0:00:02 > 0:00:05RADIO CHATTER: 'Five star 666 clear to land runway 04,
0:00:05 > 0:00:07'surface end 1007 knots.'
0:00:07 > 0:00:09'Five star 666.'
0:00:10 > 0:00:11'I have a check list.'
0:00:43 > 0:00:45It was my idea, basically.
0:00:45 > 0:00:47It went back to something I did
0:00:47 > 0:00:49for an album called Skunkworks,
0:00:49 > 0:00:51one of my solo albums,
0:00:51 > 0:00:54when we actually took a very much smaller aeroplane
0:00:54 > 0:00:57with little propellers on it, little piston engines on it,
0:00:57 > 0:01:01and we went and bashed our way around the US,
0:01:01 > 0:01:05and I thought, "Wow, why couldn't you do this on a bigger scale?"
0:01:05 > 0:01:07And I think his real purpose in coming up with the idea
0:01:07 > 0:01:12is so he got two wages, one to be a singer and one to be a pilot.
0:01:45 > 0:01:48We were asked to go to Australia in '08
0:01:48 > 0:01:50and we hadn't been there for a long time.
0:01:50 > 0:01:52We also wanted to go to South America.
0:01:52 > 0:01:55So if you think about doing Australia
0:01:55 > 0:01:56and maybe somewhere on the way,
0:01:56 > 0:02:00and then around South America by scheduled airlines nowadays,
0:02:00 > 0:02:02with all the security precautions and everything else,
0:02:02 > 0:02:06and the way it's very hard to link up the freight
0:02:06 > 0:02:09and the flights efficiently,
0:02:09 > 0:02:11then it just seemed to be a good idea
0:02:11 > 0:02:13to see if there's some way of doing it.
0:02:27 > 0:02:30So I offered up this idea of an aeroplane, and I thought,
0:02:30 > 0:02:34"Can we get enough gear in the holds to make it viable?"
0:02:34 > 0:02:37And it became pretty clear that we couldn't.
0:02:37 > 0:02:39I said, "OK, why can't we use the back end of the aeroplane?"
0:02:39 > 0:02:43"Take the seats out and put a big cargo net in?"
0:02:43 > 0:02:47The idea of the splitted bus in the air just seemed to be ideal
0:02:47 > 0:02:50if it could be done, and so we went to quite immense
0:02:50 > 0:02:54logistics and bureaucracy to get it done.
0:03:04 > 0:03:06The main thing that has completely changed
0:03:06 > 0:03:10the dynamic of our regular touring with Iron Maiden is the fact
0:03:10 > 0:03:12that we're flying everywhere on Ed Force One.
0:03:12 > 0:03:16Working out the logistics of once we get to the country,
0:03:16 > 0:03:19how we get into the venues, how we get into the hotels,
0:03:19 > 0:03:22and all of that is all planned in advance, as well,
0:03:22 > 0:03:23which Steve Gadd does for me.
0:03:23 > 0:03:27From the minute we land, you get away from the airport
0:03:27 > 0:03:30where there's up to 1,000 people there watching the plane coming in,
0:03:30 > 0:03:33and you think you're out of dodge, but you're not,
0:03:33 > 0:03:35because you get to the hotel and there's 500 people
0:03:35 > 0:03:36camped out for a couple of days.
0:03:36 > 0:03:39Iron Maiden! Iron Maiden!
0:03:39 > 0:03:41I think the thing that keeps everybody awake at night
0:03:41 > 0:03:44is thinking of what you haven't done,
0:03:44 > 0:03:47because the band have been around for so long, but also because of
0:03:47 > 0:03:50the changes in the industry, there's a phenomenal amount of detail.
0:03:52 > 0:03:55We're obviously covering some territories we've never been to,
0:03:55 > 0:03:58so there's been interesting challenges in terms of
0:03:58 > 0:04:00going to Korea and those Pacific Rim countries
0:04:00 > 0:04:02that we've never been to before.
0:04:02 > 0:04:05Everything around the plane is complicated.
0:04:05 > 0:04:08You don't actually just get a 757 and put your gear on and fly off.
0:04:08 > 0:04:12It's all advance work.
0:04:12 > 0:04:16The plane dictates what you can take, nothing else dictates it.
0:04:22 > 0:04:23Well, here we are on Ed Force One.
0:04:23 > 0:04:27In what would normally be 60 passengers
0:04:27 > 0:04:29sitting in this compartment space.
0:04:29 > 0:04:32The only restriction we have, really, is that everything
0:04:32 > 0:04:35has to be able to fit through the main doors.
0:04:35 > 0:04:38As long as it'll go through here, it'll go on board the aircraft.
0:04:40 > 0:04:45We'll probably get a heads up of maybe a year, nine months,
0:04:45 > 0:04:47something like that, as to the tour's happening,
0:04:47 > 0:04:51and then we'll go and have a meeting with Rod and he'll give us
0:04:51 > 0:04:54maybe an album name or just a gem of an idea which we'll then
0:04:54 > 0:04:57go away with and come up with some designs for the set.
0:04:57 > 0:05:02Hangman will send us initial drawings of what it's going to look like,
0:05:02 > 0:05:05we'll move that on a bit until we're all happy, then they'll do
0:05:05 > 0:05:09a model, and then we'll sign it off and we'll start building it.
0:05:10 > 0:05:12The rest of it looks great,
0:05:12 > 0:05:15but it just needs to really stand out when he does it. He's very flat.
0:05:15 > 0:05:16It's very flat lighting...
0:05:16 > 0:05:19It's always the same, I don't know why, but no matter how much time
0:05:19 > 0:05:21you have on these things, it always seems to end up
0:05:21 > 0:05:23that we haven't got any time at the end of it!
0:05:23 > 0:05:25MUSIC: "Brave New World" by Iron Maiden
0:05:25 > 0:05:27# Wilderness
0:05:27 > 0:05:29# House of pain
0:05:29 > 0:05:34# Makes no sense of it all. #
0:05:34 > 0:05:36We're in Paris, in a rehearsal room,
0:05:36 > 0:05:39and we've just finished rehearsal for the day.
0:05:39 > 0:05:42We've got one more rehearsal before we head off on the Final Frontier.
0:05:46 > 0:05:48We circulate a copy of the set between us
0:05:48 > 0:05:51a couple of weeks before we actually get to the rehearsal.
0:05:51 > 0:05:54You know you're going to be playing Hallowed Be Thy Name,
0:05:54 > 0:05:57you know you're going to be playing Iron Maiden,
0:05:57 > 0:05:59so it was just working in a couple of the new songs, really.
0:06:03 > 0:06:06Yeah, been rehearsing for
0:06:06 > 0:06:08just over a week and a half now,
0:06:08 > 0:06:12and we've got one more tomorrow, one more run through,
0:06:12 > 0:06:16and the new songs we're doing off the new album sounded really good.
0:06:16 > 0:06:20And yeah, we're all excited to be... Off we go, you know.
0:06:20 > 0:06:24We're feeling pretty confident, a little tentative on a few little bits here and there,
0:06:24 > 0:06:27but, I mean, that's always the way, and I think, really, it'll take
0:06:27 > 0:06:30a couple of gigs before we really settle down.
0:06:30 > 0:06:32The first one will be nervy, as usual.
0:06:32 > 0:06:34We can rehearse till the cows come home,
0:06:34 > 0:06:36but it's only when you get on stage, that first night,
0:06:36 > 0:06:40and then everything falls into place.
0:06:40 > 0:06:42You find once you get out there, it's good fun, and, you know,
0:06:42 > 0:06:45you get in front of the audience and connect with the audience again
0:06:45 > 0:06:47and you realise why you do it.
0:06:47 > 0:06:49But when you're rehearsing in an empty room
0:06:49 > 0:06:51you sometimes wonder why you do it!
0:06:52 > 0:06:55Because this band just feeds off an audience,
0:06:55 > 0:06:58and it's, you know, that's where it comes alive.
0:07:26 > 0:07:27Right.
0:07:29 > 0:07:30Morning.
0:07:30 > 0:07:31Dreadful, isn't it?
0:07:36 > 0:07:41Well, here we are, on the Embankment on our way to Stansted.
0:07:44 > 0:07:46We're in civvies at the moment.
0:07:46 > 0:07:50Uniform's in the back, so I shall be finding a phone booth
0:07:50 > 0:07:54and having a convenient change of clothes.
0:07:54 > 0:07:55You'll believe a man can fly.
0:07:57 > 0:08:01So we'll be on our way to Moscow shortly,
0:08:01 > 0:08:04which I expect will be cold.
0:08:07 > 0:08:10Normally marked to go in the front hold.
0:08:10 > 0:08:13As and when I start packing it. It's a bit of a Tardis.
0:08:13 > 0:08:16This is such a unique aircraft
0:08:16 > 0:08:19and it's such a unique way of touring around the world.
0:08:19 > 0:08:23Loading it, on average, anywhere between four to five hours.
