Having undertaken a UK arena tour in support of his third album, Gold Rush Kid, at the end of 2022 George Ezra hit the road again in 2023, playing in Europe and closing at The O2 in London. Event technology partner Adlib designed and supplied the PA system, which relied on L-Acoustics’ K Series, including K1 and K2.
Adlib Systems Engineer James Coghlan worked with Ezra’s FOH engineer, Mike Timm, on system design, and throughout the tour. ‘L-Acoustics has always been the go-to touring solution for George Ezra,’ Coghlan says. ‘As Mike has had great experiences with L-Acoustics sound systems, he likes to work with them whenever possible.’
The tour played mainly arena-style venues: ‘Using Soundvision, L-Acoustics 3D modelling software, we decided on the positioning of the arrays at the beginning of the UK run,’ Coughlan explains. ‘We’ve used a combination of K1 and K2 for the main and side arrays. A combination of A and X Series enclosures are used as front fill to draw the image of George’s vocal down from the main arrays for the rows closest to the barrier line.
The general set-up comprises main arrays of 12 K1 over six K2 down, with eight K1-SB flown behind them. For side hangs, 12 K2 are set both left and right, along with 12 KS28 on the floor in a broadside configuration. The fill system comprises four centrally placed A10 three ARCS II per side as in fill, two X15 for out fill, and four lip fill X8, evenly spaced across the front of the stage. The system is powered by 46 LA12X amplified controllers. Supplementing the system for the O2 shows in London were K1 delays and extra K2 side hangs.
‘Four L-Acoustics P1 processors on the front-end, using an AVB-based returns system, provide us with better sound quality and greater flexibility of routing,’ Coghlan says. ‘The system is easy to set up and has proven rock solid.
He also notes the use of custom cable bridges with a centre hinge to allow navigation of the PA cabling around the various lighting and design elements on the stage. The team collaborated with production and designers to ensure the bridges were the best fit for each venue. ‘Despite some challenges, we were able to create a set-up that worked seamlessly, even in tight spaces with minimal tolerance, particularly over stage right,’ Coughlan says.
‘The tour has received overwhelmingly positive feedback, with some audience members going so far as to approach FOH to say it’s the best live show they have ever heard,’ he adds.
‘I’ve been a big fan of L-Acoustics since first mixing on ARCS in the late 1990s. I just feel that “the brown boxes” translate what I want my mixes to sound like better than any other system on the market,’ concludes Timm. ‘I’ve been working with James since 2018, and he quickly learned what I wanted from a system. Since then, I’ve trusted him to consistently deliver the sound I want to hear for the whole audience, with minimal variation. Adlib’s gear is always well-maintained and up-to-date, and that contributes to the quality of the final result.’
