Production News

Robe Taps into Lady Gaga Mayhem at Coachella

USA – Lady Gaga is an artist who excels at delivering unique, ambitious visual live extravaganzas that engage the eyes, brain and heart in an intricate mix of drama, high-impact dance moves and energising music, and this year’s acclaimed Coachella headliner slot took this art to new levels. Her two-hour performance complete with elaborate costumes, epic set, thought-provoking video and diligently crafted lighting has been hailed as a masterpiece of stagecraft.

Lighting designer Jeremy Lechterman of FragmentNine (F9) was part of a talented creative team which included production designers Es Devlin and Jason Ardizzone-West, choreographer Parris Goebel, video designer Jackson Gallagher and the artist herself, who devised this stadium show, inspired by a dynamic mix of pop, opera, rock, gothic and several other genres. The show has also been staged in Mexico, Rio de Janeiro (in front of over two million fans) and Singapore.

Prominent on Jeremy’s lighting design for Coachella 2025’s Main Stage were some key Robe moving light elements: 82 iFORTE LTXs, 17 iFORTE LTX Follow Spot and 22 ESPRITES.

All of these were used to great effect as the show delighted, entertained and immersed audiences in a story based on the themes of duality and inner chaos, reimagining the benchmark for spectacular high production value environments created in short timeframes.

Before Coachella, Jeremy and F9 had just recently started work with Lady Gaga and her team led by Parris Goebel who is also creative director, brought on board to deliver the combined lighting and video content package. Being able to develop these two interlinked aspects of the show in unison helped make it streamlined and harmonious, bringing a fresh and coherent look and style to the stage.

As the show developed conceptually, Jeremy also drew on his fund of early career experience, which was primarily working in theatre.

With a spectacular wide stage and upstage LED surface, a moving video disc roof piece in the centre and a powerful video floor making up a B-stage out in the arena, bright lights were essential and Jeremy knew he could count on Robe’s iFORTE.

FORTES, iFORTES and iFORTE Follow Spots are his number one spot fixture choices at the moment and are constantly on his specs because they are bright, consistent and reliable.

He appreciates the high CRI and the rich natural skin tones they produce, making these fixtures perfect for keylighting and specials.

He notes that specifically for the two Coachella shows, a full 360-degree cinema spec multi-camera system was involved in recording the performance, adding a completely new layer of production in itself that needed dealing with. Especially given the tight time window, he knew FORTE luminaires would produce exactly the desired quality and texture of light needed to work for this shoot, directed by Micah Bickham.

In addition to Lady Gaga herself, also onstage were multiple dancers and the band, so it was very busy with several performers to be lit.

At Coachella, five of the FORTE FSs were part of the Lady Gaga touring rig supplied by Solotech together with one BaseStation, with the rest supplied by 4Wall, the festival’s lighting vendor.

The five touring FORTE FSs were rigged on a snake-shaped over-stage truss, which was contoured to follow the scenic set and screen lines, and was also upstage of a moving circular LED ‘disc’ forming part of the stage architecture.

The other 12 FORTE FSs (from the event) were positioned on four FOH towers to get the best stage coverage.

The standard FORTES were deployed all over the stage rig, along the ‘snake’ truss, in the overhead and side positions.

On the four 40ft high delay towers located approximately 250ft out in the audience, more FORTES were deployed in clusters of three or four fixtures. These positions were ideal for working the stage.

As well as choosing FORTE for all its characteristics, Jeremy noted that both FORTES and ESPRITES can be sourced most places around the world, which is always a consideration when designing touring shows.

The 22 ESPRITES were positioned in a row around the back of the deck and in the left and right wing positions, picked for their low profile as the stage needed to be kept as clean as possible from any protruding technical hardware.

Making the Mayhem show spectacular yet simultaneously intimate and adaptable to follow the artist’s narrative was the greatest challenge and also the most enjoyable part of the imaginative journey for Jeremy.

“From the first conversations, we all knew that the goal would be amalgamating the diversity of lighting and visual treatments needed to present and support a show of this scale, depth and detail, and assisting in making connections and getting the energy out to all in the audience across a vast area,” he explained.

This was the space where the entire production shimmered as a complex and invigorating collaboration between all creative aspects, technical disciplines and wider team involved in the massive operation to ensure that Coachella 2025 was such a memorable and high-value entertainment experience.

Jeremy worked on the show alongside two talented lighting programmers – Sam Payne and Dane Kick – with the latter also running the show and lighting directing in Mexico, Brazil and Singapore, and Jeremy was supported by associate lighting designer Alex Talbot.

photos: Jeremy Lechterman 

13th June 2025

Martin Thomas Creates Moments at JJ Grey & Mofro Festival with 100 Chauvet Professional Fixtures

USA – JJ Grey had one bit of advice for the artists who joined him and his band Mofro for their two-day festival, “The Blackwater Sol Revival,” which kicked off on 24 May. “Don’t stand on the side of the stage because I’m going to put you on the spot.”