0:08:24 > 0:08:27I have worked with lots of other bands, and A list bands,
0:08:27 > 0:08:31and I don't know of another act who would take this risk
0:08:31 > 0:08:34and would downsize their equipment to such a level.
0:08:34 > 0:08:36It's a high risk strategy in terms of the people,
0:08:36 > 0:08:38the aircraft, the crew, you know,
0:08:38 > 0:08:42everything has to slot into place, and it's a big wheel.
0:08:42 > 0:08:44I'm just one small cog of that.
0:08:47 > 0:08:51In terms of flying, the most stressful things about flying
0:08:51 > 0:08:55on this particular tour are actually really not to do
0:08:55 > 0:08:58with the actual flying bits of it,
0:08:58 > 0:09:00they're to do with the administrative bits of it.
0:09:00 > 0:09:05Because so much of planning a tour like this
0:09:05 > 0:09:10is down to the advent of it. There's no real slack in any of it.
0:09:10 > 0:09:13It's not like, "Oh, we can come back tomorrow and get it to work."
0:09:13 > 0:09:15It's got to happen exactly on those days,
0:09:15 > 0:09:17and it's got to happen like clockwork.
0:09:17 > 0:09:20MUSIC: "The Final Frontier" by Iron Maiden
0:09:20 > 0:09:22# The Final Frontier
0:09:22 > 0:09:25# The Final Frontier
0:09:26 > 0:09:29# The Final Frontier
0:09:29 > 0:09:32# The Final Frontier
0:09:32 > 0:09:36# The Final Frontier
0:09:36 > 0:09:39# The Final Frontier
0:09:39 > 0:09:43# The Final Frontier
0:09:43 > 0:09:47# The Final Frontier. #
0:10:05 > 0:10:12AEROPLANE INSTRUMENTS: 50, 40, 30, 20, ten.
0:10:18 > 0:10:21We're in Moscow, and it's snowing, and it's cold.
0:10:24 > 0:10:26It's snowing and it's getting colder.
0:10:26 > 0:10:28Tomorrow will be much colder, unfortunately.
0:10:30 > 0:10:33You'll never guess where I am.
0:10:33 > 0:10:35Three degrees difference, 15, 18 degrees who cares?
0:10:35 > 0:10:39It's bloody freezing! But look at this, what an amazing place.
0:10:39 > 0:10:42The first place on the tour. What can I say?
0:10:42 > 0:10:43Nastravya!
0:10:53 > 0:10:56How far did you come? How many miles?
0:10:56 > 0:10:59Oh it's eight, nine hours, especially for this concert,
0:10:59 > 0:11:02especially to meet him and special for Iron Maiden,
0:11:02 > 0:11:03Iron Maiden are the best.
0:11:03 > 0:11:07CHEERING
0:11:08 > 0:11:12The fans have been brilliant. They've been waiting outside in the cold, God knows how they do it.
0:11:12 > 0:11:15We're standing here since nine o'clock in the morning.
0:11:20 > 0:11:25This is it, it's the old Olympic arena, which is a massive building.
0:11:25 > 0:11:29Absolutely freezing outside, minus 20 degrees,
0:11:29 > 0:11:32so the doors have just opened out there
0:11:32 > 0:11:35and some rather cold fans will start coming into here,
0:11:35 > 0:11:36but I'm sure we'll warm them up!
0:11:36 > 0:11:40It's good to get these tours rolling, you know?
0:11:40 > 0:11:43We've been planning it for months and months and months, of course,
0:11:43 > 0:11:45and it's great to finally get everyone out on the road.
0:11:51 > 0:11:54So, as you just saw, we had a little run through,
0:11:54 > 0:11:55a little demo version of the intro,
0:11:55 > 0:11:58going through a few ideas with Steve and Bruce
0:11:58 > 0:12:00and the rest of the guys there.
0:12:00 > 0:12:03I think we've got a little concept. Now we're going to put those ideas
0:12:03 > 0:12:05into some kind of comprehensive queue stack,
0:12:05 > 0:12:08so I'm not spinning plates tomorrow night.
0:12:08 > 0:12:11We've got about 80-odd moving lights,
0:12:11 > 0:12:14sort of split evenly between washes and spots.
0:12:14 > 0:12:18We've also got some of these great big wash lights with the LED rings.
0:12:18 > 0:12:19They're show beams, they're really...
0:12:19 > 0:12:22Got two and half K bulb in them, they're pretty punchy.
0:12:22 > 0:12:25We've got nice little LED strips around the chevrons that highlight
0:12:25 > 0:12:28the shapes of the truss, and we've got a good few hundred PAR cans
0:12:28 > 0:12:31thrown in just for good measure, just to beef up the whole thing.
0:12:31 > 0:12:35Not to mention all our audience crowd blinders and follow spots.
0:12:35 > 0:12:38We don't bring anything, we just bring a lighting desk, that's it.
0:12:38 > 0:12:41All I've got is my lighting desk and these truss borders,
0:12:41 > 0:12:44Every single nut, bolt, bulb, cable, is all supplied locally.
0:12:44 > 0:12:46I have to advance all this stuff,
0:12:46 > 0:12:50you know, a series of diagrams and equipment lists and everything,
0:12:50 > 0:12:543D renderings and everything else you can think of, with about 30 individual lighting companies,
0:12:54 > 0:12:57who all then kind of give me their interpretation of what I've asked,
0:12:57 > 0:13:01and then we have to fine tune it and end up with something resembling this every day.
0:13:01 > 0:13:03MUSIC: "Two Minutes To Midnight" by Iron Maiden
0:13:03 > 0:13:06# Two minutes to midnight
0:13:06 > 0:13:08# To kill the unborn in the womb. #
0:13:08 > 0:13:11One of the hardest things is no matter how much effort
0:13:11 > 0:13:13we put into all this and all the care and attention we put in,
0:13:13 > 0:13:17a big part of the show is a follow spot, and we're putting it
0:13:17 > 0:13:18in the hands of people I've never met before
0:13:18 > 0:13:20who don't really speak English,
0:13:20 > 0:13:22they definitely haven't seen Iron Maiden before.
0:13:22 > 0:13:26Upstairs.
0:13:28 > 0:13:31I can do it in French, Portuguese, Spanish and German
0:13:31 > 0:13:34which has helped a hell of a lot,
0:13:34 > 0:13:37but my Russian and South Korean left a little to be..!
0:13:40 > 0:13:43This has become a pretty busy part of the show now, right?
0:13:43 > 0:13:46Jesus. Getting stressed.
0:13:46 > 0:13:48Getting stressed, Nick!
0:13:50 > 0:13:52MUSIC: "El Dorado" by Iron Maiden
0:13:52 > 0:13:53# El Dorado, come and play
0:13:53 > 0:13:56# El Dorado, step this way
0:13:56 > 0:13:59# Take a ticket for the ride
0:14:00 > 0:14:03# El Dorado, streets of gold
0:14:03 > 0:14:06# See the ship, it's oversold
0:14:06 > 0:14:10# You've got one last chance To try. #
0:14:15 > 0:14:18Get the promoter to come and tell these three security guys
0:14:18 > 0:14:21that we've got to open these doors to get our stuff out.
0:14:23 > 0:14:25One of the most important things to remember
0:14:25 > 0:14:27whenever you're doing a load out,
0:14:27 > 0:14:30especially somewhere like Moscow, at one o'clock in the morning
0:14:30 > 0:14:33at about minus 18, is to make sure you're wearing some long trousers.
0:14:35 > 0:14:38What I do want to do is make sure that the gear,
0:14:38 > 0:14:41that everyone's responsible to their gear,
0:14:41 > 0:14:44so if each department dedicates one person that,
0:14:44 > 0:14:47until that gear's locked up in the back of the truck...
0:14:47 > 0:14:49I mean, putting it to the dark
0:14:49 > 0:14:51or handing it off to Bill the stage hand isn't good enough.
0:14:51 > 0:14:53I want eyes on that gear till it's locked,
0:14:53 > 0:14:56because, as you know, like the last tour...
0:14:56 > 0:14:58Needs to go down town, boys.
0:14:58 > 0:15:01And what else am I worried about?
0:15:01 > 0:15:03Jakarta, Jakarta's going to be...
0:15:03 > 0:15:05Is probably, as you're all fully aware,
0:15:05 > 0:15:08is the show that we're having the most trouble with at the moment,
0:15:08 > 0:15:10and that's because at the moment, we don't have a show.
0:15:10 > 0:15:13MUSIC: "Mother Russia" by Iron Maiden
0:15:13 > 0:15:15# Mother Russia Dance of the tsars
0:15:15 > 0:15:18# Hold up your heads Be proud of what you are
0:15:18 > 0:15:20# Now it has come Freedom at last
0:15:20 > 0:15:22# Turning the tides of history And your past. #
0:15:32 > 0:15:36So, here we have show two on the Iron Maiden Around The World Tour.
0:15:36 > 0:15:39Last night at nine o'clock, they tore down Eric Clapton
0:15:39 > 0:15:41and began to build our show.
