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Clay Paky lights Fedez's ‘Pop-Hoolista’

Clay Paky lights Fedez\'s ‘Pop-Hoolista’
Clay Paky lights Fedez\'s ‘Pop-Hoolista’

On his latest tour of arenas and clubs, Fedez played venues like the Mediolanum Forum just outside Milan and the Pala Lottomatica in Rome. Lighting designer Francesco De Cave explaines the show: "I conceived the tour and the ideas for the set design with Mario Zappa, from F&P Group, in response to Fedez's own ideas. Fedez wrote the show himself. In my role as lighting designer, I looked for several ways to fill the interludes, some with lights and some with visual effects and sounds. These interludes are necessary transitions between one piece and the next to allow costume changes and glue together the different parts of the show Fedez asked for.”

 

“I originally considered a rig on two planes to narrow down the Mediolanum Forum slightly by getting rid of the curves. When Fedez's popularity literally exploded, we began to think of a 360° circular stage, and designed a set with a shape reminiscent of the tattoo on the artist's neck.”

 

The design became more detailed and complex thanks to the ideas and efforts of set designer Igor Ronchese from Tekset, who - in addition to dealing with the shape of the stage - stepped in to create the scenery and props Fedez asked for.

 

The audience did not see everything that happened on stage directly. Several cameras and monitors were needed. These were entrusted to the technical team, which included assistant lighting designer Emanuele Vangelatos and video clip manager Carlo Barbero. The scenes were shot with four manned cameras and four remote controlled cameras resting directly on the stage at fixed points chosen according to the show's choreography, directed by Maurizio Maggi.

 

“I ran the show using two Hog4 consoles, with DP8000 processors, and two Catalyst media servers,”  Francesco De Cave continues. “Sometimes I mixed the concert audio sessions with them, and sometimes I used them for the audio-video clips through which Fedez transmits his ideas and the clips recorded by Francesco De Gregori, the actor Francesco Pannofino and the drawings by cartoonist Dr. Pira.”

 

“Fedez wanted a concept show and he wanted the typical atmosphere of a song theatre. Large props were used to bring out and illustrate the meaning of his pieces. Igor and Fedez had the idea of lowering polystyrene objects onto the stage. During the song ‘Cardinal Chic’, there was a ten-foot-high Rolex, with a cross instead of hands. In another piece, a large heart appeared made of fifty Euro banknotes which fell from the sky like rain, and large faces of various VIPs came down when he talked about the dynasties of protégés.”

 

"In this case, the Sharpy Wash units installed on the ground provided great range with their zooms. In ‘Magnifico’, we produced a scene with falling strips of coloured paper and confetti which created effects by reflecting light. In ‘Amore Eternit’, the song Fedez sang with Noemi during the concert in Milan, the lyrics draw a parallel between love and the toxic material. Ronchese built a thirteen-foot-high birdcage containing a heart with fluorescent parts illuminated with blue and red light to accentuate the feeling of danger it transmits. I picked up on the theme of the cage by surrounding the stage with narrow beams created by 70 Sharpys.”

 

“Rigging was really fast. The bottom of the structure rests on a thirteen-foot-diameter circle connected with four diagonal BAT trusses to another circle of over sixty feet in diameter. The circular stage forced me to put the lights very high up, at much too much of an angle and with problems getting between the LED clusters and screens. I used four vertical 1 x 1 foot trusses to set up some front lighting and create more perspective. I installed 46 Clay Paky Alpha Profile 1500s and 35 Sharpy Wash units on these four vertical trusses.” The equipment was supplied by Agorà.

 

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Clay Paky lights Fedez\'s ‘Pop-Hoolista’Clay Paky lights Fedez\'s ‘Pop-Hoolista’

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