The legendary artist was true to his word. Guest stars, a group that included John Anderson, The Marshall Tucker Band, Season 24 “The Voice” winner Huntley and 49 Winchester, were called up on stage at the St. Augustine Amphitheatre to join JJ Grey & Mofro as they performed their captivating blend of southern rock and blues with a distinctive touch of jazz.

It was an invitation everyone gladly accepted. And why not? Coming together to play this kind of music that resides at the intersection of cowboy boots and beach sandals was an ideal why to start summer. Setting an engaging atmosphere on stage, while supporting each artist with strong, natural-looking light was a Martin Thomas design that featured an even 100 Chauvet Professional fixtures supplied by AVL Productions.

“The design concept for the Black Water Sol Revival festival rig was to give the touring LDs to have as much of an eye-catching rig as possible,” said Thomas. “In general, this was about being in sync with the extremely talented musicians and taking their timing and accents and not “overdoing” them with the lighting production. Also, as many of the acts performed during late-afternoon/sunset hours and I wanted the system to offer great eye-candy for the audience as well as well as strong footcandles on stage for any of the other act’s LDs.

“As for the JJ Grey and Mofro & Mofro show that I did, it was entirely ‘live drive,’ no time code or cue stacks, with individual handles for wash, spot and FX fixture groups for position, beam/focus and colour. This configuration gave me the ability to be flexible with the moments the band is creating. This was definitely not a ‘track act’ of slaves to a single arrangement of JJ’s songs; there is always a bit of improvisation that I love sensing and being there when those moments happen.”

Colour played a key role in helping Thomas set the mood for his client’s songs. For example, red and deep amber dominated for songs like the title track Olustee, which tells the story of JJ Grey being in the middle of a wildfire in his native northern Florida, while hits like This River, and Lochloosa, feature various shades of blues, from cyan to Congo, to reflect their strong association with the sea and the sky. Backlighting from the rig’s eight Maverick Force S Spot fixtures contributed to the colour aspect of the design.

Among the most memorable moments in the show occurred when JJ Grey & Mofro covered of John Anderson’s haunting “Seminole Wind.” Thomas set the tone, creating a dark environment of greens and deep violets, inspired by visits to his client’s recording studio in the wetlands near Jacksonville during dusk. 

Correct keylighting was also pivotal to Thomas’s design vision. “One of the signatures of all my shows is strong keylight for the players, to cut them out of the look during solos and moments when their part is in front of the audio mix,” he said. “Having six Maverick Storm 2 Profiles on the downstage truss allowed me to carve the players out in a strong, natural light in conjunction with the 16 Maverick Storm 2 BeamWash fixtures that saturated the performance area in bold colours.”

Thomas relied on another 12 Maverick Storm 2 Profiles along with Rogue Outcast 2x Washes on his mid-stage truss to create “atmospheric effects and focus attention on centre stage.” He also used 26 Rogue Outcast 2X Washes on mood-setting ‘chandeliers’ positioned upstage. “The Outcast 2X accounted for a big section of my washes,” he noted. “I was able to run colour effects and the occasional beam (gobo) effect through them. They were really the workhorse of the design.”

Speaking of workhorses, Thomas is quick to point out that his light show would not have been possible were it not for the dedicated efforts many people, including Christopher Milton and Stephen Unkelbach of AVL, and Christopher Fanny from Lightscape Delaware as well as Bill Parker’ Chris Delucchi, Al Lewis, Raymond Hardy, Carey Abrams and tour manager Michael Savage.

“Everybody came together to make this work beautifully,” said Thomas. That’s not surprising, as one would expect a show that excelled by bringing artists together on stage, also thrived by having talented production professionals collaborating behind it.

13th June 2025

Pitbull’s Vegas residency comes alive with JDC2 IP and impression X5 Compact

USA – Pitbull, the Grammy Award-winning American rapper, singer, actor and entrepreneur, recently wowed audiences at the Fontainebleau Las Vegas resort hotel, the first phase of a residency which will resume in May, picking up incredible reviews.

The task of adapting his recent Party After Dark tour for a show renamed Vegas After Dark fell to his long-term creatives, production manager Victor Martinez and creative director Yamil Charif (of YC3 Design).

Charif explains that having toured with nine trucks of gear, they needed to scale back, integrating with the existing house rig at the hotel’s 3,800-seat BleauLive Theater and at the same time introducing some new lighting solutions from GLP: “We already had GLP equipment out on the tour – a bunch of JDC1 [hybrid strobes] – and we kept most of these because they are a key element of the show.”

In fact, Charif is such an advocate of JDC1 that he earlier invested for his own production company, PLP Entertainment. He was thus naturally keen to try out the new JDC2 IP. “In fact, I wanted to try it last year,” he admits, “but we were already on the road when GLP released it and so we thought the Fountainebleau would be a great opportunity to try the fixtures.”

Fortunately, he had some days off between tour end and the residency starting, enabling him to evaluate GLP’s new-generation fixtures, as suggested by GLP’s Jim Fuller. And the two products that stood out were the JDC2 IP and impression X5 Compact.

