Tina Turner Twenty Four Seven Concert World Tour 2000 00

Tina had a whole lot of very strong ideas for her twenty-four seven concerts. She wanted the band to be on a multi-level structure connected by ramps and stairs. She wanted to get out over the audience once again. It's been a recurrent theme with her, from the first 'Giant Claw' built by Peter Kemp to a design by Mark Fisher and Jonathan Park for the 1989 'foreign affair' tour, to the truck that thrust out into the audience on the 1996 'Goldeneye' tour. She wanted intimate moments with a piano, and big, dramatic moments downstage with her dancers. In the end she got it all.

The band were housed at the back of the 24/7 stage in a two level structure with flying staircases and cantilevered ramps. Upstage, over, and downstage of the band structure was a system of four-axis tracking video screens (originally built for Janet Jackson's "The Velvet Rope" tour). The screens could move behind the band structure, silhouetting the performers, hang in the air above them, or move downstage to sit on the deck behind the grand piano. For the start of 'Proud Mary' the whole band structure split apart in a blaze of pyro to reveal the video screen as a mass of flames. Then the screen split apart to reveal Tina and her dancers shimmying down a 6m (20ft) ramp that rose up out of the stage. For 'We Don't Need Another Hero' Tina rode a flying horseshoe down from the highest point of the band structure. As a finale, the claw, an 18m(60ft) cantilevered arm (with six tonnes of lead counterweight) that had been buried cross-wise in the stage, rose up and swung out over the audience. It tracked from side to side of the stage on a concealed track, allowing Tina to swing right up into the stands at the sides of the arena.