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Jakov Jozinović Shows in Ljubljana Sparkle with Robe Moving Lights

Slovenia – Slovenian lighting and visual design studio Blackout created and delivered an outstanding 360-degree lighting show for popular young Croatian singer Jakov Jozinović, who played two sold-out nights at the Stožice Arena in Ljubljana.

The team was led by Blackout’s Crt Birsa and included two of his colleagues, Klemen Krajnc and Anze Trstenjak, and they had just 16 days between getting a decision on the design from promoter Vigna PR and the first show.

Crt knew that even in this challenging timeframe, he could give the show plenty of ‘wow factors’ if he relied on some of his favourite Robe moving lights!

About to depart for a US tour with Lukas Šulić (formerly half of 2CELLOS), Crt handed over the completion and delivery of the project to Klemen and Anze who finalised everything, programmed the show and ran lighting (Klemen doing the effects and Anze the keys, white light and specials) for these two much-anticipated gigs.

Getting the kit at short notice – especially for a 360 show where you need more equipment for even the standard stage coverage – was also a task. However, Slovenian rental company Intralite rose to the occasion and supplied the 13 Robe FORTES, 32  iESPRITE LTLs, complete with two iESPRITE LTL FS versions, 24 LEDBeam150s, 24 MegaPointes, 36 Pointes and 32 Spiider wash beams, together with other lights.

Four of the iFORTES and the two iESPRITE LTL FS versions were used on the two RoboSpot systems, each operator controlling three luminaires and ensconced beneath one corner of the stage adjacent to dimmer city.

Robe’s popularity in Slovenia and throughout the Balkan region has meant that creative companies like Blackout have grown and developed their businesses using the brand as a base for much of their work. The Slovenian rental market has been very successful for Robe, thanks to the hard work and dedication of its Ljubljana-based distributor, MK Light Sound.

Stožice Arena’s four by four central LED cube was utilised for IMAG video on these shows, and the cross-shaped floor comprised four square blocks of video with a centre section that included a stage lift. Thrust extensions at both ends were complemented with staggered level risers left and right of the stage, utilised by the band and for technical areas.

The trussing above the stage used for the lighting positions also shared the same rigging points that had been installed two weeks previously for an FNC (Fight Nation Championship) event.

Given the extremely tight timeframe, this was very fortunate. Installing points from scratch in this arena would simply not have been possible as only one day was available for pre-show access and set up.

Three box trusses provided the main over-stage lighting positions, hung below and within the outer borders of the LED screens, a set-up that assisted in imagining the epic, wide-stage, extravaganza-style show: action packed with pop energy, movement and excitement that the artist’s management had envisioned.

The iESPRITE LTLs and MegaPointes were selected as the main effects fixtures, noted Klemen, positioned all over the three box trusses and he constructed the show’s building blocks relying on these two sets of fixtures.

It was his first time using iESPRITE LTLs and he liked them for their power, brightness and clarity, and thought that the two fixture types worked together very well. “These backbone fixtures really needed to be versatile and give us multiple different looks and options and they did exactly that,” he declared!

MegaPointes have of course been a Blackout ‘favourite fixture’ for a while.

The Pointes were used as general beam lights from the stage deck, providing contra-beams, plus plenty of eye-catching prism and gobo work.

The highly compact LEDBeam 150s provided wash light across the stage centre and into the audience, also as support for the Spiiders when needed.

The majority of the Spiiders were installed on the audience trusses and used to bathe the arena with glowing ambient light and sometimes in beam mode going onto the stage.

Eight were positioned on the smallest box truss and used as front lights, specifically from that angle inside the cube, with four used as theatrical up-light below as the stage lift raised Jakov to the stage.

The FORTES did a great job of key lighting Jakov and the band, with one rigged dead centre in the mother grid and used as a dramatic vertical down-beam.

Robe’s high-powered FORTE has been a first choice for keylighting by Crt, Klemen and Anze since the fixtures were launched. “They are potent and bright, even when in colours, the quality is fantastic and they are great for front and top lighting,” commented Anze, adding that he appreciated the zoom and shutters in containing the light exactly where it was needed.

“When time is so precious, you need to know that the fixtures you are using will be reliable and consistent;  there is absolutely no room for error in situations like this,” added Crt.

While they did manage to do an amount of groundwork in pre-viz, time on site is still essential to make final adjustments and finessing, all those important details that make the difference between a good show and a great one.

“As a programmer you must be extremely flexible and adaptable when under this pressure,” noted Klemen, “and also be able to accommodate changes to the show production right up until the last minute,” which, on this occasion, included additional cryo, pyro and audience LED bracelets, all coming under the lighting department’s control and all of which the team took in their stride!

It is a credit to the incredible synergy, teamwork, experience and talent – plus a few flourishes of Balkans can-do mentality and invention – that helped Blackout collaborate with the rest of the production crew and contractors to reach such a spectacular result.

photos: Simone Di Luca Photography

10th July 2026

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