Entec won the contract and supplied Herbert with equipment and crew. The latter even included some Stone Roses stalwarts like Grub and Mouse from caterers Cat'n'Mouse, Stardes trucking and the unflappable Trapper as Stage Manager and Backline tech.

By taking control of the production, Entec constructed the very best quality, most flexible and cost efficient package for all aspects of the tour. More importantly, they hand-picked a selection of individuals who fused and worked well together, providing a strong "family" team, creating a harmonious environment in which John Squire could perform.

Most gigs offered no flying, so the rig was designed to be ground supported with a series of mini beam trusses and stands. Fixture wise, Byars chose 12 Martin MAC 500s and four MAC 600s as core elements, joined by 4 Moles with scrollers and four strobes. Wherever there was a house rig, he would also utilise elements of that.

Byars explains that he and crew mate Steve Clements initially decided that the most original and spontaneous approach for a tour of this nature, with unpredictable spaces and circumstances, was to take enough bits to be able to make it up as they went along! That way, as opposed to having a pre-ordained physical structure, they could fit the gear into the venues, maximising each one accordingly. Byars running his own Avolites Diamond 3 controlled all lighting instruments.

Byars has worked with Entec many times in the past and comments, "They are the best company with the best attitudes I've encountered. Every detail and element is equally important and you get a highly personal touch."

Aesthetically, apart from having to think small and compact, he wanted to keep it relatively moody overall, spooky in places, and rich in saturated colours. Lights were beamed through the band from the rear, and light-sources were also arranged around a central upstage projection area, which showed visuals throughout the show.

The video content was produced by Matt Squire (John's brother), and included animations of some of Squire's own art. The video content also gave Byars a starting point for the overall visuality, and informed how he thought different numbers should be lit. XL Video supplied the hardware and Entec freelancer Simon Howarth (Boff) took care of the equipment as well as being responsible for the dimmers and lighting technology.

Entec supplied the projection surface, white sharkstooth gauze with a black sharktooth in front. They elected to use this method rather than screens because there were no guarantees of available space for projection each night.

Dawson's overall aim was to produce a loud, clear and as natural as possible sound. He used Summit compressors on Squire's vocals and dbx160s on the BVs, Drawmer gates and some basic effects - a couple of reverbs and a delay. He comments that Squire's vocal has developed enormously even during the course of the tour, as his confidence has grown, and he sings out with gusto at every show.

It was the first time Dawson has used a d&b system, and he's very impressed with the output, clarity and it's small size, and equally with the babysitting services provided by Entec's ever-efficient Tristan Johnson!

Monitor engineer Graham Blake took a break from a pop-tastic 2002, and jumped at the chance of doing a 'back 2 basics' club tour, his first for many years. "It's totally different from arenas, a great challenge and lots of fun" he emphasises.