Graham Rolak was also running his own media server containing psychedelia-drenched content produced by his wife Jessica. This content fed four vertical screens on the ground while a flown, horizontal screen was supplied by Transition Video, sub-hired by Entec to complete the visual production. Video director Zephyn Kercher, the son of production manager Eddie Kercher, sent live camera shots back to Graham’s own Resolume server at FOH.
“When you work with a band that relies heavily on video, you don’t want to get too busy with the lights,” Graham noted, “so I prefer to go with still, photogenic looks with slow transitions that don’t divert attention when there is something important on the screens.”
According to Lee, some of the venues turned out to be quite an experience for the crew. “One show in Vienna was in a very unusual location,” he said. “It was in the courtyard of a dilapidated industrial space that the organisers had turned into an outdoor live performance stage. Although this was over a fairly small area, it was pretty funky and the impact was huge.
“The Mehr Theatre in Hamburg was more like a small arena in terms of its size [3,500+ capacity] and the way it’s laid out, and then we had the two gigs at the O2 Academy Brixton which were amongst those for which we deployed the entire rig.”
“I’ve played Brixton a few times and having two days in which to really use the space was very rewarding,” commented Graham, “and it was great to have Lee’s support throughout Europe. He’s a top guy who knows his stuff.”
Incubus’ team also includes lighting crew chief Andy ‘Fig’ Figueroa who looked after the lighting design for the opening act, the enigmatic Ecca Vandal.
The European leg came to a close on September 11th with a euphoric performance at Dublin’s Bord Gais Energy Theatre, before the band resumed business in the United States.