0:15:43 > 0:15:45And I came down a few months ago and did a site visit,
0:15:45 > 0:15:48had a quick look around the venue, met the sound company,
0:15:48 > 0:15:51went through all the monitor rig with them,
0:15:51 > 0:15:54because they were offering me something I hadn't used before,
0:15:54 > 0:15:56so I wanted to listen to it.
0:15:56 > 0:15:58So I came down, had a day out here which is nice,
0:15:58 > 0:16:00and had a listen to the gear, which was fine.
0:16:00 > 0:16:04Basically, carry Bruce's wedges, and we carry the drum fill,
0:16:04 > 0:16:08we carry the desks, and everything that connects the desks together,
0:16:08 > 0:16:11and then the local companies supply us the stacks, basically,
0:16:11 > 0:16:14amplifiers and speakers,
0:16:14 > 0:16:17and we have a list of what we like to use, we send that out,
0:16:17 > 0:16:20they send us a list back saying, "We don't have this,
0:16:20 > 0:16:23"We have that system, we don't have that system",
0:16:23 > 0:16:26and this just goes backwards and forwards and backwards and forwards
0:16:26 > 0:16:28till we get to a point where everybody's happy.
0:16:28 > 0:16:30Then we turn up on the day and hopefully they turn up
0:16:30 > 0:16:33with the same gear they've told us they're going to bring us.
0:16:33 > 0:16:35So we're going into a venue every day
0:16:35 > 0:16:38using a completely different system, and we've just got to make it work
0:16:38 > 0:16:41and make it work so the band are happy on stage.
0:16:50 > 0:16:53Well with any luck, if we get all this right, you know,
0:16:53 > 0:16:56plugged on a daily basis, turns on and fires up, no problems,
0:16:56 > 0:16:58but that's the importance of the prep.
0:16:58 > 0:17:00Most of it's all about the prep work.
0:17:01 > 0:17:05We supply the sound equipment that Iron Maiden use
0:17:05 > 0:17:06when they go on tour.
0:17:06 > 0:17:10There are discussions as to what's logistically possible
0:17:10 > 0:17:14as far as sound is concerned, moving the systems.
0:17:14 > 0:17:16Usually, once we've done all this in the warehouse, it works,
0:17:16 > 0:17:19and it's very rare we have to mess with anything.
0:17:19 > 0:17:25Obviously, we do get things go down, mics go off, mic cables go down,
0:17:25 > 0:17:28channels on the multi-pins pack up, and you just deal with it.
0:17:28 > 0:17:32Basically, I look after the whole stage end of the show,
0:17:32 > 0:17:35so if anything goes down, it's down to me to be able to fix it.
0:17:35 > 0:17:38This is my world and everybody else keeps out of it.
0:17:38 > 0:17:40MUSIC: "Fear Of The Dark" by Iron Maiden
0:17:40 > 0:17:42# Fear of the dark Fear of the dark
0:17:42 > 0:17:44# I have a constant fear
0:17:44 > 0:17:46# That something's always near
0:17:47 > 0:17:49# Fear of the dark
0:17:49 > 0:17:51# Fear of the dark
0:17:53 > 0:17:54# I have a phobia
0:17:54 > 0:17:57# That someone's always there. #
0:17:58 > 0:18:01After today, we're going to fly to Indonesia, Jakarta,
0:18:01 > 0:18:04and, in fact, probably the first time
0:18:04 > 0:18:07that a production of this size and a band of this size
0:18:07 > 0:18:09have actually played there in a long time,
0:18:09 > 0:18:11and that has been a challenging show,
0:18:11 > 0:18:13and we're going to have to make the show work.
0:18:13 > 0:18:15Bali's a small venue.
0:18:15 > 0:18:18At the moment, they don't have enough PA on the island
0:18:18 > 0:18:21to actually fulfil our requirements.
0:18:21 > 0:18:24So at the moment, they're looking for more PA,
0:18:24 > 0:18:27and we really won't know how good that PA is
0:18:27 > 0:18:29until we actually get there, plug it in
0:18:29 > 0:18:31and make some noise through it.
0:18:32 > 0:18:34We've had a lot of problems up front.
0:18:34 > 0:18:36I didn't actually decide finally
0:18:36 > 0:18:38until about two days before we were due to arrive there
0:18:38 > 0:18:39that we were going to go.
0:18:39 > 0:18:43Dickie had to go out from Moscow early to try to put a crew together.
0:18:43 > 0:18:46He had to get a new production manager, almost start from scratch.
0:18:46 > 0:18:49I mean, I had a sleepless night about three nights before,
0:18:49 > 0:18:51wondering, "Are we going to do this or not?"
0:18:59 > 0:19:02Iron Maiden, welcome to Jakarta, yeah!
0:19:04 > 0:19:08We're from Indonesia. We love you! Up the Iron!
0:19:08 > 0:19:14FANS SHOUT AND CHANT
0:19:14 > 0:19:18We're waiting for Iron Maiden to come here almost 20 years!
0:19:27 > 0:19:31All my friends in Indonesia, they come from every single city,
0:19:31 > 0:19:32from different directions.
0:19:32 > 0:19:35They finally found their idol here.
0:19:37 > 0:19:39They forget their religion, they forget their skin,
0:19:39 > 0:19:40they forget everything,
0:19:40 > 0:19:44they just want to hear and sing Iron Maiden songs.
0:19:44 > 0:19:46You wouldn't call this our normal stage.
0:19:46 > 0:19:50This is the show we've had a lot of trouble getting together.
0:19:50 > 0:19:52Really nice people who haven't done many shows here.
0:19:52 > 0:19:57This stage is made up of all sorts of different steel,
0:19:57 > 0:20:01towers and trusses, and there's, like, loads of it back here,
0:20:01 > 0:20:03that's all rusty, it's all a little bit bent.
0:20:03 > 0:20:06This stage has got a hell of a slope on it!
0:20:07 > 0:20:09We spent two months asking them
0:20:09 > 0:20:13if there's any layer scaffolding available, they told me there wasn't.
0:20:13 > 0:20:17This is the first thing I found when I walked into the building!
0:20:17 > 0:20:18Loads of it.
0:20:18 > 0:20:20That's the show power right there, the whole lot.
0:20:26 > 0:20:29Don't fall into that, that's all live.
0:20:29 > 0:20:31That whole thing is live, you know?
0:20:31 > 0:20:36Obviously, what we're used to is a door that's closed, when you open it,
0:20:36 > 0:20:39it disconnects everything and makes it safe.
0:20:39 > 0:20:42This is completely live. The whole lot.
0:20:42 > 0:20:45And if it rains, it's going to be getting wet.
0:20:45 > 0:20:47Standard procedure, there's a bomb dog.
0:20:47 > 0:20:50We're going to go ahead and check the production office for bombs,
0:20:50 > 0:20:52and we're doing it all over the venue.
0:20:52 > 0:20:55And it's serious, you know, it's a serious threat.
0:21:00 > 0:21:03So there we go, the dressing rooms are safe
0:21:03 > 0:21:05and we didn't find any bombs in there.
0:21:05 > 0:21:06Which is nice to know!
0:21:06 > 0:21:11Some tours go dead easy, some go a little bit awry,
0:21:11 > 0:21:16and as you know, in Indonesia, there were a few hiccups there.
0:21:16 > 0:21:18What have you got in here?
0:21:18 > 0:21:19Oh, my God.
0:21:19 > 0:21:23This isn't the same as the photograph that we sent you.
0:21:23 > 0:21:26What was very heartening for me was, I talked to Dickie,
0:21:26 > 0:21:29and a couple of days before, he's getting all very defensive
0:21:29 > 0:21:31about the production crew there, saying
0:21:31 > 0:21:33"Well, they're really nice people,
0:21:33 > 0:21:37"the most wonderful people, and they're trying really hard."
0:21:40 > 0:21:43From, really, this nightmare scenario three days before,
0:21:43 > 0:21:46then it ended out to be a pretty cracking show.
0:21:46 > 0:21:47Is it safe?
0:21:47 > 0:21:49It's nice, Jakarta is.
0:21:49 > 0:21:51I haven't been out much, due to the fact someone said
0:21:51 > 0:21:53I might get kidnapped!
0:21:53 > 0:21:55MUSIC: 2 Minutes To Midnight by Iron Maiden
0:21:55 > 0:21:58# But don't you pray for my soul any more.
0:22:00 > 0:22:04# Two minutes to midnight
0:22:05 > 0:22:10# The hands that threaten doom. #
0:22:16 > 0:22:19Playing in Bali was absolutely tremendous,
0:22:19 > 0:22:21and the feeling that they generated,
0:22:21 > 0:22:26they're a beautiful culture, beautiful nation of people there.
0:22:26 > 0:22:30So it really had a, kind of, spiritual feel about that show.