The 16 JDC2 IP – eight either side of the stage on mini-trusses – provided not only high visual impact but opened up a range of options to light the stage ensemble, comprising seven band members, six dancers and Pitbull himself. The larger face plate of the JDC2 IP is the result of the new beam line, equipped with 84 high-performance LEDs, giving it an imposing presence.

“Using them as part of the floor package made them stand out more,” says the LD. “I’m impressed with the size and the look of the JDC2 IP; it’s a great fixture with a lot of output, and they really stand out.” In fact, they deliver up to 25% more output than their predecessor.

“Having the capacity to send NDI video signals is also pretty cool and we used the NDI input to receive video,” he confirms. Up to four different external NDI streams can be captured and displayed directly on the JDC2 IP.

Charif also notes that the colour palette is richer: “Some colours are more saturated and ‘contrasty’, though of course we can still match them.”

A further 24 classic JDC1 are used to ring the giant circular videowall at stage centre, where Pitbull makes his grand entrance. The backdrop at the BleauLive Theater is based on the tour logo of a planet with a neon border, “so I was trying with the JDC1 to emulate that circular shape of the planet and you can see that reflected on the chandelier that we have hanging in the middle of the stage,” he continues. Most of the remaining JDC1 are on trusses, high on the overheads up with the spots.

However, Charif is sensitive to the necessity of harnessing so much strobe power, often using it as eye candy. Being so familiar with JDC1 he says: “I am aware of its intensity and sometimes keep it at five percent as a background of pixels – perhaps blinking on top of a backdrop – or I will use the middle bar of the fixture for twinkling white light. But know I have the ability to hit it with a big strobe moment when it’s needed.”

Both he and Victor Martinez agree that their number one priority is to ensure that audiences enjoy the show and because of this ethic the reviews have been magnanimous: “Victor and I are involved on what fixtures we pick including sound, video – the whole creative element – and that’s what creates a great show. For instance, we change the video design every year.”

As for the 24 impression X5 Compact deployed, Victor Martinez in particular was still trying to square the enormous output delivered from seven 40W RGBL LEDs, with the ultra-compact chassis into which they are shoehorned. “When I saw the size of them, I never thought they would have worked the way they do,” he comments.

Charif agrees: “The size is insane! I hadn’t expected so much output from them, but once we started using them they were pretty powerful and certainly fun to work with.” Located around the sides and stage floor, they also displayed their dexterity from an impressive 16:1 zoom range. “The size of the focus is very narrow and sharp so you can create a lot of finger beams. I can also wash the band and use them as beam fixtures with the zoom either very narrow or open.”

Thus, he and Victor Martinez are able to reflect on the first 14-show residency, knowing that the Vegas stage is a proven metier for Pitbull (having earlier played a residency at Planet Hollywood). “We’ve broken records here and put a lot of work into it to make the show have a great impact,” Yamil Charif concludes. “Even though Vegas is off season, and tourism is down, we’re still selling out!”

photos: Keiki-Lani Knudsen

www.glp.de

13th June 2025

 XTA DPA100 in MiNT Conditions

UK – With its origins in the celebrated MiNT Club in Leeds, MiNT Festival is Yorkshire’s biggest dance music event. The Festival, which evolved from a collection of local gatherings, takes place near the city on a purpose-built arena at the 130-acre Newsam Farm, attracting thousands of Leeds music lovers to its multiple stages. Now a prominent event in the UK festival calendar, MiNT’s reputation was further enhanced by this year’s outstanding edition which featured Josh Baker's You&Me, Morgan Seatree's Unfussy, plus Patrick Topping, Kettama, East End Dubs and more. East Anglia-based Audio Plus provided sound across the site.

More than 30 years in the business has seen Audio Plus become a widely trusted partner for touring, festivals, special events and installations, and the company has taken care of MiNT since its inception. This was the ninth edition and saw Audio Plus covering five stages, including DJ monitoring and a backstage VIP system. Each system comprised Funktion One loudspeakers and XTA amplification, a combination which Audio Plus has relied on for many years.

Tino Reschke of Audio Plus reflects on another successful event: “We used a Funktion One large format VERO system, two VERO VX systems in extra wide dispersion and four point arrangements and our new Funktion One Evolution 2 and Evolution X set-ups, which enabled us to deliver a cutting-edge sound experience across the festival. All the systems were powered and controlled efficiently by XTA’s latest DSP amplifier technology. We’ve used XTA and MC² amplifiers since the 1990s and recently transitioned to exclusive use of the XTA DPA100 for all our work.”

Audio Plus deployed 25 XTA DPA100 Dante equipped amplifiers for all types of Funktion One loudspeakers at MiNT.

As a large multi-stage event sited close to the urban population, the Festival requires precise control of noise emissions, as Tino explains: “Using large bass stacks with good inherent directivity helps to keep the bass focused onto the audience area. Further, on one stage we implemented rear-facing F124 subs with cardioid subwoofer array settings, which we could then fine tune from outside the festival grounds using a WiFi remote control of the globcon drive system. The precise and present sound character of Funktion-One loudspeakers helps with keeping noise levels to a minimum, as great impact can be achieved even at low levels and the XTA DSP platform's flexibility on different filters and the ability to swap filter types while in place really helps with adjusting directional bass arrays efficiently.”

