The Australian leg of the Oasis Live ’25 world tour, produced by Live Nation, saw Oasis play packed stadiums in Sydney and Melbourne.
 

The previously announced dates on the Oasis Live ‘25 tour sold out immediately, culminating in the biggest concert launch ever seen in the UK and Ireland, with over 10 million fans from 158 countries queuing to buy tickets.
 

The production is huge and hits you with its sheer boldness. Production Manager Tony Gittins worked closely with Show Designer Paul Normandale to ensure one of the most hyped concerts ever lived up to expectations.
 

“The band was keen that this tour be a contemporary event, so the balance was to achieve this visually whilst also, of course, reflecting the iconic nature of the music and cultural impact of the band reuniting,” commented Paul. “I tried to reflect this in providing a vast digital canvas to ensure visibility at a stadium scale of the live images and content, utilising the graphic linear nature of the band's original logo as a starting point.
 

“I think the ambition of breaking away from the stock iMag side screens stage format was the main early challenge. The lighting was primarily designed to support the large-scale visual impact of the screen; many of the shows started and were predominantly in daylight, so the transition to darkness was, as always, a gradual process.”
 

“It's totally driven by the video screen, and you can see by the footprint that it really is the show because it's important that people see the brothers on the screen,” agreed Graham Feast, Lighting Director on tour. “Video and lights now are pretty much one integration. It seems that more and more, across the board, it is now about video and lights.”
 

Graham and Crew Chief Scotty Owen were delighted to have Chameleon Touring Systems provide gear and crew, and they wished they were doing more shows in Australia.
 

“Chameleon has been great and I couldn't speak highly enough of them,” said Graham. “I've known Graham Walker for over 25 years. He's very efficient. They're a really, really, really good team of lads, especially considering the size of the show to put together just for two load-ins. They absolutely smashed it. When we turned up on day one, everything was already sort of floating. We provided them with a few pointers on how we envisioned it should look. Make sure all the lines are clean and everything's tidied back. But apart from that, it's really, really good.”
 

Paul's lighting design, with its sharp, contemporary look, perfectly complements the show's imagery. Using distinct geometric patterns inspired by the Oasis logo and a vibrant array of colours, his work creates an intense yet inviting atmosphere on stage. The clean design blends seamlessly with the visuals displayed on the 100-meter video wall.

The rig features 54 Martin MAC Aura PXL and 66 Ayrton Perseo spread across a back truss, two side trusses and automation trusses (stage-right and stage-left) running upstage to downstage and also the three drop frame ‘ladders’ on either side of the stage. 
 

The overall LED footprint is bordered by 129 Chauvet COLORado PXL16 Bars. They are across the top of the iMag, down the centre legs, and there's a run of them on the downstage edge. Whilst they don’t wiggle, there are plenty of effects.
 

“There’s no movement as the brief was ‘didn't want it to look like a disco’ because they're not a disco band,” remarked Graham. “It's very straight lines, very clean, that's what they wanted. The lighting element defines the architectural space and enhances the ambience as needed.”
 

The main profile fixtures were 66 Ayrton Perseo-S with 10 Robe iForte LTX for the key light. While most of the Perseos are on stage, eight are positioned on the front truss, along with four more iForte LTX units.
 

“There are some Perseos off the front truss, all static, and no follow spots,” said Graham. “The guys move in and out of the light. Liam likes a lot of dark spots on stage where he can disappear and have a moment in his own.”
 

A total of 50 Chauvet Strike Ms are used for flash and big, broad brushstrokes, with little effects used, except for a couple of macros in the odd song. Flown above the stage on the upstage truss and spanning the video wall, the fixtures accent special moments with intense light and strobing, while engaging the crowd with audience lighting.
 

Additional audience lighting was provided by 41 two-way blinders, positioned downstage and on the wings, and by an additional 32 located on the delay towers to enhance interaction between the crowd and the band.
 

On the floor racks upstage of the band were 32 GLP JDC1s. GLP JDC Line 1000s were replaced by 74 TourPro Storm Bars located on the automation trusses and also on the upstage floor racks.
 

“We have a set of linear dollies at the back, so it's all symmetrical, and it's a big block behind the band,” said Graham. “They're great, they're a good fixture actually.”
 

The dollies, upstage of the band, housed 16 Claypaky Sharpy Plus fixtures to fill in the gap at the back.
 

MDG ATMe hazers were located in the pit, and they have their own technician who runs the smoke while keeping an eye on Liam and Noel, since they're not keen on smoke.
 

The lighting department travels with its own control package, consisting of two MA Lighting grandMA3 full-size consoles running MA3 software, one serving as the master and the other as a backup, along with a Luminex network that can be easily integrated into the house via sACN. They carry everything they need PU-wise for all required parameters.
 

“The show is not time-coded, so that's an extra level of computer programming that I don't have to consider,” commented Graham. “I've timed-coded shows before, so it was nice not to have to consider that in the pre-production process and also actually programming the show because that sucks up such a great deal of time. The guys are a rock and roll band, one of the only true rock and roll bands left. The trade-off, of course, is that when things go wrong, you have to jump in and run it, and a lot of people these days don't have the ability to do that.”
 

Chameleon’s Crew Chief Lewis Gersbach admits that doing Oasis is a special, once-in-a-lifetime career highlight.
 

“When we got the tour on our books, everyone was asking Graham if they could do it!” he commented. “Nothing has been too challenging on this tour. We have a great crew, and Tony and the factory team make life easy by getting gear out the door. He also purchased many new items for this, which is always a good thing.
 

“We're running 26 Kinesys Varispeed 10m p/min motors over the rig, over six different mother grids. We're moving the LED wall that CT supplied, and we've built the grid above it, which Scott Black is operating. And then we've got two upstage-downstage, per side fingers that, towards the end of the show, start to move around a lot.”

 

Chameleon Crew
Account Manager: Graham Walker
Crew Chief: Lewis Gersbach
Kinesys: Scott Black
Crew: Jacob Toomey, Michael Simpson, Harley Parker, Tom Uttendorfsky, Lachie Hogan