0:22:30 > 0:22:33It's definitely unusual here, we don't usually play quarries,
0:22:33 > 0:22:35but as you can see, we've got really high walls here,
0:22:35 > 0:22:38so it's actually like playing in a cardboard box without
0:22:38 > 0:22:42a roof on top of it, so what we've tried to do is aim the PA
0:22:42 > 0:22:44so that it doesn't bounce off the walls to much, because as
0:22:44 > 0:22:47you can see, what's going to happen, the sound hits that wall,
0:22:47 > 0:22:50it hits that wall, then it hits that wall, and then comes back at us.
0:22:52 > 0:22:56I've mixed the audio for Iron Maiden since December '79,
0:22:56 > 0:22:58For the public, I mix the out-front.
0:22:58 > 0:23:00They call it the front of house sound.
0:23:00 > 0:23:02I mix for what the audience hears.
0:23:02 > 0:23:05From here, I can make it sound real good,
0:23:05 > 0:23:08but I can't see what's happening up in that corner of the room
0:23:08 > 0:23:10or that part of the ballpark or whatever,
0:23:10 > 0:23:12so it's Mike's job to make sure that what I'm doing here
0:23:12 > 0:23:14gets to all the people.
0:23:14 > 0:23:16Expectations for sound these days are a lot higher.
0:23:16 > 0:23:18The sound systems are much, much better,
0:23:18 > 0:23:20and I think the audience,
0:23:20 > 0:23:23they listen to the sound all the time now on CDs.
0:23:23 > 0:23:25Ten, 15 years ago it was a different story.
0:23:25 > 0:23:27If you were sat at the back of one of these places,
0:23:27 > 0:23:29you didn't really expect to hear it quite so well.
0:23:29 > 0:23:32So here we have the actual main PA system.
0:23:32 > 0:23:34We have two hangs per side for this system,
0:23:34 > 0:23:38one covers the main front part of the audience, another hang
0:23:38 > 0:23:42exactly the same size covers the outer part of the audience.
0:23:42 > 0:23:44So we have four delay speakers. Now, where we're standing here,
0:23:44 > 0:23:48we're probably something like 80 to 90 metres from the PA.
0:23:48 > 0:23:51If you were seeing the band in a normal big arena, sports arena,
0:23:51 > 0:23:54you'd be at the very back at this position.
0:23:54 > 0:23:56If you look up to the back, here,
0:23:56 > 0:24:00we've probably got another 100 metres of throw to the very back.
0:24:00 > 0:24:03So what we do is we put in another set of speakers,
0:24:03 > 0:24:07we have two sets here that cover the very back of the arena,
0:24:07 > 0:24:09and then we have speakers at the side
0:24:09 > 0:24:12that will cover the very top sides of the arena.
0:24:19 > 0:24:22MUSIC: "Hallowed Be Thy Name"
0:24:26 > 0:24:28Seven shows in Australia, it's like a mini-tour.
0:24:28 > 0:24:31We've taken on an Aussie crew, got our own lighting crew,
0:24:31 > 0:24:33got our own sound crew,
0:24:33 > 0:24:37we've got our own trucks for the next seven shows, which is going to be really nice.
0:24:37 > 0:24:40It's going to be more like the regular touring
0:24:40 > 0:24:42that we do in the US and Europe.
0:24:42 > 0:24:44You know, we'll still be using the plane,
0:24:44 > 0:24:46the crew will be travelling on the plane,
0:24:46 > 0:24:48but all our equipment will be in the trucks.
0:24:48 > 0:24:51I'll tell you the biggest problem I have right now,
0:24:51 > 0:24:54is we're not putting equipment in the plane,
0:24:54 > 0:24:57so that means we all have to sit in the back of the plane
0:24:57 > 0:24:59for take off because there's not enough weight.
0:24:59 > 0:25:01That's my biggest logistical problem.
0:25:01 > 0:25:03I've got three 48-foot trucks,
0:25:03 > 0:25:06we carry our set in one and a half of them,
0:25:06 > 0:25:08we carry extra lighting in the other half,
0:25:08 > 0:25:10and then we carry our back line of monitors
0:25:10 > 0:25:12and front of house in the third one.
0:25:12 > 0:25:15It's pretty much a breeze to load in and out.
0:25:23 > 0:25:27We flew over our set, our rolling set,
0:25:27 > 0:25:32because we need to get out of the way on a festival situation,
0:25:32 > 0:25:34so other bands can play in front of us.
0:25:34 > 0:25:36As you can see we're having fun with our own stage set,
0:25:36 > 0:25:39for when we were back in Norfolk all those months ago,
0:25:39 > 0:25:42loading the sea container with the stage set.
0:25:42 > 0:25:44Well, this is it in Australia,
0:25:44 > 0:25:47and we're using this throughout this leg,
0:25:47 > 0:25:50and it saves people building one for us, which is very nice.
0:25:50 > 0:25:55It's so much easier. It has wheels, for a start!
0:25:55 > 0:25:58And all the back line can live in it,
0:25:58 > 0:26:00all the cabs and all the decorations,
0:26:00 > 0:26:03everything can all live in there.
0:26:04 > 0:26:09Getting in here early so we can get the set here
0:26:09 > 0:26:12and work out how it's all going to fit in with everyone else.
0:26:12 > 0:26:14We've got Sydney Festival tomorrow,
0:26:14 > 0:26:17we don't get there till two o'clock in the afternoon,
0:26:17 > 0:26:20the doors are already open, the show's already started,
0:26:20 > 0:26:24so we need to build our set behind a black drop, and it's just Bill's job
0:26:24 > 0:26:28and the local stage manager, Dougal's, to keep it organised,
0:26:28 > 0:26:33because really, really quickly it could turn into a complete cluster.
0:26:35 > 0:26:37A festival's a festival at the end of the day,
0:26:37 > 0:26:40it's one of those days where you do so much
0:26:40 > 0:26:42and you have to wait for all the bands to get off stage
0:26:42 > 0:26:45and then you hope that everything's working fine,
0:26:45 > 0:26:47because you haven't had that much time during the day
0:26:47 > 0:26:49because obviously you haven't had the stage.
0:26:49 > 0:26:51Because everybody else will be on there.
0:26:51 > 0:26:53You just hope that everything's working.
0:26:53 > 0:26:55We're trying to make some noise by six, so I've only got
0:26:55 > 0:26:57about an hour and ten minutes to get it all going for Doug.
0:26:57 > 0:27:01This whole aspect of the tour's been pretty elastic,
0:27:01 > 0:27:04doing, say, festivals, for example, you do a back-to-back festival,
0:27:04 > 0:27:06we might not get there until, I don't know,
0:27:06 > 0:27:0810:30, 11 in the morning, and the doors are at two.
0:27:08 > 0:27:11So it's like, panic, "What comes off the truck first?
0:27:11 > 0:27:14"Whatever it is, go ahead and set that up."
0:27:14 > 0:27:17It's not just about ourselves, there's a lot of other bands on,
0:27:17 > 0:27:19so it's going to be a real tough one,
0:27:19 > 0:27:21we could probably be here overnight tonight,
0:27:21 > 0:27:23just to get this stuff built, it's what we have to do.
0:27:25 > 0:27:28# As the guards march me out to the courtyard... #
0:27:28 > 0:27:32Just waiting for these lights to go up and then we'll bring the carts in
0:27:32 > 0:27:35and try to get the set built and as much as we can tonight.
0:27:35 > 0:27:37And now this is the fun part of festivals
0:27:37 > 0:27:40where we have to take certain bits of it apart
0:27:40 > 0:27:42and move it for the other bands to get on and off.
0:27:44 > 0:27:48Luckily, on this one, we're hoping we can leave the riser
0:27:48 > 0:27:49and the two back-line carts.
0:27:51 > 0:27:53The next problem is created because of this,
0:27:53 > 0:27:56because normally when we would roll these carts on, we'd have room here,
0:27:56 > 0:27:58but, obviously, today we haven't because of the structure,
0:27:58 > 0:28:00so where the guitar amps would live here,
0:28:00 > 0:28:03Sean Brady, as well, looks after Adrian Smith,
0:28:03 > 0:28:06that cart would come crashing straight through it.
0:28:06 > 0:28:08So we've got to make sure that we let everybody know, because
0:28:08 > 0:28:11they're going to build all their kit tomorrow while we're not here.
0:28:11 > 0:28:13That's the thing we do in festivals.
0:28:13 > 0:28:15Every day we have to change the plot,
0:28:15 > 0:28:17every day there's a new problem.
0:28:18 > 0:28:22Here we are at Soundwave, the first day, Brisbane, 47,500,
0:28:22 > 0:28:24sold out a while ago.
0:28:24 > 0:28:27A lot of great bands, we're going to play to a whole load of people
0:28:27 > 0:28:29we haven't played to before.
0:28:29 > 0:28:31We've only played Brisbane once in the last 20-odd years,
0:28:31 > 0:28:34that was last time, we did about 12,000 people,
0:28:34 > 0:28:37so there's got to be a big amount of travellers.
0:28:37 > 0:28:3930,000 haven't seen us before,
0:28:39 > 0:28:41so it's going to be interesting, it's going to be fun.
0:28:41 > 0:28:43It's always good to play to a new audience,
0:28:43 > 0:28:47because it makes them work hard to get them into the family. I'm expecting a good day.
