CONCERTS & TOURING
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The eclectic band had an ambitious vision for their sci-fi-themed visuals
I ndie rock band Glass Animals first burst onto the scene back in 2012 with the release of their debut EP Leaflings . The band, comprised of childhood friends, was formed by lead singer, writer and producer Dave Bayley after creating songs on his computer while suffering from insomnia. The band’s unusual name was chosen by the simple random selection of words from a dictionary. With steady and promising growth through their first two albums Zaba and How to Be a Human Being , it was hit song Heatwaves from their third album Dreamland that skyrocketed the band’s success – reaching number one on the Billboard Hot 100 in March 2022. As with many breakthrough artists of recent years, the song’s popularity was catalysed by a lengthy period of being viral on TikTok. With an eclectic blend of electronic, psychedelic, indie, anthem and rock, this cocktail of genres that are peppered throughout their musical portfolio offers the band plenty of room for experimentation when it comes to performing songs live. In 2024, Tour of Earth saw the group hit the road for 40 shows across the UK, Europe and North America. From real-time content synchronisation to Pepper’s ghost holograms and live camera feeds – with a touch of musical improvisation – the goal was to take fans on a surreal journey through space. “It was an interesting project because they’re still a fairly independent band,” comments co-founder of Cassius
PLANETARY PIXELS Tour of Earth required a complex integration of creative and technical elements, where video, set and lighting teams all worked as one. It featured a 23-screen LED set-up with a large upstage LED wall (18x9.6m) and smaller screens embedded within the set, including 16 mini-CRT-style monitors. Real-time synchronisation across 23 video surfaces – the upstage LED wall, hologram, mini screens, 360° ticker tape, computer monitors and ceiling – required precise coordination. “The goal wasn’t just to capture the show, but to make the Roe LED wall feel like a part of the performance,” Siegel explains. 80six supplied premium LED technology, which included Roe Visual MC7 and CB5 screens paired with Brompton Technology LED processing. LED Creative was also brought in to provide scenic LED elements. “At the heart of it was a large header piece with over 70 moving heads,” describes Tim Rees, senior project manager at LED Creative. “Each one was in a vacuum-formed pod that had LED around the top to create a halo effect, while the header also had large, slatted front panels with LEDs and a lightbox that ran the perimeter. “This design was mirrored on the stage as well. In addition to these two main elements were lots of scenic details, like the consoles which were designed to look like the inside of a spaceship. As well as lighting fixtures and screens they had lots of subtle up lights, down lights
Creative, Chris Swain, more commonly known as Squib. “But they do big shows in America, and it surprises people in the UK to hear that they’re able to shift 15,000 tickets a night in the US while still having to be mindful of budget.” Inspired by seventies and eighties science fiction, the ambitious production – brought to life by Cassius Creative and Fray Studio – marked 80six’s debut collaboration with the Brit-nominated band. “Bringing Glass Animals’ vision to life at The O2 Arena wasn’t just about the tech – it was about creativity, adaptability and ensuring we had the right video gear to get it done,” introduces Samuel Siegel, racks engineer at 80six. The brief featured complex visual demands, which in turn required a highly adaptable video solution that could scale across venues – from smaller spaces to arenas – without compromising quality. Bringing Glass Animals’ vision to life wasn’t just about the tech – it was about creativity, adaptability and ensuring we had the right video gear”
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