The Audio Plus team have become accustomed to trouble-free performance from this tried and trusted combination, and MiNT Festival ran as smoothly as expected.

Tino continues: “There were no problems at all, everything performed reliably. We always run our sound systems with analogue backup, which the XTA DPA amplifiers allow us to use in combination with Dante digital audio networking, so even if there was an issue in the digital audio network, we would have a safe fallback mechanism. The front panel control of the amplifiers is especially convenient on smaller stages such as RESIDENT and VIP at MiNT Festival, giving us the ability to flexibly control a stand-alone system, without the need for networking and connecting a laptop or tablet.”

Another busy summer beckons for Audio Plus. During MiNT Festival, another of its teams was simultaneously delivering the Funktion One/XTA combination for two stages at Mixology’s UNDER event in Peterborough, with Glastonbury’s Glade area the next high profile setting in the diary.

XTA’s Rich Fleming comments: “The Audio Plus team continues to make maximum use of the quality and reliability offered by our DPA Series, and we’re very proud to see our products performing in the thick of the action, successfully supporting challenging multi-stage events like MiNT.”

13th June 2025

Jimmy Lawlor Makes Once Upon a Dream Come True at Gulfshore Playhouse with Chauvet Professional

USA – On its website, the Gulfshore Playhouse declares that it is “passionately committed to enriching the cultural landscape of our region by producing professional theatre to the highest artistic standards.” Over the course of a season, the 368-seat main Moran theatre (part of a new 40,243 sq. ft. complex) fulfils this mission in superb fashion, welcoming touring troupes from Broadway and beyond for a diverse mix of productions.

Given this commitment, it is only natural that Gulfshore Playhouse would extend the same standards to its annual fundraiser. Forget the usual dinner-speech-and-awards affairs. Here, every event is treated as if it were a first run theatrical production in its own right. Just ask lighting designer Jimmy Lawlor.

He described the events this way:  “Gulfshore Playhouse treats their annual gala the same way they treat every production, with lots of planning and artistic intent. There is always a theme. This year’s was 'Once Upon a Dream.’ There was lots of visual research (you may notice a strong 'Bridgerton-core' aesthetic) and meetings with the director and the designers to talk about how everything should feel. There are a lot of galas in the Naples area and Gulfshore Playhouse is careful to make sure theirs isn't just a fundraiser, but also an entertaining evening.”  

Lawlor, who lit the stage and 45 guest-tables, as well as the walls and ceiling of the gala’s tent, did his part to make the evening special. Helping him in this endeavour was a collection of 85 Chauvet Professional fixtures supplied by Encore Global.

Drawing on the colour rendering prowess and other performance features of these fixtures, Lawlor provided elegant, evocative lighting for the evening’s various events, which began with a cocktail hour on the lawn in front of the tent before the main dinner. Quixotic Entertainment did interactive performances during the cocktail hour and then also during the show. The highlight of the after dinner show was the performance of Broadway stars Mariand Torres and James T Lane, who sang four songs: duets and solos. There were also performances by students from Gulfshore Playhouse’s education programme. 

“Because the whole evening is dedicated to being entertaining, I lit the performances with the same qualities as I gave the speakers between songs,” said Lawlor. “To help draw focus to the speakers, I try and keep things a bit more static than in the songs: single cue, nothing spinning or strobing, but the overall 'pop' remains the same."

“I love using strong colour and template choices when I get to 'leave reality,' like one does in a dream,” Lawlor continued. “That figured prominently into the design for the gala. My plot was due long before the details of the evening were fleshed out, so I was mostly building a toolbox that was as versatile as possible when I sat down to program it all. This is my fifth year doing the gala and I always try and add new tools that the audience hasn't seen before. This year, it felt like a good time to invite mirrorballs to the party!”

Specifically, the tools in Lawlor’s gala tool chest included eight Maverick Storm 4 Profiles, which he used as his main face light for the stage. He also flew 22 Maverick Storm 2 Profiles over the stage for lighting the performances as well as for creating a template pattern on the tables. There was also one particular performance when the profile units were called upon to scan and strobe the audience. 

To add a dash of aerial effects to the evening and up light the aerialists who performed at the gala, to the Lawlor had four Maverick Storm 2 Profiles on road cases, one in each corner of the room. Also playing a prominent role in Lawler’s design were 28 Rogue Outcast 2X Washes that colorized the room, and five Rogue 3X Wash units on the upstage truss that served as the main backlight idea for the stage.

A nice surprise for Lawlor at the gala, besides the on-stage performances of Defying Gravity and A Brand New Day from the Wiz, was the output of his rig’s 18 COLORado Solo Bar 4 battens, which he positioned around the tent to up light the walls. “Those units are very, very bright!” he exclaimed. “I think I was running them at eight percent the whole time.”