0:28:47 > 0:28:51Always love playing Australia, the Soundwave festivals were fantastic.
0:28:51 > 0:28:53Back stage was really nice,
0:28:53 > 0:28:56and we had, you know, that guy turn up with the weird animals,
0:28:56 > 0:29:00and seeing other bands - its nice to do gigs with other bands,
0:29:00 > 0:29:03because we're normally quite isolated, we do our shows,
0:29:03 > 0:29:06we get our audience, which is great, but it's nice to get the energy.
0:29:06 > 0:29:09There's a different energy at those festivals.
0:29:10 > 0:29:13# Happy birthday, dear Adrian... #
0:29:13 > 0:29:14Thank you very much.
0:29:14 > 0:29:17# Happy birthday to you. #
0:29:17 > 0:29:21You're doing this just for the cameras, aren't you?!
0:29:21 > 0:29:22# And many more. #
0:29:22 > 0:29:24Woo-hoo!
0:29:24 > 0:29:26I've still got it mate, I've still got it!
0:29:26 > 0:29:28MUSIC: "Hallowed Be Thy Name"
0:29:28 > 0:29:29# Whoa
0:29:29 > 0:29:30# Whoa
0:29:30 > 0:29:32# Whoa
0:29:35 > 0:29:37# Whoa
0:29:37 > 0:29:41# Whoa. #
0:29:44 > 0:29:46We're going to have a late loading,
0:29:46 > 0:29:48so it's going to be a rush for us tomorrow,
0:29:48 > 0:29:49we just land straight for the gig
0:29:49 > 0:29:52and then if the trucks are there, load it in straight away.
0:29:52 > 0:29:56We're looking at about one o'clock, I believe.
0:29:56 > 0:29:57Come down.
0:29:57 > 0:30:00The chain hook has come out the top of the piece,
0:30:00 > 0:30:01there's no way of lifting this up,
0:30:01 > 0:30:03and we have to lift this up to dismantle it.
0:30:03 > 0:30:09Robin, put yourself in there, right? I'm going to send you up a rope.
0:30:09 > 0:30:11There's no physical structure down there,
0:30:11 > 0:30:13it's just the actual curtain side of the stage,
0:30:13 > 0:30:15and obviously working up there in the dark with no safety rails
0:30:15 > 0:30:19and stuff they've gotta stay clipped on to at least two points.
0:30:19 > 0:30:22If one of them guys falls... No rock and roll show's worth that,
0:30:22 > 0:30:26so it literally is that classic story of safety first, you know?
0:30:27 > 0:30:29Andy's just putting a rope across it now
0:30:29 > 0:30:31just so that we can keep the weight of the tower.
0:30:31 > 0:30:33The danger is with the chain that's on
0:30:33 > 0:30:35it could swing about 20 foot across the stage,
0:30:35 > 0:30:37hit some lights and bring the lights down on everybody,
0:30:37 > 0:30:41so it's slowly, slowly, catchy, monkey on this one, I'm afraid.
0:30:43 > 0:30:45Nobody got hurt, mate, most important thing,
0:30:45 > 0:30:48nothing else really matters today, Andy.
0:30:51 > 0:30:53Yeah, a serious pack up, this time.
0:30:53 > 0:30:57We have to trim down back to our fighting weight of 12 tons,
0:30:57 > 0:31:01so that means our rolling set has to be packed into a sea container
0:31:01 > 0:31:04to go forth to England for the summer tour,
0:31:04 > 0:31:06and then there's the normal stuff
0:31:06 > 0:31:09that goes into the back of Ed Force One,
0:31:09 > 0:31:12so it'll be a little bit longer load out and more breaking apart of things
0:31:12 > 0:31:16that normally we'd just throw right in the truck, use it the next day.
0:31:16 > 0:31:18My boys did an hour and 15 minute load out the last show,
0:31:18 > 0:31:19it was really, really good.
0:31:19 > 0:31:22Thank you and goodnight, Australia!
0:31:27 > 0:31:30February 9th we started this part of the tour,
0:31:30 > 0:31:33and today we're in Adelaide, it's the 6th March,
0:31:33 > 0:31:36and so far it's 18,000 shots.
0:31:36 > 0:31:39I'm averaging about 1,000 pictures per show,
0:31:39 > 0:31:43and then you've got all the shots that come outside of that
0:31:43 > 0:31:46with the plane, with the loadings and hotels and things like that.
0:31:46 > 0:31:48But at the moment it's 18,000.
0:31:48 > 0:31:51My job is to edit them down to the cream of the crop
0:31:51 > 0:31:53and they're the ones that go out.
0:31:53 > 0:31:57We're just about to take some nice portraits of the band
0:31:57 > 0:32:00in front of the plane, and you would think
0:32:00 > 0:32:02this sort of thing would be simple, but it isn't.
0:32:02 > 0:32:06It involves many people clearing runways and taxi ways,
0:32:06 > 0:32:09getting special permission to park the plane here
0:32:09 > 0:32:11so we haven't got a load of clutter behind it.
0:32:12 > 0:32:14And also we're getting the wind moved,
0:32:14 > 0:32:16so it's blowing in the other direction,
0:32:16 > 0:32:18so it'll be better for the pictures(!)
0:32:18 > 0:32:20If only that was true!
0:32:43 > 0:32:48We then headed to Japan, which was a really exciting time for us.
0:32:48 > 0:32:51We were going to do two shows in Tokyo,
0:32:51 > 0:32:54everyone was looking forward to the show so much,
0:32:54 > 0:32:56and certainly, from the advance point of view,
0:32:56 > 0:32:58everything had gone very smoothly
0:32:58 > 0:33:02and everything was in place for the two Tokyo shows.
0:33:02 > 0:33:09We were up in the air, about ten minutes away
0:33:09 > 0:33:12from landing at Tokyo, when they had a massive earthquake.
0:33:12 > 0:33:16BRUCE: 'We haven't any further details on the quake
0:33:16 > 0:33:19'at the moment, simply that obviously it's fairly serious,
0:33:19 > 0:33:23'the whole of the airports in the region are closed
0:33:23 > 0:33:26'and there is no determination
0:33:26 > 0:33:29'as to when they will be able to accept aircraft.'
0:33:29 > 0:33:31'Air traffic control, as you can imagine,
0:33:31 > 0:33:34'is under quite some stress at the moment.'
0:33:34 > 0:33:40'We have made a decision early to go to Nagoya,
0:33:40 > 0:33:43'where we will get on the ground and find out what the situation is,
0:33:43 > 0:33:45'put some more petrol on the aeroplane
0:33:45 > 0:33:50'and then see how we can resolve the situation.'
0:33:50 > 0:33:54We've landed now in Nagoya, a lot of airplanes are all diverting,
0:33:54 > 0:33:59it sounds very serious, there's an 8.8 magnitude quake,
0:33:59 > 0:34:02just north of Narita.
0:34:02 > 0:34:05We can't get hold of anyone in Tokyo,
0:34:05 > 0:34:07all the phone lines are down, all the cell...
0:34:07 > 0:34:08I got through to a landline
0:34:08 > 0:34:10but there was a recorded message in Japanese
0:34:10 > 0:34:12which, of course, I don't understand.
0:34:12 > 0:34:15If there's going to be a show, I think the sensible thing
0:34:15 > 0:34:19at the moment, for us, would probably be to leave the aeroplane here,
0:34:19 > 0:34:22truck the equipment in and out, if there's going to be a show.
0:34:22 > 0:34:26By the sounds of it, that's sounding increasingly unlikely.
0:34:26 > 0:34:29The show must go on,
0:34:29 > 0:34:32but we really don't know what's happening there at the moment.
0:34:32 > 0:34:35So it's a question of do we stay here?
0:34:35 > 0:34:39The airports are still closed, both airports are closed in Tokyo,
0:34:39 > 0:34:41so that means there's something relatively serious,
0:34:41 > 0:34:44and we'll figure it out.
0:34:44 > 0:34:47There's a rumour that there's a 20-metre tsunami.
0:34:47 > 0:34:50Now, how... As we said, we just don't know at the moment.
0:34:54 > 0:34:57So here we are, you know, it's the morning after,
0:34:57 > 0:35:01we're still having shakes and quakes and stuff going on, aftershocks,
0:35:01 > 0:35:02but we're in Nagoya, you know, safe.
0:35:02 > 0:35:05We're about to get back on our buses,
0:35:05 > 0:35:06we're going to head back to the aeroplane
0:35:06 > 0:35:08now that we have a game plan and a decision,
0:35:08 > 0:35:13and we're going to fly onto Mexico via Hawaii.
0:35:13 > 0:35:15- Griffin?- Hello.- Thank you.
0:35:15 > 0:35:18That morning, the first show was cancelled.
0:35:18 > 0:35:20It seemed fairly obvious as the news unfolded
0:35:20 > 0:35:22that the second show would be cancelled.
0:35:23 > 0:35:27In light of everything else, that's all pretty secondary.
