Liverpool based production specialist Adlib kicked off a busy 2016 touring season
with a number of great live artists including Award Winning Irish singer/songwriter
Hozier for which they provided audio, lighting and crew to the recent UK and
European tour.

Hozier has had incredible global success with the release of his iconic anthem “Take
Me To Church’ and debut album, Hozier, which has been certified as gold & platinum
in the U.S.

Adlib’s team of Sam Proctor & Terry Smith (sound) and Kevin Byatt & Jeff Bond
(lights) worked closely with renowned production manager Sue “Duchess’ Iredale,
tour manager Jake Ryan Foley and the band’s FOH and monitor engineers Gavin
Muddiman and Darren Dunphy with lighting designer Matthew Kilmurry.

An L-Acoustics K2 system was specified for all the UK shows, and for the two
largest European venues, Amsterdam Heineken Music Hall and Brussels Forest
National, Adlib supplied a larger K1 system.

The standard audio configuration for the larger UK shows was 12 x K2 speakers a
side with 8 x SB28 ground stacked below, together with four ARCS2 a side for infills
and 4 KARA across the front of stage for lip fills. This system gave plenty of volume
and an even, clear sound for each of the rooms, which were modelled using
Soundvision software.

The speakers were all powered by L-Acoustics’ proprietary LA8 amplifiers, 12 per
side, and signal was distributed via AES with analogue backup on one of Adlib’s
digital return systems. This featured four Lake LM44s at FOH and two LM26s
onstage, running via a Focusrite RedNet D16R connected via a TAC4 fibre multicore.

The Avid Venue Profile FOH console was supplied by Adlib, and Hozier toured their
own stage package including IEMs and a compact Yamaha CL1 monitor desk.

The lighting rig was based on four 40ft over-stage straight trusses, the most
upstage of which was utilised for the Hozier backdrop.

The back lighting truss was rigged with six Martin MAC Viper Profiles, six MAC Viper
Washes, seven Clay Paky Mythos and four Atomic strobes.

The mid truss featured another six Viper Profiles, six Viper Washes, six Mythos and
six 4-cell Moles (square format).

On the front truss, six MAC Quantum Washes took care of the general stage
coverage together with eight ETC Source Four 36 degree profiles and another six
square 4-cell moles.

The floor package included another six Viper profiles arranged in a line upstage on
flightcases, peeping over the backline. These were joined by three Atomics and four
MAC Aura LED wash fixtures tucked away in the downstage corners for low-level
cross stage illumination.

Five Manfrotto stands were each rigged with a 2K fresnel, three located upstage for
silhouetting band members and the other two downstage left and right in the same
positions as the Auras. A final 4-cell Mole was also located upstage of the drum kit,
together with four single PAR cans for additional backlight.

Matthew controlled all of this via an Avolites Sapphire Touch with an Avolites Pearl
Expert Pro for backup, both connected via a fibre ArtNet system.

“It really was one of the best tours that I have done for some time in terms of the
people involved, a great live show and really warm atmosphere with everyone in
the touring party,’ says Kevin Byatt, echoing the sentiments of the audio
department.