Invariably, any event that seems to come off without a hitch, doesn’t happen without careful planning and collaboration, and this one was no exception. Lawlor is quick to praise all involved with the fundraising gala, including director/choreographer Dan Dunn, set designer David Arsenault, costume head Hunter Kaczorowski, sound engineer Sean McGinley, music director Trevor Pierce, PM Ray Inkel, APM Lila Sell, producing artistic director Kristen Coury Wynn, managing director Joel Markus and advancement officer Sarah Owen.

In the words of Lawlor, “it was a magical evening,” at the gala; exactly the kind of experience to be expected from an even built around the theme of “Once Upon a Dream.”

12th June 2025

Broadweigh Load Cells Central to Eurovision 2025 Rigging Strategy

Switzerland – More than 120 Broadweigh load cells were deployed at this year’s Eurovision Song Contest in Basel. The competition, watched live on TV by millions of fans across the world, was technically complex and visually ambitious, with the comprehensive rigging solution managed by BIGRIG.

Contracted by Swiss Television (SRG) as the production head rigger, Johannes Schau, BIGRIG MD was involved from the earliest planning phase, working closely with rigging supplier Malecon to deliver a structurally sound and visually striking production under highly challenging conditions.

“Eurovision is always a demanding project, but this year’s venue presented a particularly tough brief,” said Johannes. “We were working with a roof that had limited load-bearing capacity and a restricted trim height. The limited load-bearing capacity meant we had to bring in a significant ground support structure, which was also delivered by Malecon, supplementing the roof to achieve the overall creative vision.”

Johannes was involved early on, as part of an expert panel assessing the rigging suitability of candidate venues. Once the final site was selected, he led the development of the complex rigging plot and design, working closely with the venue team and structural engineers to meet the creative design intents while ensuring compliance with safety regulations and technical standards.

Once the tender was issued and Malecon selected as the rigging contractor, BIGRIG also supplied its own extensive rental stock of Broadweigh load cells to monitor critical loads throughout the venue.

The Broadweigh cells were integrated across three separate LOG100 systems to monitor different rigging zones and structures. “We used LOG100 to split the system into manageable sections,” said Johannes. “Two were monitoring the spreader trusses directly connected to the roof; every single roof point was tracked in real time. The third was responsible for key elements like the LED wall, the stage frame and the 3D lighting grid.

The 3D grid, “one of the most impressive scenic objects I have ever worked on”, claimed Johannes, supported over 1,000 lighting fixtures and required multiple days to construct. Its design, divided into three load-monitored sections, was subject to particularly strict scrutiny. “When you are dealing with that scale and complexity, you need to be absolutely certain that the actual build aligns with the structural design intent,” he explained. “Broadweigh helped us verify that the provided weight specs from the lighting and scenic suppliers matched the real-world loads and that each individual rigging point in the roof structure stayed within structural limits.”

With more than 200 tonnes of flown equipment across the entire show, Johannes stressed that real-time data was essential: “In my opinion you can’t do a show like Eurovision without Broadweigh. The new load cell series is robust and easy to use. We have been relying on Broadweigh for years now. With more than 450 Broadweigh cells in our stock we are one of the largest rental and service suppliers of load monitoring in Europe.”

For BIGRIG, Eurovision 2025 was again a showcase of technical  excellence and expertise. “What we achieved here wouldn’t have been possible without the insight and reliability that Broadweigh brings to the table,” Johannes concluded.

12th June 2025

Axel Melchior Adds New Dimension to Circus Knie with Chauvet Professional

Switzerland – Mottos are quite easy to make up, but living up to their grandiose claims? Well, that’s often another story, unless you are talking about Circus Knie 2025. This year, the iconic circus presented itself as offering “a mixture of fantasy, poetry and magic.” An idle claim? Hardly. All three of these wonderful qualities blossomed throughout the big tent as breathtaking human and animal performances, along with some hilarious comedic interludes dazzled the senses and tickled the imagination.

Adding an extra glow to this vibrant mix and intensifying the fantasy, poetry and magic at the show was a versatile and lively lighting design by Axel Melchior. Like the circus itself, Melchior’s work radiated a delightful sense of surprise as it captivated the audience with its unexpected twists and turns.

Of course, maintaining this kind of freshness and originality requires the willingness to embrace change. So, just as the Circus Knie has happily reinvented itself during the course of its long and storied history (it began in 1803), Melchoir, boldly added a new dimension to his lighting design with help from some Chauvet Professional COLORado PXL Curve 12 fixtures supplied by Dushow. It was one of several enhancements he made this year.

“In our previous design, the light was very good from FOH, but I reworked the show so that it encompassed all the spectators more by multiplying the beams,” he explained. “This allows everyone in the audience to have a similar experience.

“I also added 25 COLORado PXL Curves controlled with sACN, around the scene, which dramatically changes the whole design,” continued Melchior. “In addition, we stopped the waterfall and replaced it with kinetic spheres on over 500 winches hanging from the ceiling. On top of this, we had eight other COLORado PXL Curves on a motorised platform. In order to control them easily, I simply took the fixture profile for the Curve and created a new profile with an additional four or five parameters.

