This is The Secret World of Lights, a two part series in which we take a look at the world through a lighting engineers eyes. The lighting is one of most memorable parts of a the night in the club and in this feature series we pay homage to those who work extremely hard to please us with visuals that captivate our imagination time and time again. In part 1 we spoke to Natalie Heckl and Dave Ross about lighting philosophy, approaches and creating memorable moments.
Written by Callum Martinez & Tom Phillips. Image credit: Jake Davis
“isn’t it amazing that we started with sticks and some rocks and somehow ended up with this” – [sic]
The wonder that can come from a well thought out and original A/V show is perfectly expressed by the quote above, which was a comment from a YouTube video on Four Tet’s Alexandra Palace performance in 2019. Similarly in art forms such as painting or musical composition, the creative possibilities of using light to shape a room or to enhance the musical content coming from the speakers are boundless. Seeing strobe lights flicker at certain frequencies makes it feel as though you are in a stop motion film as people stand there frozen in light. It makes you question your reality, even if it is for just a moment.
For many, this is the escape that they look for when going to a club. It can be amazing that even with relatively few lights, an entire space can be perceived as something vastly different than it was. How many times have you stayed until the final track to see the lights come on and realise the room is actually shaped nothing like you thought, or had your breath taken away by the explosion of light and colour when the track reaches its climax?
In this 2 part feature series we will explore lighting from its roots to its modern day applications, as well as speaking to some of the best in the light/visual industry to look at how it is used to create unique environments, enhance our perception of the musical content, and ultimately, make our nights unforgettable.
Light has been integral to stage performance for thousands of years. The ancient Greeks built theatres in certain locations to take advantage of the sun’s position to use as a natural installation to set certain scenes, later the invention of gas lighting allowed for more precise control. Because people could control how much gas was fed into the pipes, and also the fact that the lights could be controlled from a distance, it allowed for techniques such as dimming. The phrase in the limelight also references a specific type of classical scenographic technology that involved the burning of calcified limestone. This technique was used to create the first spotlights. Fast forward a few hundred years and stage lighting, along with the aid of modern day technology, has become something else entirely.
The original pioneers of stage lighting used it to highlight separate parts of the theatre performance so that the audience could clearly see important moments. In a club setting however, there are no actors, so instead we could assume that the same rules apply now but within the context of musical performance. To better understand this concept let’s look at an example from the legendary Paradise Garage.
Larry Levan is revered for his ability to create an atmosphere from the DJ booth and understood the importance of putting on a show, the signs were there as early as his time at the continental baths between 1972 & 1976 in which he was known for his extravagant fashion sense and dancing on top of cars. A high school aged Frankie Knuckles would operate the lights for Larry early on in his career at the venue. When he [Levan] moved to the Paradise Garage things were taken up a notch. The lighting system was said to have at least 730 fixtures on the dancefloor alone. Levan also had a second lighting console in his booth which he would use to set the mood and build tension before dropping something unexpected. In Bill Brewster’s chronicle of DJ history – Last Night a DJ Saved My Life – ‘Jam Hot’ producer and DJ Johnny Dynell talks a little about how Levan used the lights: “They used to do these blackouts. Exit lights and everything, totally illegal. He would build the intensity to a peak then let fly with an acapella or a sound effect.” Larry knew how to use the lighting, or lack thereof, to maximise the effect of the music.
With productions as big as they are nowadays lighting and visual operators tend to work alongside DJ’s to make performances more dynamic, each one parasitically feeding off of the other in a jollification of multi-sensory debauchery. This requires operators to work on the fly and be physically responsive to the music being played, almost like a back to back between your favourite DJ’s. This is exactly what Natalie Heckl does.
Natalie is a lighting engineer for the legendary Berghain, but she is also the lighting operator for the impressive The Hydra stage show which has allowed her to explore her passion in some of the biggest clubs in the world including Printworks London and Hï Ibiza. Berlin had an abundance of unused derelict buildings after the war which were overrun with clubbers during the emergence of Techno in the city, most notably after the wall came down. The buildings, the music and visual pioneers that came before her such as Skudi Optics (Planet) and Ralph Regis (E-werk, Café Moscow) to name a few, really inspired the visual aesthetic for the future of events there which Natalie now contributes to. We spoke to Natalie to get some of her thoughts on the importance of good lighting, its interaction with music and its role within the mysterious Berghain aesthetic:
So first of all, what inspired you to become a lighting engineer?
