ON THE ROAD: Snoop Dogg
Opposite: Snoop Dogg took to the stage supported by his trio of dancers, DJ and backing vocalists. Below: Audiolease supplied L-Acoustics equipment to make up the PA system; purely L-Acoustics monitor wedges were used on-stage; The Yamaha PM5D was chosen as a monitor console to keep it loud on stage - just how Snoop Dogg likes it.
artist engineers and Sunderland’s technical team took place via phone and email leading up to the performance. Despite it being a reasonably smooth-
running production to plan, Doggumentary was not without the odd challenge. On previous dates of the tour, a backdrop featuring album artwork was displayed. However, as the backdrop only had an American fire certificate, this presented the team working on the show at the first UK venue with a problem. Said Sunderland: “It’s been tricky to get the backdrop certified at such short notice for the UK dates, but we’ve managed it. This was not done in time for the Liverpool show, but Hangman Backdrops dropped everything to process it for first thing in the morning for the show at London’s O2.” According to Head Rigger, Neil Pettit, the
flexibility of the arena’s roof meant the build and de-rig was problem-free. “The roof comes down to you so you can put the points in and send it up, with the chain motors taking everything with it. With four riggers in the roof and two on the floor, we had all points in place in around an hour and a half,” said Pettit. During the build, Thomas A Type was used to construct three straight 50ft trusses - one at two metres off stage front, one at six metres onstage and another at 10 metres onstage.
A SLICK CREW Most of Snoop Dogg’s shows are sold to promoters as “production supplied”, explained Selinger, who has worked with acts such as Megadeath and Red Hot Chili Peppers. “Snoop just carries a minimum of personal equipment - two DJ decks, two mixers and two instant replays. The local promoters have to supply everything else from backline to video,” said Selinger. With the UK arena dates, it made sense
to carry a full production so Selinger worked with Sunderland and Ed De Vroome from UK tour promoter Mean Fiddler to take the budget that set aside each day for production, add it together and use it to fund the touring production. “That way Snoop gets the continuity of the same sound, lighting and video for each show. This saves everybody money and gives the audience a better show,” said Selinger. For UK Tour Manager Tara Anne Redavid,
the amount of input Snoop Dogg has in the production planning is of great assistance on tour. “It’s fantastic Snoop is more involved in the process than most other artists. Doggumentary is a great tour to be part of and more like a rock show in its appearance, the way it’s budgeted, how we roll as a crew and the intensive travel,” said Redavid. The slick crew from Eat to the Beat made life
easier for Redavid and the whole production team due to their understanding of the pressures on the crew touring. “On this type of arena tour, you’re looking at a 7am get-in and the first thing people want is a cup of coffee. Eat to the Beat take breakfast sandwiches out to the crew on stage because they know they haven’t got time to stop for a bite to eat,” said Sunderland. The show was stress-free as a result of
the professional and helpful attitude of the bussing and trucking companies involved too. The production bus was provided by Y-Not, with trucking put in the capable hands of McGuinness and Coach Services supplied the band’s three buses.
PACKING SOME PUNCH The upbeat theme that carried through many areas of the tour’s production also extended into its lighting design. Said Selinger: “Mr Dogg doesn’t like things too bright on stage so it’s always a challenge for the Lighting Director to create a dynamic show that has a laidback feel.” LD Alex ‘Junior’ Cerio’s main priorities
included keeping the mood happy, whilst not distracting from the main performer. “Therefore I didn’t want trusses and trusses of kit. It was kept quite simple and open and very much about the man on stage.”
TPi SEPTEMBER 2011 • 55
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