0:35:27 > 0:35:29We just send our love and best wishes
0:35:29 > 0:35:32to all Japanese fans and Japanese people.
0:35:33 > 0:35:36CROWD: Maiden, Maiden, Maiden!
0:35:40 > 0:35:44Right, so here I am, just collecting the washing
0:35:44 > 0:35:48that I don't want to put in the dryer, just stuff that's air dried.
0:35:48 > 0:35:53This is my wardrobe room today, it's a bit dark and a bit messy.
0:35:53 > 0:35:58I just basically look after the band, as in stage clothes-wise,
0:35:58 > 0:36:00but if they ever need anything,
0:36:00 > 0:36:03I'm usually the one to run and fetch things if they need it.
0:36:03 > 0:36:07I'd describe this job as balancing six plates.
0:36:07 > 0:36:09So this is the lounge area.
0:36:09 > 0:36:12They've done a pretty good job today,
0:36:12 > 0:36:15it's always different every show.
0:36:15 > 0:36:18These are the drum heads, so I have a stash
0:36:18 > 0:36:20and put out three every show for Nicko to sign
0:36:20 > 0:36:22so that he can throw them at the end of the show.
0:36:28 > 0:36:30MUSIC: "Fear Of The Dark"
0:36:30 > 0:36:33# Sometimes when you're scared to take a look
0:36:33 > 0:36:34# At the corner of the room
0:36:34 > 0:36:38# You've sensed that something's watching you
0:36:38 > 0:36:40# Fear of the dark
0:36:40 > 0:36:42# Fear of the dark
0:36:42 > 0:36:46# I have constant fear that something's always near
0:36:48 > 0:36:50# Fear of the dark
0:36:50 > 0:36:52# Fear of the dark... #
0:36:52 > 0:36:57It's a digital desk, it's got the capabilities of 120 inputs,
0:36:57 > 0:37:0130 outputs. We actually use 22 of those.
0:37:01 > 0:37:04There's actually 20 mixes,
0:37:04 > 0:37:08everything's different, totally, totally different.
0:37:08 > 0:37:11If the band want to hear certain things, if they can't hear
0:37:11 > 0:37:13a certain thing on the side of the stage,
0:37:13 > 0:37:15if they want to listen to that.
0:37:15 > 0:37:18We actually go around and make sure that everything's
0:37:18 > 0:37:22working properly so it's all blending, hopefully, together.
0:37:22 > 0:37:25Then we get the guys to actually make some noise.
0:37:25 > 0:37:27HE PLAYS A HEAVY TUNE
0:37:28 > 0:37:32We can't bring a lot of our cases, trunks and things,
0:37:32 > 0:37:35so all the guitars, keyboards, have to travel separately.
0:37:35 > 0:37:38I had to clear out about a third of my workbox
0:37:38 > 0:37:40to make space for other people and to get the weight down.
0:37:41 > 0:37:45I think the best way to talk about things with Steve
0:37:45 > 0:37:46is there is very little to say,
0:37:46 > 0:37:49which is how he prefers it, and I've been with him a long time
0:37:49 > 0:37:52and pretty much anticipate what he might be wanting.
0:37:52 > 0:37:55He knows more about my gear than I do and I'm lost without him.
0:37:55 > 0:37:57He also plays keyboards, as people know.
0:37:57 > 0:38:00I don't actually consider myself to be a keyboard player as such,
0:38:00 > 0:38:03but I can do the stuff that Maiden requires,
0:38:03 > 0:38:06and some of it's not simple.
0:38:19 > 0:38:20Here's the rig.
0:38:20 > 0:38:23We've got all sorts of things in there, you've got wireless,
0:38:23 > 0:38:25he uses wireless on a couple of songs,
0:38:25 > 0:38:27songs like Iron Maiden, where they like to do
0:38:27 > 0:38:29a swinging guitar around his head.
0:38:29 > 0:38:32This is a Pete Cornish unit, it's got pedals built into it,
0:38:32 > 0:38:34and I control the pedals from here.
0:38:34 > 0:38:38Justin Garrick, the man who looks after all my gear,
0:38:38 > 0:38:40does a fantastic job.
0:38:40 > 0:38:42He presses all the buttons for me,
0:38:42 > 0:38:44gets everything together that I need, fixes the guitars,
0:38:44 > 0:38:47fixes the amps, and there's a lot of fixing to be done.
0:38:47 > 0:38:49So on tour we have to bring spares for everything,
0:38:49 > 0:38:54I mean, even on this tour I have changed a pick up on this tour,
0:38:54 > 0:38:56volume pots, things like this go when, you know,
0:38:56 > 0:38:59you spin them around or throw them, sweat gets in them,
0:38:59 > 0:39:01so all these things get changed out so we have spares.
0:39:01 > 0:39:03It's not a daily thing,
0:39:03 > 0:39:06but it's things that may happen once on a tour.
0:39:06 > 0:39:08And he's a very, very competent guy, and not only that,
0:39:08 > 0:39:12he's worked with Ronnie Wood, he's worked with Razorlight.
0:39:12 > 0:39:14He's a tremendous asset to Iron Maiden
0:39:14 > 0:39:17and I'm really thankful that we've found him.
0:39:19 > 0:39:22Well, my world, my name is Sean Brady,
0:39:22 > 0:39:23and I'm Adrian Smith's butler.
0:39:23 > 0:39:28I rely on Sean a lot, because my set-up is not very high-tech,
0:39:28 > 0:39:30so, you know, if I'm taking a solo, for example,
0:39:30 > 0:39:33Sean usually punches my effects in.
0:39:33 > 0:39:36It's also a question of, you know,
0:39:36 > 0:39:39the less wiring you have on stage, the better the sound.
0:39:39 > 0:39:44It's a 100-watt amplifier, of course, not a 50 and not even 101,
0:39:44 > 0:39:49because we don't go to 11 here. As you can see, we only go to ten.
0:39:49 > 0:39:50We've looked into 11
0:39:50 > 0:39:54but it has been patented by a certain other English rock act.
0:39:54 > 0:39:58Yeah, Sean puts up with my moods now and again, you know,
0:39:58 > 0:40:01when things aren't going well, and calms me down a bit,
0:40:01 > 0:40:05and we have a good rapport, you know?
0:40:10 > 0:40:12Usually I have masses of gear, you never know what you're going
0:40:12 > 0:40:15to need, but you know, we work it out down to pretty much
0:40:15 > 0:40:20the nearest amount of strings we're going to need.
0:40:21 > 0:40:24Colin, my guitar tech, has been absolutely tremendous,
0:40:24 > 0:40:27he's been with me now for a few years
0:40:27 > 0:40:29and there's a great working relationship.
0:40:29 > 0:40:31He always kind of knows what sound I'm looking for.
0:40:31 > 0:40:35Everybody keeps coming along and making notes of all these dials
0:40:35 > 0:40:37to get that perfect Davey tone,
0:40:37 > 0:40:39and I just keep doing that, because none of them work!
0:40:39 > 0:40:43We're out there to do a job and to play,
0:40:43 > 0:40:45but then at the same time, you know, we have a laugh.
0:40:47 > 0:40:50The difference is I have six flight cases when we do a normal tour
0:40:50 > 0:40:53with trucks in Europe and America.
0:40:53 > 0:40:56On this, I've got... I think it's 26 pieces.
0:40:56 > 0:41:00Charlie's been with me now for, I can't remember, eight years,
0:41:00 > 0:41:02something like that, maybe nine.
0:41:02 > 0:41:05He's a fantastic drum tech, he's the only drum tech I've ever had
0:41:05 > 0:41:08that I allow to tune my drums for me. I'd showed him
0:41:08 > 0:41:12how I tuned them and tone wise, the difference between each drum.
0:41:12 > 0:41:17The tuning's got to be bang on, and when you've got nine toms,
0:41:17 > 0:41:19it's quite difficult.
0:41:19 > 0:41:22And the cymbals. Everything, just the angles of everything,
0:41:22 > 0:41:25he notices everything and he'll sit there sometimes
0:41:25 > 0:41:27and just close his eyes and just do this with the stick.
0:41:27 > 0:41:31And he'll straight away, and you're talking a couple of millimetres.
0:41:31 > 0:41:33But it really is very essential,
0:41:33 > 0:41:35because it's like a precision instrument, my drum kit,
0:41:35 > 0:41:39if one part of it's out, the whole thing's completely...
0:41:39 > 0:41:43I'll sit there and if one thing is out on this side of the drums,
0:41:43 > 0:41:45by the time you get up here it's way out of position.
0:41:45 > 0:41:47But Charlie is very, very good.
0:41:47 > 0:41:50MUSIC: "2 Minutes To Midnight"
0:41:53 > 0:41:56# Midnight
0:41:56 > 0:41:58# All night. #
0:41:58 > 0:42:01CHEERING
0:42:01 > 0:42:03Oh, yeah!
0:42:04 > 0:42:07- BLEEP- great audience, phenomenal!
0:42:08 > 0:42:10This is for the people in Japan tonight.