“As far as the PXL Cures are concerned, their individual zoom and tilt allowed me to create very varied looks and to multiply the beams without multiplying the sources,” continued Melchior. “I decided to mount eight of the units on a platform, so I could add infinite rotation movements to the tilt effects. Also, I really needed an IP65 projector because even though we don't have the waterfall anymore, there is still a lot of dust and dirt in the atmosphere.”

The circus’s design and production team, which also included project manager John Masson from Dushow, artistic director Géraldine Knie and lighting director Julien Lhomme added a video floor in the second part of the show. “We needed powerful fixtures to complement this element,” said Melchior. “I also set up the PXL Curves around the floor screen so that they did not light the screen from above which would have been inconvenient. Also, by having the Curves around the scene, I was able to light faces properly. I also had all the liberty I want colour-wise to adapt to the costumes and the protagonists on stage. The results were amazing.”

Amazing? Yes, and one might also add words like “fantasy, poetry and magic” to describe the effect. Such is the special allure of Circus Knie 2025 and its inspired new lighting design.

11th June 2025

POLAR Supplies Lake, Radial, and beyerdynamic for Production and Touring Ltd

UK – “The Lake processor has since become a major part of my audio arsenal and I can’t imagine doing shows without one now,” enthuses Graham Pattison.

Somerset-based Production & Touring Ltd is a one-stop shop for all aspects of live event production and management. With a client list of leading artists including Snow Patrol, Calvin Harris, Sasha, David Gray, Declan McKenna and many more, the company relies on its vastly experienced team to meet the demands of a wide range of projects.

When Production and Touring Ltd director and FOH engineer Graham Pattison was recently looking to source a Radial JDX 48 guitar amp direct box, he was directed by Radial to its UK distributor POLAR, who swiftly met his requirement. The JDX 48 is a direct box designed to capture the sound of an electric guitar amplifier by connecting between the amp head and speaker cabinet, providing a balanced feed for the PA system emulating the sound of a well-placed microphone.

During the course of his Radial purchase, Graham discovered that POLAR’s extensive portfolio was able to tick another box on his urgent wish-list in the shape of Lake’s LMX48 processor, as he explains: “What I needed to achieve was a very good quality front end for my FOH console for matrix distribution when I’m not travelling with a PA system and/or a technician. Some days it’s L/R, mono sub and mono fills, others it’s L/R with stereo subs, stereo fills with under balcony units etc, so I needed the necessary functionality. The eight MESA modules on the Lake LMX48 processor allow me to do this, and of course the sound quality is legendary!”

Sales manager for POLAR Professional Audio Solutions, Andy Plunkett, liaised with Graham over the sale: “It’s always great to deal with tour professionals of Graham’s calibre and invariably a pleasure to chat through and provide detailed insights into the technical aspects of the products we distribute. In this case, Graham was up against some pretty tight deadlines, so we quickly provided a quotation and expedited delivery to ensure that the processor arrived in time for his next gig which happened to be at the Royal Albert Hall. We also supplied a beyerdynamic MM1 measurement microphone which Graham had had his eye on for a while.”

The Lake LMX48 hit the ground running according to Graham: “The Albert Hall was a bit full on! However, it went very well and the LMX48 was in the front line of it all. The Lake processor has since become a major part of my audio arsenal, and I can’t imagine doing shows without one now.

“I’ve got nothing but positivity for POLAR. From our first Radial purchase to the Lake/beyer supply, all went well, the equipment arrived on time and was exactly what was required. It’s sometimes difficult to get things done when you’re out on tour, so it was a great job all round, particularly getting the LMX48 through as quickly as they did.”

11th June 2025

Benson Boone’s Engineers Positively Flip Over DiGiCo Quantum Consoles

USA – In just a few short years, Benson Boone has gone from a brief stint on American Idol and his first chart-topping single to opening for Taylor Swift at London’s Wembley Stadium and performing on the main stage at Coachella 2025. With his highly anticipated second album, American Heart, released on 20 June, Boone is currently playing the summer festival circuit, followed by arena shows across the US and Europe, including Madison Square Garden, with DiGiCo Quantum338 consoles supplied by Clair Global at front of house and monitors.

Joey Diehl, Boone’s FOH mixer since early 2024, is a longtime DiGiCo fan and has been using the Quantum338 since it was released, during the pandemic. “At the time, I was with Special Event Services, doing a lot of streaming shows. It’s one of my favourite consoles I’ve ever used,” he says. “It feels very modern and up-to-date with current requirements, with the things that people are looking for and what sounds good now, and it keeps getting better.”

Carter Luckett, who has mixed monitors with Boone since August 2024, is another DiGiCo aficionado, using them at both monitors and FOH over recent years. “I toured heavily on the Quantum225, then upgraded to the Quantum338 a couple years ago,” he reports. “For monitors, it’s hard to use anything else because of the functionality and the speed with which you’re able to get around the desk and get mixes pulled up quickly and accurately. Quantum desks have really changed the way I work, and with the new Quantum processing, I’ve got a lot more ‘flavour’ to work with, building on the already robust, consistent DiGiCo infrastructure. It’s my preferred workflow.”

