U2's 360° Tour caused the biggest stir for many years amongst audiences and industry professionals alike with the sheer scale of its design and construction.

The 'Claw', designed by the combined talents of Show Architect Mark Fisher and long-time U2 collaborator, Show Designer/Director, Willie Williams, formed a 28m high canopy over one of the largest stages ever toured.

The 'Claw': U2's 360° Tour
The 'Claw': U2's 360° Tour

Pivotal to the 'Claw' was a central spire or pylon, 50m high and loaded with 34 PRG Icon 2 'Bad Boy' moving lights and two 600mm mirror balls, which had been developed and fabricated by Brilliant.


"Working with Jeremy Lloyd of Stufish to Mark Fisher's design, we devised a construction that would withstand the rigours of a 44-date, international tour of outdoor arenas and stadia, yet which would also be easy to erect and transport," explained Brilliant General Manager, Tony Bowern.


The pylon, which had a diameter at its centre of 2.4m, was composed of nineteen 2.4m high sections, constructed in high grade aluminium, with high tensile steel connections between each.

We all feel that Brilliant Stages really did do a brilliant job on the pylon, It is very user friendly and extremely efficient in the way it goes together, both for fit up and breakdown. We are very happy with the outcome.
Jake Berry - Tour Director U2 360º Tour

Each section had six main 9cm diameter cords welded at each end to a 10mm profiled aluminium plate, which formed the roof and the floor for the section.
Within each section was an access ladder to the sections above and below, with DWE lighting battens also integrated into the structural element.


Kevin Edwards, Brilliant’s CAD designer and engineer, worked on the idea of a single jig for the fabrication, which was designed to assemble each piece to an extremely high tolerance.


The jig produced up to 3 sections per week with completed sections being consigned to a local storage facility before being returned to Brilliant for inspection and test fitting in the final week of production. The finished sections were then shipped to PRG for lighting installation before being finally put together with the rest of the set in technical rehearsals in Barcelona.