0:42:10 > 0:42:13MUSIC: "The Talisman"
0:42:18 > 0:42:22# When I stand and look About the port
0:42:22 > 0:42:24# And contemplate my life... #
0:42:26 > 0:42:27We're in Monterrey, Mexico,
0:42:27 > 0:42:29it's really early o'clock in the morning,
0:42:29 > 0:42:32we basically got out of bed at four o'clock, three thirty,
0:42:32 > 0:42:36after a great show last night, and by the time we'd loaded
0:42:36 > 0:42:40and got to bed, it was one o'clock in the morning. So you do the math.
0:42:40 > 0:42:44that's about three hours sleep for some, if we're lucky.
0:42:44 > 0:42:47You know, it's tough because you're doing lots of flights,
0:42:47 > 0:42:50the crew sleep less than probably we do, but you know,
0:42:50 > 0:42:53they're just trying to cram in a bit of sleep here and there.
0:42:53 > 0:42:56You find odd guys lying across flight cases and things like that,
0:42:56 > 0:42:58just trying to grab a couple of hours' sleep,
0:42:58 > 0:42:59because it's tough on them.
0:43:10 > 0:43:12So we arrived here yesterday,
0:43:12 > 0:43:15we arrived late last night from Lima, Peru on Ed Force One.
0:43:15 > 0:43:20Came in early this morning, we've got gear coming from all over,
0:43:20 > 0:43:22we've got the Big Eddie's coming on the sea container from the UK,
0:43:22 > 0:43:26we have towers that we flew airfreight over from Australia,
0:43:26 > 0:43:29we have the goat that's back out, and we have other bits and pieces,
0:43:29 > 0:43:34so it's a full-production Maiden show, hence the extra day.
0:43:34 > 0:43:37We also have our moving motors which is...
0:43:37 > 0:43:41We have parts of the lighting rig move and give it a spaceship effect.
0:43:41 > 0:43:44You know, we don't have the luxury of using that everywhere we go,
0:43:44 > 0:43:47basically because the technology that you need to use it
0:43:47 > 0:43:49is not available everywhere, you just can't get it,
0:43:49 > 0:43:51and it's quite costly to fly it around.
0:43:51 > 0:43:53But we do have it for these big shows.
0:43:53 > 0:43:57We've been going through this tour with basic set and six drapes,
0:43:57 > 0:44:00but there's four shows here -
0:44:00 > 0:44:05Sao Paulo, Rio, Chile and Argentina - which we'll put a full show in,
0:44:05 > 0:44:07which includes two other drapes.
0:44:07 > 0:44:12We've got the devil goat and, of course, the Big Eddie at the back.
0:44:12 > 0:44:14Big Eddie is in those two carts.
0:44:15 > 0:44:18Big Eddie, he's a one off, bespoke.
0:44:18 > 0:44:21He's a great big fibreglass and metal structure.
0:44:21 > 0:44:24It comes together in the two biggest boxes you've ever seen in your life.
0:44:46 > 0:44:50We're going to places that on a normal, routine tour
0:44:50 > 0:44:52you would never, ever go to, you'd fly over,
0:44:52 > 0:44:56and so we find ourselves in places like Belem in North Brazil,
0:44:56 > 0:45:00just on the edge of the rainforest, and my goodness, did it rain!
0:45:03 > 0:45:05They don't call it the rainforest for nothing, I suppose.
0:45:05 > 0:45:08This is the second day of torrential rain we've had,
0:45:08 > 0:45:10pretty typical for this area.
0:45:11 > 0:45:13Well, a little stronger than normal, we've been told.
0:45:13 > 0:45:16You know, it builds up, all the heat comes out the jungle,
0:45:16 > 0:45:20moisture comes into the air, and then about 2:30 in the afternoon
0:45:20 > 0:45:23it all falls out again, and today it's falling on top of us.
0:45:23 > 0:45:27So anyway, loads of plastic, loads of sweeping,
0:45:27 > 0:45:28trying to keep the equipment dry,
0:45:28 > 0:45:33lots of mosquitoes, dengue fever, torrential rains,
0:45:33 > 0:45:37but, yeah, definitely beats a nine to five job, I can tell you that much!
0:45:40 > 0:45:41CROWD: Maiden, Maiden!
0:45:48 > 0:45:51It's our Amazonian angel, Eddie.
0:45:53 > 0:45:54Maiden!
0:45:54 > 0:45:58We're about three and a half hours away from doors,
0:45:58 > 0:46:02and there's some more thunder, and it'll be another great show tonight,
0:46:02 > 0:46:05you know, it's going to be packed out, really excited Brazilian fans,
0:46:05 > 0:46:08have not seen Maiden yet in this area.
0:46:08 > 0:46:10In fact, very few bands have actually been up this way,
0:46:10 > 0:46:14so that adds some extra excitement for some life-long Maiden fans
0:46:14 > 0:46:17that are going to get to see them for the first time
0:46:17 > 0:46:20up here in the Amazon Basin, in the jungles of Brazil.
0:46:20 > 0:46:22MUSIC: "When The Wild Wind Blows"
0:46:22 > 0:46:23# Hey
0:46:23 > 0:46:25# Hey, hey
0:46:25 > 0:46:27# Hey... #
0:46:27 > 0:46:31- AUDIENCE CHANT:- Hey! Hey! Hey!
0:46:41 > 0:46:44# He sees the picture on the wall
0:46:44 > 0:46:46# It's falling down
0:46:46 > 0:46:48# Upside down... #
0:46:49 > 0:46:51Somebody, who will remain nameless,
0:46:51 > 0:46:57decided to film a new DVD in Santiago and Buenos Aires
0:46:57 > 0:47:01due to the fact of the good crowd reactions and such.
0:47:01 > 0:47:04All the logistics were put together, months and months,
0:47:04 > 0:47:06sea containing out the Big Eddie.
0:47:06 > 0:47:10Air freighting in the towers, extra drapes.
0:47:10 > 0:47:14We did rock in Rio, but it just seemed the turn to go further south.
0:47:21 > 0:47:24Six o'clock in the morning we got up,
0:47:24 > 0:47:26and as you can see, it's still dark,
0:47:26 > 0:47:29it looks more like the end of a load out than a load in.
0:47:29 > 0:47:31Yeah, early start today, big, big show,
0:47:31 > 0:47:34the crew's been at it all night, moved down here yesterday.
0:47:34 > 0:47:36Yeah, this is Chile's national stadium.
0:47:36 > 0:47:39They were going to pull it down
0:47:39 > 0:47:41but then they decided to keep it as a monument.
0:47:41 > 0:47:45A monument to all the people that were killed in here by Pinochet,
0:47:45 > 0:47:48this is one of the places where he executed thousands of people -
0:47:48 > 0:47:54they reckon up to 100,000 people were killed during his dictatorship,
0:47:54 > 0:47:57that's not that long ago, 1973.
0:47:57 > 0:48:00But we're here for something a bit more lively.
0:48:10 > 0:48:12It can be quite distracting when you've got...
0:48:12 > 0:48:14I think there was 20 or 30 cameras,
0:48:14 > 0:48:17every note, every move you make's being recorded
0:48:17 > 0:48:20but you've just got to try and forget about that.
0:48:20 > 0:48:23Because there is limited space on the plane,
0:48:23 > 0:48:26we have quite a small and compact and sophisticated recording system
0:48:26 > 0:48:30which takes feeds from the front desk,
0:48:30 > 0:48:33and we record everything digitally, and then we have a few other,
0:48:33 > 0:48:37seven or 11 different microphones around to capture the audience.
0:48:37 > 0:48:40The audience is an integral part of the Maiden experience,
0:48:40 > 0:48:43I mean, the audience is something else, they sing every song,
0:48:43 > 0:48:46every lyric, it's something to see.
0:48:46 > 0:48:49The Santiago crowd was particularly animated.
0:48:49 > 0:48:5160,000 people,
0:48:51 > 0:48:54and I don't think there was anyone that wasn't singing along with them.
0:48:54 > 0:48:55MUSIC: "Blood Brothers"
0:48:55 > 0:48:58# We're blood brothers... # Chile!
0:48:58 > 0:49:01# We're blood brothers
0:49:01 > 0:49:05# We're blood brothers... # What are we?!
0:49:05 > 0:49:08# We're blood brothers... #
0:49:11 > 0:49:14Here we are, we're about to launch off from a murky Chile
0:49:14 > 0:49:16towards Puerto Rico.
0:49:16 > 0:49:20Out of here, obviously, it's seven hours and 16 minutes flight plan
0:49:20 > 0:49:25going to Chile, going over the Andes pretty much straight away.
0:49:25 > 0:49:26MUSIC: "Flight of Icarus"
0:49:26 > 0:49:29# Fly on your way
0:49:29 > 0:49:31# Like an eagle
0:49:31 > 0:49:34# Fly as high as the sun
0:49:34 > 0:49:39# On your wings like an eagle... #
0:49:39 > 0:49:40The speed of a beast.