Coachella was a highlight of this year’s tour dates so far, not least because Queen guitarist Brian May joined Boone for his rendition of “Bohemian Rhapsody.” Luckett had to stay alert as the high level of movement on stage by Boone didn’t favour the use of wedges, put out exclusively for May. With both artists operating in the same space, Luckett expertly merged the two environments together. “Obviously, we didn’t want any squeals or squawks, so I would ride his mic in and out based on where he was on stage to keep his vocal from feeding back,” he says. “But it worked out.”

While Diehl uses some outboard gear, he’s equally happy relying on DiGiCo’s onboard Mustard and Spice Rack processing when there’s not enough real estate for racks at FOH. “Give me 30 minutes and a pair of headphones and I’ll be set because I love everything on the DiGiCo. Even with outboard, I still use the EQ on the desk. The way that you can send things and build out files is very close to what I would do at home in a studio, so it’s given me the ability to have that studio process on the road.”

Diehl continues: “The best thing for me are the macros and how the snapshots work. I don’t think any other console has yet gotten close to how powerful the snapshots on the DiGiCo can be. It can do anything and it can do it really well. I do some crazy stuff; there are songs where I have 20-something snapshots. I am doing such minutiae in these snapshots, but it makes a massive difference.”

It took a lot of programming, he says, but his efforts are matched by the musicians, who have worked hard to replicate Boone’s recordings. “Our MD is amazingly critical and famously very detail oriented. Lately, we’ve been landing the actual record in playback; I’ll go back and forth between my mix and the record. By the end of the song, I can press play and say, ‘OK, this sounds like the record.’ And it’s all saved to the snapshots,” and driven by the show’s timecode.

“I have a couple of outboard analogue pieces,” Luckett reveals, together with a hardware reverb, “just to polish Benson’s vocal and give it a little saturation to set it apart. It’s an extra sauce to add to Benson’s mix to make him feel comfortable in his own space. He’s the star of the show, so we’ve got a solid band mix, then his vocal just floats right on top of it. That chain, paired up with what’s inside the DiGiCo for the rest of the band, really complement each other.”

Elaborating on the musicians’ in-ear mixes, he says: “The keys player is our band leader, so he wants to hear each musician equally to keep tabs on everything that’s being played. He wants to hear an honest representation of what each player is creating. That’s where the DiGiCo helps: it’s really easy to get good, clean sounds that replicate what each player is actually playing, not colouring the sound, and without having to scoop ‘mud.’ But when you want to add some flavour, you have Mustard and Spice Rack, which give me a nice, almost front of house mix for my artist, while maintaining these clean, honest mixes for the players, or even give a fun little mix to somebody who wants to hear the record, or some version of it.”

As for the rest of the band, he continues: “I’ve got one player who wants a really dry mix that’s mostly her on guitar, no reverb on anything. The bass player wants more of a record feel, where he gets Benson’s reverb and a little more treatment and compression to round things out and help glue everything together. The drummer is similar to the guitar player, where he wants a fairly dry mix, but he mostly wants click and drums, like most drummers.”

This next leg of the tour passes through North America and Europe, before ending up in the Middle East in December and offers few breaks, the pair say. “If it wasn’t a DiGiCo console and it wasn’t Clair Global, I swear it would be impossible, logistically. As much as I love other production companies and other consoles, this is how it has to be to get it done,” Diehl comments. Luckett agrees: “You can get a DiGiCo anywhere in the world, and even if it’s not the exact same console, you can convert the file. It’s the only way for us to get through some of these shows.”

That said, Diehl and Luckett recently spent some time at Clair Global’s HQ in Lititz, Pennsylvania, getting familiar with the new DiGiCo Quantum852. They are looking forward to adopting the new console when they have the opportunity, likely this fall, during production rehearsals for the arena tour. “It feels very familiar, but it also has loads of new features. It’ll be fun to figure out exactly what new implementations you can do with it,” Luckett says. Diehl adds, “I sat down and made a file, and it only took me a few hours, so I could do a show on the Quantum852 right now!”

10th June 2025

Robe SVOPATTS for Amadeus Awards Event

Austria – Vienna’s Marx Halle bristled with excitement for the 2025 Amadeus Austrian Music Awards, a big and super glamorous night out for the Austrian music industry, staged by IFPI Austria to recognise outstanding achievements by Austrian artists and musicians.

No less standing out than the occasion itself was an eye-catching production lighting for the event created by Manfred Nikitser who incorporated eight Robe SVOPATT LED fixtures into his design in this unique venue.

Broadcast live on national television channel ORF, the 2025 event further celebrated 25 years of the Awards, stepping up from a theatre venue to this larger former industrial space right at the heart of the city’s event scene, which also upped the production values.

Manfred, lighting the Awards for the fourth time, wanted a strong, spectacular backlight feature for the 11 show-stopping live performances taking place in between the 14 Awards being handed out and thought the SVOPATTs would be perfect for the job.

