12" trussing, and clad in red and white gauze fabric supplied by Hangman – who supplied all the soft goods. This is mirrored on the floor by a scenic X with a similar rake angle on the opposite axis. Upstage and to the sides are two chevron shaped set pieces, which neatly frame the side-stage, continuing the lines of the stage’s ‘X’ geometry and highlighted with Pulsar ChromaBanks.

Below the flown ‘X’ is a diamond shaped LED video screen – supplied by XL Video, which is also flanked by ChromaBanks attached to scenic surround panels. The screen is primarily used for IMAG during the show, from a live camera mix directed by Ed Moore. Rigged onto the X and rear truss are Martin MAC 2Ks and MAC 600s, and these are the main stage and set workhorse fixtures. The stage floor features more MAC 2Ks and 600s. The set ‘X’ on the floor features over 100 in-built Raylites and the downstage area of the floor is made from Perspex panels and up-lit with Moles underneath. To maintain the sight lines of the stage and its various X’s, front light on the performers is primarily provided from four Lycian 2K follow spots.

All lighting – set and stage – is controlled by Ollandini – running a WholeHog II console. "Pop is the order of the day" states Ollandini, adding that one of the challenges of their short production rehearsal period was to create a show that immediately had a high visual impact …. and stayed that way from song one. This is different and more pressurised than a conventional show style which usually sees a gradual build up throughout the set via different tempos and moods to a high impact finale.

The show - produced by Tim Byrne and Richard Jones – was divided into two halves. It features solo performances by the nine X-Factor finalists in reverse order, leading up to a mini set by Steve before the grand finale starring all 9 acts. "Each performance needed it’s own visual style and looks" says Ollandini "And that was a lot of intense idea bouncing and programming to achieve in just 3 days of production rehearsals – and only one full run through at Docklands". The fast pace and changing nature of the show itself and the different personalities of the performers aided the process. From an expediently sized lighting rig for an arena show, Ollandini has created a colourful hi-octane two hours of entertainment, fuelled with an abundance of optical surprises for the final stages.

He is working alongside his fabulous crew of Steve Rusling, Jim Allison and Jonathan Dawson-Butterworth. Lester Cobrin comments "Everything runs like clockwork, it’s completely seamless and working with Production North, Pete & Arturo once again is a real pleasure". The tour is production managed by Sarah Hollis for Production North, with audio supplied by Wigwam.