I was inspired by Techno events / Techno clubs in general, because I felt comfortable here from the very beginning. I was attracted by these locations and I wanted to be a part of them.
Why do you think good lighting is important in clubs?
Good lighting is not only important but essential to creating an atmosphere that underlines or expresses the music and sometimes even the architecture of the club. The light must match the music and the vibes, only in this way can light support music. The question that remains is of course: what is good lighting?
What makes Berghain special from a lighting designer’s point of view?
Quite a few things. The location is unique. Regardless of the people who contribute a special vibe to this place, from a lighting designer’s point of view, it is particularly special that filming and photographing is prohibited. So the lighting designer is not necessarily responsible for generating bright images for photographers or for videos, but enjoys full artistic freedom in the design of the light and can therefore get involved with the music and the story of the set as a whole.
Berghain is known for its free spirited ideals. DJ’s often comment on how good it is to play there because they have creative freedom and from the stories I have heard about the place, the patrons seem to have a similar outlook. Do you think the philosophy of the club influences the lighting?
Yes, of course, this can be deduced from my previous statement. Just as it is for the DJs, it is also special for lighting designers to work there, because creative freedom is unlimited. Berghain is a club, in which when it comes to lighting technology, the motto is “less is more” and not “more is more” and thus the club gets back to the basics and the origin of creative performance in the scene. This is why there are no LED Walls in the club, for example, which are used in regular club settings.
In many ways the lighting technicians and DJ’s play a fairly similar role within clubs. Is it important to establish a connection between the two? If so, how is this usually done?
I believe that it is crucial to establish this connection. For me personally, it means that cooperation with the DJs is possible. I can get in touch with them before or sometimes during the set. If not, then it may also be possible to enter into a non-verbal communication with the DJ to find out about the vibe, wishes, and expectations.
What are your thoughts on the relationship between sound and lighting? Does the style of music change things when it comes to decision making?
Yes, in my decision-making considering this relationship is inevitable: which light fits which vibe? The relationship between sound and lighting is a very intense one for me and my decision-making is strongly influenced by the music style of the DJ.
Do you think the approach to lighting design has changed at all over the years at Berghain? Obviously advancements in technology bring new capabilities, but would you say that the philosophy is the same?
As I have worked at Berghain since 2012, I can assess this from my own point of view for the last 8 years and as mentioned in one of my previous answers, I find that Berghain has remained faithful to its philosophy; regardless of advances in technology.
How do you find new sources of inspiration? Is there anyone out there that is making you rethink your approach?
Yes, there are people close to me who do look at my work critically and give me feedback. There are also lighting designers among my friends who of course influence my work and are a source of inspiration. To sum it up, I’d say that I constantly rethink my approach and as a result I try to reinvent myself, the core principle being the wish to create unique lighting.
Next we spoke to Dave Ross, who has been designing and operating visuals and lights for over 20 years. Dave has worked with a plethora of artists that cover a wide range of genres from The Prodigy, The Kooks, Royskopp, Objekt, Aphex Twin and many more. He is also currently the lighting operator for dbnAudile in Printworks London, UK. “crazy, an impressive sensory assault.’ is how Guardian writer Lauren Martin described some of his work at Red Bull Music Festival London with Aphex Twin, with NME also describing the same show as ‘one of the greatest electronic shows on earth! A testament to the wonder that is achievable when the two disciplines (audio/visual) are blended together.
A professional in every sense of the word, Dave’s impressive resume has resulted in him designing and operating lighting for lots of different situations and music styles. Dave kindly provides some insight into his work on the Aphex Twin shows, memorable moments and how he thinks about his craft:
One of your most impressive projects is the incredible Aphex Twin Live show. What is the key challenge you face when creating a visual aesthetic to such complex music?
Thanks, Richard is an amazing artist to work for, I think he’s pushed the boundaries of what can be done sonically during his show, and myself and the video artist, Weirdcore, are tasked with creating an environment that is visually as challenging as what you are hearing. Every Aphex show is different, not just musically but in atmosphere, and more recently there has been a lot more new content from Richard, so using timecode or other automation becomes almost impossible. What you see is all live, from the lights, video and lasers, we’re reacting to what is coming from the stage, so that can pose some issues in terms of structure, but when it all gels it works really well.
