ADLIB Supplies Lighting to Clumber Festival

The lighting division of the Liverpool, UK-based gear house Adlib supplied a full lighting rig and crew for the first time to the Clumber Park Music Festival in Worksop, Nottinghamshire.

Clumber's three diverse nights of entertainment for all ages and musical tastes -- included "Pop Party In the Park" on Friday, headlined by N-Dubz also with sets by The Wanted, Chipmunk, Aggro Santos, and Parade. It continued on Saturday with a "flashback" night featuring some of the best-loved sounds of the 1980s with live performances by The Human League, Level 42, Heaven 17, Nik Kershaw, and Toyah. On Sunday, there was a concert by classical crossover singer Katherine Jenkins backed by the National Symphony Orchestra, with special guest Wynn Evans.

Adlib's Peter Abraham project-managed, commenting, "It is always exciting working on new projects, and rising to their challenges and demands. We had worked with production manager David Walker-Collins already so we were on the same page; he's so easy-going, relaxed, and meticulous, too. Everyone involved in the Clumber festival was a joy to work with; we all enjoyed the experience, especially the crew whose working environment included amazing weather and a lovely setting. They returned looking like they'd had a holiday."

The lighting was designed by Mark Wheatley, who has been involved with the festival for several years.

The staging company hung four straight trusses below the 50' dome roofing structure onto which Adlib rigged the lights.

Supplied -- to Wheatley's spec were 12 Martin Professional MAC 700 Spot moving lights and 12 MAC 301 LED wash lights. along with 12 ETC Source Four Zooms, two eight-lite Moles, four four-way linear Moles, eight bars of ACLs, six bars of six PARs, six Martin Atomic strobes and four 20" mirror balls, which were rigged for Jenkins on the last night, all with an Avolites Pearl Expert console for control.

The key element to the design was having a lighting scheme that worked for the variety of acts appearing, ensuring that each of them had an individual look and feel for their performance.

The floor was kept clear apart from eight loose PARs, which could be deployed as and when needed.