L-Acoustics and the live evolution of Mitski

Nashville-based Worley Sound has achieved L-Acoustics Certified Provider (CPr) status, immediately putting its new designation to work on Mitski’s expanded North American tour, Headliner discovers…

The critically acclaimed singer-songwriter’s latest outing, initially set to conclude in April, grew to include a second leg of dates in August and September, featuring larger venues such as a three-night stand at Merriweather Post Pavilion, Morrison, Colorado’s Red Rocks Amphitheatre, Portland’s Moda Center, two nights at Berkeley’s Greek Theatre, and concluding at L.A.’s Hollywood Bowl. This expansion demanded a shift from relying on house PAs to carrying a dedicated system, leading to the deployment of a comprehensive L-Acoustics K Series package powered by the new LA7.16 amplified controllers, giving the tour a newly expanded fidelity in these venues of up to 20,000-capacity.

The tour’s growth mirrors Mitski’s rising popularity and the increasing scale of her performances.

“For the first leg of the tour, we were reliant on house PAs, which, despite the inconsistency, tends to be a good way to test drive systems,” explains FOH engineer Patrick Scott, who has been with Mitski since the spring of 2022. “For the first few months, we used just about anything you can put sound through. For the current run, we knew it was time to carry our own PA.”

The decision to partner with Worley Sound and utilize the L-Acoustics K Series came after careful consideration of the tour’s evolving needs. Scott continues “Through prior experience and conversations with Worley, we decided on K Series. The main reason people come to these shows is their connection with Mitski. With this system, we’re getting that intimacy and clarity while still having the space in the sound field to show off the arrangements and subtleties of the musicians.”

The system consists of 32 K2 for mains, 24 K3 for out-fills, and a quantity of Kara II paired with 16 K1-SB and 16 KS28 subs, plus eight A10 front-fills and four A15 stage side-fills. Notably, this marks the first tour to travel with a K Series system driven completely by LA7.16. Subs are driven by LA12X amplified controllers. Two P1 processors and an LC16D drive all the controllers in a redundant Milan-AVB network, with analog as the fallback system. Utilizing the M1 measurement suit capabilities of P1 allows system engineer Eric Rogers to quickly and effectively time and tune the room.

Rogers, who has also recently been out with ODESZA and Bon Iver, elaborates on the system’s capabilities: “The single box resolution of K Series driven by LA7.16 allows us incredible gains in precision for the SPL target spanning our listening audience. With the high resolution and implementation of the latest auto-filters, the definition in the LF response of the array from top to bottom is quite impressive.”

According to Scott, the versatility of the L-Acoustics system has proven crucial for accommodating the tour’s diverse venue requirements. “This system scales rather nicely,” he notes. “Not only can it scale in size, but we’re also drastically changing acoustic environments from theaters to arenas to sheds, and the system works well in all of these configurations.”

Monitor engineer Ashoka Kanungo, while not directly in front of the PA each night, appreciates the consistency the new system brings to the tour, with the K1-SB flown behind the K2 to control LF energy.

“It’s been very helpful having the same system show-to-show,” she shares. “When we weren’t carrying PA, I was constantly battling the different sub configurations—there were a lot of center-flown subs—and that impacted the band’s experience onstage. It’s been so much easier having the same setup and Eric as our SE to help with that.”

For Mitski’s production manager, Nick Hardy, the choice of Worley Sound as their provider was equally important in supporting the tour’s growth. “At the end of 2023, Patrick and I were having conversations and getting audio bids from most of the major players,” says Hardy. “A colleague had great things to say about Tom (Worley) and his approach to audio and business. In our first conversations with Tom, we knew that we wanted to work with Worley. His wealth of knowledge and attention to detail are impeccable.”

Tom Worley, CEO of Worley Sound, sees the investment in L-Acoustics as a strategic move for his company’s growth. “Having focused primarily on bespoke control packages for the last three years we felt the demand to deliver a full-service audio offering without having to rely on sub-hiring. Adding the K Series system to our inventory not only allows us to compete in a larger market, but also gives us the ability to nurture our clients on a similar growth trajectory. We are delighted to be an L-Acoustics CPr. This strengthens our long relationship with L-Acoustics and reinforces our network in North America and globally.”

Backed by seven musicians playing a variety of instruments, Mitski presents a multi-faceted show, but from Scott’s perspective, it is largely about dynamics.

“There are pin-drop-quiet moments, big anthemic parts, and most stops in between,” he notes. “L-Acoustics’ K Series isreally good at transitioning from one dynamic moment to the next and showcasing the detail in each. There is clarity, and a very specific smoothness as well. This tonality is incredibly sympathetic to the approach of the production in the sense that feels timeless rather than overhyped and crispy.”

As Mitski continues to perform to larger audiences, the partnership between Worley Sound and L-Acoustics aims to ensure that her shows are delivered with the ‘clarity, power, and nuance they deserve’, marking a new chapter in her touring career.

Lead photo Lexie Alley