Aphex Twin is undoubtedly one of the most unique artists in music – what do you think makes your approach unique?
I think that the approach to take when lighting an Aphex Twin show is to try and be flexible and to try and step away from the idea of lighting tracks and to create an aesthetic over the whole show. We don’t talk to Richard about what he’s going to do, but underneath everybody has a plan of what their show is going to be and I think we’ve all been together long enough to know it will all work together.
What made you follow this career path?
I did a bit of local crew work when I was at College in Dublin, and once I’d finished my degree started work at a lighting company there. I had no real experience but as I have found consistently throughout the years if you are honest about your knowledge and keen to learn then people will help you.I’m not sure that I looked at what I was doing as a career, but when I moved back to the UK and started touring with Leftfield and then Prodigy, it dawned on me that you could do this long term..
You have been doing this for a long time and have worked with many artists from all genres, was there any artist or act in particular that surprised you or made you rethink your approach?
I’ve been lucky to work with loads of amazing people, and I think I’ve learned something from all of them. I tend to work in the more anonymous end of electronic music so artists that need to be lit in a more conventional manner I always find interesting, and challenging, there’s a lot more structure than I’m used to…but it’s fun. It’s great when artists work with what your doing and really use the lights. Jonna, Royksopp’s vocalist, is amazing at knowing when she’s lit and working with it.
Some musicians take their listeners on a sonic journey by building and releasing tension throughout their performance, what techniques do you utilise to match this?
Every visual show has to mirror the music, I think mistakes are made in some instances by the desire to use everything all the time. At the start of a show I think the excitement should be the artist, the audience have waited, there’s expectation, the show starting should transform the atmosphere, and the lighting doesn’t have to work too hard. You shouldn’t be afraid to strip everything down when the music suits it, it’s the changes that make the moments in shows for me, when there’s a transformation visually that marks a transformation in the music, that’s what you’re aiming for. If you are familiar with the music it’s great to build towards those moments, Printworks is a different type of show, but I find that DJ’s also try and create some shape to their show so it can be a good feeling when you manage to read what they are doing right and it all works together.
What do you think makes a show unforgettable?
An unforgettable show is a sum of all the parts, there’s a moment when everything just falls into place and everyone is part of it. We did a show in Texas a few years ago, and mid show the temperature suddenly plummeted, from tropical to freezing, a storm was sweeping in over the site. Just as a freezing downpour began Polynomial floated out of the PA and from a blacked out stage sheets of laser sparkled through the rain, one of those moments when everyone looked up and the storm didn’t matter anymore.. I think later one of the fan forums had us tracking the storm as it approached, which would be an amazing idea, and having this pre-arranged, but it was just a moment where everything happened at the same time. Our long time laser collaborators ER Productions stole the show that night..
Adding visuals and lighting brings a physical aspect to the music. To what extent do you try to understand the artist and their vision to communicate their message effectively?
I think when you initially talk to someone about creating a show I tend to find that people are looking to you to create a stage look for them, and there’s usually a few ideas that will be a starting point, but the design will develop as budgets are finalised and shows booked and you get a sense of what you have to work with. There have been some times in the past where what actually ends up being the live show bears very little resemblance to what you initially pitched weeks ago. The ability to produce realistic visualisations of stages and lighting has changed the creative process massively, and artists are able to see their show virtually now, and it’s easier for them to feedback on something that is easy to interpret, so I think there’s a lot more back and forth now as you get ready for that first show.
Pablo Picasso once said: “Art washes away from the soul the dust of everyday life”. Whether it’s a club or a live music show, it is clear that integration between the two art forms of music and lighting results in a mutualism, which when done right, can create moments that change our lives as fans. This collage of creativity has continued to push musicians and visual artists into new territories, with companies such as the amazing Block 9, who use music to help tell the stories of their different sculptures and designs. Light allows us to see the world around us, it allows us to see the non-physical, and hopefully it can allow us to see something inside ourselves that we never thought was there — even after we have left the club.
In part 2 we talk to Rob Leach of dbnAudile and Spencer Heron of Rebel Overlay as we explore lighting rigs, design, and VJing.
We would like to give a big thanks to Natalie Heckl, Dave Ross, and Printworks London for working with us on the article.
