Chameleon Touring Systems and Martin Help Disaster Relief Concert Raise Millions

A collective featuring some of Australia’s most popular contemporary musicians performed at WAVEAID - a once in a generation event that generated approximately $2 million in funds for the millions of people whose lives have been irreversibly impacted by the recent tsunami disaster in Asia.

The sold-out show was held on January 29th at Sydney’s Cricket Ground before an audience of 50,000. The concert was broadcast live on many radio networks around the country and highlights televised on various channels the following day.

The concert saw over eight hours of quality performances from the likes of Nick Cave, The Finn Brothers, Kasey Chambers, The Waifs, Missy Higgins, Powderfinger, John Butler Trio and highly anticipated sets from both Silverchair and Midnight Oil. This was the first time that Silverchair had performed for over two years while Midnight Oil was lured out of retirement for such a special occasion.

The WAVEAID concert was organized by veteran promoter Michael Chugg, Mark Pope and Joe Segreto. To ensure that maximum money was raised, the event organizers engaged suppliers to either work free of charge or at cost. All those including the bands, managements, promoters and publicists, crew, lighting and PA suppliers involved in staging this event donated their services and time free of charge. The Cricket Ground waved their hire fees.

Chameleon Touring Systems were approached twelve days prior to the event to design and install the lighting rig. Managing director Tony Davies did not hesitate to offer his services, happy to supply crew and as much lighting as necessary for such a worthy cause. This was despite the fact that it was one of their busiest times of the year with the Big Day Out touring festival and the Edinburgh Military Tattoo performing at the same time.

Respected Australian lighting designers Baz Barrett and Hugh Taranto collaborated to produce a spectacular lighting design. Hugh, long time lighting designer for Silverchair, was unable to stay for the actual show as he was in Jamaica with Norah Jones.

“It was strange because I was looking for a concept that would represent the event and I decided to start with a flown truss configured into a giant helping hand,” explained Baz. “Then I saw the first advertisement for the event and it featured a hand – a good omen! Tony Davies had already told me that he really wanted me to go to town on the design so I needed something that was quick, easy and mega.”

Fortunately for Baz, Chameleon stock hundreds of Martin MAC moving heads and so he knew that he could produce a stunning, reliable light show on the all important day. In all there was a total of 40 Martin MAC 600 washlights, 24 MAC 500 profile spots, 24 MAC 2000 Profiles and 10 MAC 2000 Wash. All Martin gear was distributed through Martin’s Australian representative, Show Technology.

Throughout the truss-hand there was a combination of MAC 500s and MAC 600s with MAC 2000 Profiles hung from the edges, as well as 5K Fresnels for the television cameras. There were no moving lights on a front truss but more 5K’s and truss followspots.

Out on the wings of the stage were several 8-lite and 6-lite molefays as well as five Martin MAC 2000 Wash per side to light up the audience.

”The concert certainly was a MAC-attack!” said Baz. “I’ve used a lot of MACs in my life and bang for buck, you can’t go past them.”

Injecting more drama into the rig were 26 Martin Atomic strobes, placed in pairs between the MAC 2000 Profiles hanging from the truss-hand.

”I love the Atomics, they’re definitely the best strobe I’ve ever used in the world,” exclaimed Baz. “They’re extremely bright and they don’t seem to ever fail. If you set them just right, you can get them to work as a blinder that doesn’t thermal-out.”

Smoke on stage was provided by four Jem ZR 33 Hi-Mass foggers.

A decision was made not to have a front of house control tower for followspots and control as the concert organisers were keen for all attending to get the best possible view of the stage. However, Baz actually prefers to have his control position side of stage.

Credit must be given to the Chameleon staff who worked tirelessly to prep the rig prior to the event.

“We turned the entire trussing and light show around in the factory in about twelve hours,” said Baz. “The guys in the moving light department worked their tails off getting it all together. It was a mad, chaotic day but really good to see so many pulling together for a wonderful cause. The generosity by Chameleon was fantastic; they donated an incredible amount of lighting gear and time.”