French new wave band Indochine have been drawing record crowds to their latest European tour, the Black City Tour. The largest event to date took place at the Stade de France at the end of July.
Indochine, who have sold over 10 million records since their formation in 1981 – making them one of the most successful French bands of all time – performed two shows and drew more than 110,000 fans to the French national stadium, situated just north of Paris in Saint-Denis. Nicolas Sirkis, the frontman and lead singer for Indochine, assisted in the creation of a sound, lighting and video show – and Philippe Dubich, the band’s sound engineer, specified the Adamson Energia sound reinforcement system.
Saint-Denis-based Lagoona, a full production company that provides sound, lighting and video for major tours and festivals in Europe, has worked with Indochine for the last five years. This Black City Tour was no exception, with Lagoona providing full production services for the tour, including the recent Stade de France dates.
“We have been Adamson supporters since the early days,” explains Gilles Bedon, managing director of Lagoona. “We started with the system 200, then later with the Y10, Y18 and SpekTrix. Now we finally have the E15 and E12, which are truly revolutionary.”
DV2, Adamson’s distributor in France, worked closed with the Lagoona team and Dubich to design the Stade de France system. “The new Blueprint AV software from Adamson helped substantially with the system design,” says Julien Poirot, DV2 system tech. “We created a 3D model of the stadium and placed the arrays for optimum coverage. It was a very large space with a large seating area, but setting it up in Blueprint made it a much more manageable job.”
With the stage situated at the north end of the stadium, Poirot was tasked with designing a system that would cover the field seating, as well as 80 per cent of the stadium seating (seating located behind the stage was not used for the concert). Ultimately, he utilised more than 200 Adamson line array enclosures (140 E15 plus 66 E12), along with 48 Adamson T21 and 12 DV2 MDC3 subwoofers. Adamson Metrix and SpekTrix boxes stepped up with front fill duties.
“I was extremely impressed with how accurate the Blueprint AV software was,” adds Poirot. “I was pleasantly surprised by its precision, as well as the reliability of the intelligibility calculation.” (The band are pictured right checking sound coverage.)
The main PA consisted of left and right hangs of 24 E15 and four SpekTrix line array enclosures. 24 T21 subwoofers stacked 12 high, back to back, were located under each array for dynamic low-end presence. Four stacks made up of four Metrix line array enclosures and two Metrix subs were situated ground level, in front of the stage, to handle front fill. The main PA provided sound to most of the field and lower-level stadium seating.
To bolster the lower level and first balcony stadium seating to the left and right of the stage, Poirot put together two outfill line arrays, this time comprised of 24 E15 line array enclosures each. Left, centre and right delay towers were constructed 75 yards from the stage to reinforce coverage of the field and main level seating at the back of the stadium. The left and right delay towers were both equipped with line arrays comprised of twenty-two E15s. The ground stacked centre delay was made up of six E12s and 12 MDC3 subs. With these systems in place, the field, lower and second level seating areas were blanketed with sound.