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From the first meeting that they had with Goulding and her management around the artist’s kitchen table, Carter and Shipton were certain that they had to bring nothing less than their A game. The pair started work together in the autumn of 2015 with rehearsals due to begin in January 2016 at Litestructures on Wakefield’s Production Park.
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They do a lot of TV and theatrical things as well as concert touring, so that definitely lead to some interesting ideas during the creative process.” It’s been a really good experience because Black Skull come from a slightly different background than us. This was a combination of the ideas that Ellie had put forward, the ideas behind the new songs and album, and an overview of Ellie’s progression as an artist.
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In close collaboration with Director of creative production agency Black Skull Creative, Dan Shipton, she helped develop the show from its embryonic beginnings to the full stage production in effect at arenas across the UK.Ĭarter, who has been with Goulding since the end of 2012, explained: “Basically myself and Dan were introduced to each other and then immediately started work on the show design from the initial concept.
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She said: “Ellie is very into having strong women around her – it just so happens that one of the only female bus drivers in the industry is on this tour as well!”Īnother of the aforementioned female contingent on the Delirium tour is Lighting and Co Show Designer Cate Carter of Bryte Design. The people employed to do the day-to-day jobs know what they’re doing, which allows us to plan ahead, then get into show mode later on.”Īs well as instilling an ethos of calm within her crew, Goulding has also (coincidentally or otherwise) assembled a crew reinforced by a number of strong female characters – something that pleases her no end, according to Travis. I make a point to go and see them every day because we’re so self-contained. She wants everyone to be happy and trusts us enough to leave us to it. She added: “Ellie doesn’t want any dramas. Promoters and reps always wonder how it’s so relaxed on site and we take that as a huge compliment!”Īccording to TM Travis, this philosophy is something that filters down right from the top. That said, everyone knows what they’re doing and the work is getting done in double quick time. O’Brien laughed: “It took a while for us all to settle it in after the transition but it really is quite chilled out now. Having been prepared for the usual maelstrom that is an arena production on show day, it was quite startling to be greeted by the level of calm felt at Manchester Arena. This included some custom work, a moving thrust catwalk and a B stage.” We certainly upgraded for this level but did so with the same suppliers, as well as adding them for aspects that Ellie had never needed before, such as All Access Staging & Productions for the tour’s staging requirements. In terms of crew and suppliers, everyone was happy and everything was working well so I saw no reason to change that. He said: “It was brilliant as it gave us all a head start.
Having arrived in September 2015, during the album’s promo period, O’Brien had plenty of time to settle into the fold and begin coming up with ideas for the tour itself. For the artist’s first full arena run, the team turned to seasoned Production Manager Bob O’Brien to lend his experience (and unflappable disposition) to the Delirium tour cycle. Tour Manager Rebecca Travis first joined the Ellie Goulding camp four years ago, and has overseen performances across the world, in venues of all shapes and sizes. The production value was certainly upped from previous tours, with a huge video and lighting package, bespoke staging and striking drapes to rival those of mainstream pop’s biggest names. When Ellie Goulding first appeared on the general public’s radar in 2009, few would have suspected that she would go on to produce the kind of elaborately scripted stage show that TPi was on hand to witness at Manchester Arena. TPi’s Ste Durham witnessed the collaborative four section visual spectacular.
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