0:49:40 > 0:49:44# Fly, touch the sun
0:49:44 > 0:49:45# Yeah. #
0:49:52 > 0:49:54Because of the size of the Iron Maiden shows,
0:49:54 > 0:49:58screens are a really important part of the production.
0:49:58 > 0:50:02We use a total of eight cameras, four main cameras
0:50:02 > 0:50:06looking at all the band members which you have to direct and cue.
0:50:07 > 0:50:09..finishing on four.
0:50:09 > 0:50:13We carry three mini cameras of our own which go on Nicko.
0:50:13 > 0:50:17There is one other camera, which, of course, Eddie has,
0:50:17 > 0:50:20which gives us a good show to the screens.
0:50:20 > 0:50:24We're here in Puerto Rico, three shows from the end.
0:50:24 > 0:50:27We've had some interesting challenges along the way
0:50:27 > 0:50:28with language barriers.
0:50:28 > 0:50:32With a lot of these countries, you get what you're given,
0:50:32 > 0:50:35and some of the kit I've seen has been hysterical,
0:50:35 > 0:50:37I mean, it's like early '80's,
0:50:37 > 0:50:39so you do have to take the rough with the smooth.
0:50:39 > 0:50:43This has been slightly easier here in Puerto Rico.
0:50:43 > 0:50:45It's been a very good meeting.
0:50:45 > 0:50:49We have had pretty interesting runs in South America,
0:50:49 > 0:50:50but this is a good one
0:50:50 > 0:50:53and I've got a good feeling about the show tonight.
0:50:53 > 0:50:54LYRICS: "Iron Maiden"
0:50:54 > 0:50:57# Oh well, wherever, wherever you are
0:50:57 > 0:51:01# Iron Maiden's going to get you, No matter how far
0:51:01 > 0:51:06# See the blood flow watching it shed Up above my head
0:51:06 > 0:51:10# Iron Maiden wants you for dead. #
0:51:10 > 0:51:12CHEERING
0:51:12 > 0:51:14PLANE ENGINES ROAR
0:51:18 > 0:51:20So we do two shows in Florida, it was great,
0:51:20 > 0:51:24and to finish up in Tampa, we hadn't been for 20 years or so,
0:51:24 > 0:51:26it capped off the tour well.
0:51:26 > 0:51:29I think, at the end, everyone was pretty well about time to go home.
0:51:29 > 0:51:31And we're back in America now.
0:51:31 > 0:51:35We've been through Chile again, which was a fantastic gig.
0:51:35 > 0:51:37We've done Puerto Rico, and now we're in Florida
0:51:37 > 0:51:41doing the last two gigs, and it's been an absolutely fantastic tour.
0:51:41 > 0:51:44It's not doing the longest tour by any means,
0:51:44 > 0:51:46but for some strange reason
0:51:46 > 0:51:48having it on Ed Force One magnifies everything.
0:51:48 > 0:51:49We really are living in a fish bowl.
0:51:49 > 0:51:52You've spent time with everybody every day for months on end
0:51:52 > 0:51:56when you're on tour, time zone to time zone, different languages,
0:51:56 > 0:51:59different cultures, every day the equipment's different,
0:51:59 > 0:52:02and we're all trying to make the show look and sound the same.
0:52:02 > 0:52:06It's been great, it's been really good, the spirits have been high.
0:52:06 > 0:52:09I think the band's enjoying it as well.
0:52:09 > 0:52:10All in all, I've had a blast.
0:52:10 > 0:52:12We're still standing, you know,
0:52:12 > 0:52:15we might have aged a little bit, maybe a few chinks in the armour,
0:52:15 > 0:52:18every night has been absolutely tremendous, you know,
0:52:18 > 0:52:21and it's hard to determine one night as better than another
0:52:21 > 0:52:23because they're all great.
0:52:23 > 0:52:26With all the pre-work, the money, the agreements,
0:52:26 > 0:52:29the hotels being provided, which hotels,
0:52:29 > 0:52:32when can we land and when can't,
0:52:32 > 0:52:34with all that pre-work, to actually make the tour work,
0:52:34 > 0:52:36it's the crew who make it work.
0:52:36 > 0:52:40We've got a really fantastic crew, and they all know what's needed,
0:52:40 > 0:52:43they're all trying their hardest to get the show looking the best
0:52:43 > 0:52:46it can be, and that's all you can ask of anybody, really.
0:52:46 > 0:52:47Yeah, we're all mates,
0:52:47 > 0:52:50we all watch each other's backs in difficult situations.
0:52:50 > 0:52:54It's part of what it takes to be in a killer crew. I'm sure it's what makes us the best.
0:52:54 > 0:52:57We're all very loyal to Maiden because they are to us,
0:52:57 > 0:52:59it really is like one big family.
0:52:59 > 0:53:02I wouldn't say one big happy family all the time!
0:53:02 > 0:53:04There we go, this'll learn you!
0:53:04 > 0:53:07To put that amount of people together
0:53:07 > 0:53:11is quite a contrived scenario, but when you think about it
0:53:11 > 0:53:15it's like any other regular family, but we're not related.
0:53:16 > 0:53:18We're related through rock and roll!
0:53:18 > 0:53:20MUSIC: "Coming Home"
0:53:20 > 0:53:22# When I stand before you shining
0:53:22 > 0:53:25# In the early morning sun
0:53:25 > 0:53:28# When I feel the engines roar
0:53:28 > 0:53:31# And I think of what we've done... #
0:53:31 > 0:53:33It's been a great tour, we've done a lot of miles,
0:53:33 > 0:53:36time for a break, recharge the batteries and get home
0:53:36 > 0:53:40and put a few shelves up, bit of painting and decorating!
0:53:40 > 0:53:42Well, it's the longest we've ever done, actually.
0:53:42 > 0:53:45It felt like a really, really long time to be away.
0:53:45 > 0:53:48Considering the first one was not much more than six weeks,
0:53:48 > 0:53:50the extra three weeks, you know.
0:53:50 > 0:53:53It's equivalent to 50,000 miles,
0:53:53 > 0:53:55we've been around the planet twice in a couple of months,
0:53:55 > 0:53:59you know, obviously we've spent a lot of it in South America,
0:53:59 > 0:54:02When you go back, although we've been to a lot of places before,
0:54:02 > 0:54:06it always feels new, and especially the audiences, as well,
0:54:06 > 0:54:08they seem to be getting younger.
0:54:08 > 0:54:10Nothing's perfect in this world
0:54:10 > 0:54:12and we try to be the best you can be,
0:54:12 > 0:54:14but at the end of the day, I think we've gone out there
0:54:14 > 0:54:17and we've done the best we can in the given circumstances,
0:54:17 > 0:54:19with quite a lot against us on this tour.
0:54:19 > 0:54:22Yeah, we're on a private plane, but the distances are like,
0:54:22 > 0:54:24you know, ten hours' flight or whatever,
0:54:24 > 0:54:27I mean we actually went through the dateline from Japan to Hawaii
0:54:27 > 0:54:29and then Mexico, and we got there before we left,
0:54:29 > 0:54:31I mean, work that one out!
0:54:31 > 0:54:34I actually had two days' birthdays, and who wants that at my age?
0:54:39 > 0:54:41# Show me the way to go home
0:54:41 > 0:54:43# I'm tired and I want to go to bed. #
0:54:43 > 0:54:45Yee-ha, we're heading home!
0:54:45 > 0:54:48See all them names on that side of the plane there?
0:54:48 > 0:54:50It doesn't say England on the bottom,
0:54:50 > 0:54:51but that's where we're going,
0:54:51 > 0:54:54and that's where I'm looking forward to being.
0:54:54 > 0:54:56We're coming home!
0:54:56 > 0:54:58Is this the bus home, Mark?
0:54:58 > 0:55:00OK, the flying bus home.
0:55:00 > 0:55:02Yes, baby, yeah.
0:55:03 > 0:55:06Success, triumph. Again.
0:55:06 > 0:55:09It's been an emotional rollercoaster ride.
0:55:09 > 0:55:11Good to be going home.
0:55:11 > 0:55:13# I'm going home, I've done my time. #
0:55:15 > 0:55:17I don't want to go. Not finished yet.
0:55:18 > 0:55:20That's it, it's all over.
0:55:20 > 0:55:23# When I see the runway lights
0:55:23 > 0:55:29# In the misty dawn, the night is fading fast
0:55:29 > 0:55:31# Coming home, far away
0:55:31 > 0:55:34# As the vapour trails align
0:55:34 > 0:55:37# Where I've been tonight
0:55:37 > 0:55:41# You know I will not stay
0:55:41 > 0:55:43# Coming home, far away
0:55:43 > 0:55:46# When I see the runway lights
0:55:46 > 0:55:52# In the misty dawn, the night is fading fast
0:55:52 > 0:55:55# Coming home, far away
0:55:55 > 0:55:58# As the vapour trails align
0:55:58 > 0:56:00# Where I've been tonight
0:56:00 > 0:56:06# You know I will not stay. #
0:56:31 > 0:56:34Subtitles by Red Bee Media Ltd