Stuart WoodPink’s Beautiful Trauma World Tour – in support of her seventh studio album, Beautiful Trauma – began in North America in March 2018.
The tour will have taken in 157 dates across 18 countries in North and South America, Europe, Australasia and the UK by the time it concludes.
The tour has grossed almost USD$400m from 3 million ticket sales, making it the most successful tour by a female artist in a decade.
Working in conjunction with its family of partners Clair Global and JPJ Audio, Britannia Row successfully delivered the tour.
Britannia Row’s Dave Compton said: “Once again, we’ve really enjoyed working with Pink’s team. It’s been an amazingly popular worldwide tour, where the artist and engineers have given it their all across a multitude of dates in some huge – and tricky – venues. We’ve been managing the project from London, shipping the universal control package and key crew from the UK and picking up the rest locally from Clair Global and JPJ Audio in Australia. Having this kind of worldwide back-up and resources makes a world tour on this scale a smooth operation to execute.”
The tour’s L-Acoustics sound design comprised K1, K2 and flown KS28 subs with K1 boxes as side hangs and additional boxes of K2 covering below the stage, out fill and ground subs. K2 delay towers in the various stadium configurations altered depending on venue size and capacity. Lake LM 44s and LM 26s, and L-Acoustics LA12X were used for signal processing.
The tour’s systems engineer, Johnny Keirle, was entrusted with the PA sound design across the entire run, in both arenas and stadiums. He said: “For me, L-Acoustics is the most organic and ‘truest’ sounding PA system there is. Combined with its ease-of-use and flexibility, this makes it my obvious choice for touring on all scales.
“The K1 did exactly what I wanted it to. I wouldn’t make noise until late-morning on show days, and when you have an asymmetric stadium system with multiple delay towers and ring delays – anywhere up to 22 hangs of PA – anything you can use to streamline your alignment and optimisation process is worth its weight in gold.”
With help from Sennheiser, the tour’s challenging RF (the singer would fly to all corners of the stadium needing both a headset mic and IEMs) worked flawlessly.
Pink’s production manager Malcolm Weldon said: “I can safely say that Dave Compton and the Britannia Row team are a total pleasure to work with. They have a keen eye for all the details that go with mounting a stadium tour – with a very ambitious schedule that allows little time off to catch one’s breath – and yet they never fail to double check that all gear and personnel are show ready. My hat goes off to everyone at Britannia Row for their hard work on this tour.”