In part, this decision was prompted by the interesting aesthetics of the fixture, a static multi-source LED product with nine individual modules, each containing seven 40W RGBW multichips and a centre pixel with a retina-popping 200W white LED strobe.

Generating over 75,000 lumens (integrating sphere), Manfred was certainly not short of brightness for creating the slick, provocative powerful, low-rise backlighting style he wanted in the unique environs of this vast space, which was once a cattle shed.

The set and lighting design was a collaboration between Manfred who took care of both these disciplines and director Lukas Dudzik. Manfred has also been lighting director on four previous Amadeus Awards shows, so over time, a key objective has been to evolve a visual style for the Awards that can be transposed to any venue.

This is currently a sharp, clean look with lots of interconnected lines made up of LED strips and screen surfaces: edgy, smart and an environment that suggested “expectations”.

The SVOPATTS were positioned along the top of the on-stage LED screens, a location chosen as homage to that more traditional old-school TV lighting look from the nineties, when the Awards started.

Manfred particularly likes the way the SVOPATTS blended with the venue’s architecture and atmosphere which all came alive with the thrill of the event.

Apart from the ergonomics, he appreciates it being a hybrid fixture that can make a wash, a blinder effect or a strobe, each configuration with its own special characteristics. “It’s extremely flexible for creating multiple looks and scenes,” he commented.

When the SVOPATT was launched, it immediately caught his eye and with this show coming up, he knew it was an ideal chance to use it in-situ.

He likes the quality of the beams when in very narrow mode and also the collective look of the nine modules together: “I really appreciate having one massive beam or being able to break them up and create some incredible sparkling or twinkling accenting effects, all from the same fixture. Then there is the strobe chip that adds a whole new layer of possibilities.”

The SVOPATTS were used for all the live performances, mainly as soft blinders and beam effects. Manfred comments that they are a great fixture both live and on camera.

Major challenges of lighting this show included utilising plenty of creative rigging to get lighting positions in the correct places; being a multi-purpose event hall (as opposed to a theatre) which was looked after by production riggers and, after that, providing 360-degree lighting coverage for the multiple cameras and treading the ever delicate tightrope embracing both broadcast and live performance environments.

Everything went brilliantly on the night of the show, which was hosted by Tom Neuwirth (Conchita Wurst) and Andi Knoll, with the production receiving many compliments and the event hailed as a major success.

Manfred, based in Hamburg and Vienna and working internationally, is looking forward to another opportunity to use SVOPATTS.

photos: Javier Bragado

10th June 2025

Almaty Theatre enjoys Kazakhstan’s first DiGiCo Quantum 338 T

Kazakhstan – Almaty Theatre is a gem in Kazakhstan. Well-known for excellence in performance, the venue has undergone many technological enhancements over the last few years, including the recent purchase of a brand-new DiGiCo Quantum 338 T, installed by Samat show technic LLP.

The theatre’s nightly performances are not limited to a single genre and span a full spectrum of theatrical, dance and musical performance. Sound engineer, Roman Dvoretsky, explains that searching for a mixing console that is flexible enough to facilitate this range of performance styles, while delivering high channel counts and crystal-clear audio could only end with the purchase of a Quantum 338 T.

"The heart of any musical theatre show is the console, and in our case, the DiGiCo Quantum 338 T” he says. “Sound designer, Mikhail Sokolik, who came to our theatre to design the musical Juliet, prefers DiGiCo consoles, so when there was a choice, we chose the Q338! There are many consoles from other companies that could cope well with this task, but DiGiCo just does it better. There are a lot of functions that are very well suited to working with complex shows, a high channel count, and a large number of commands.”

It is not just the audio that is controlled by Dvoretsky. Thanks to the ability to send commands directly from the console, he can simultaneously fire corresponding lighting, video and stage-automation cues, intensifying the impact of the drama on stage.

“All control comes from here. We send MIDI and time code to the lighting console, so that we can fire cues with the music. We are also controlling certain aspects of video, too, so the footage changes exactly when we need it to,” he expands. “In addition to the console, we have several computers. The first one records a multi-track of absolutely every performance, plus a pre-mixed recording of the band, without vocalists, as well as a complete recording from the masters. This is for reference information and we use it for training and subsequent rehearsals. We can double check any technical issues that might have happened, such as radio-microphone issues.”

Dvoretsky can also manage playback from the mix position, offering another layer of audio automation and reliability. The playback system is delivered by two computers, networked to run in synchronisation. When Dvoretsky sends a MIDI command from the console, each computer completes a variety of tasks, from starting playback or click, to time code and other commands. If one computer breaks, he can simply switch to the back-up and continue working from the other computer. Much of this automation is controlled via snapshots and this ensures there is enough flexibility in the system to cope with the inevitable inconsistencies of live theatre.

“Snapshots help us to keep everything as similar as possible night after night,” he continues. “Everyone is human and anyone can forget a phrase, or make a mistake. Automation is very helpful in providing a framework, or structure to the show. I have a single snapshot that starts playback, timecode and a media command to the lighting console; it changes video content and assigns the necessary channels to the DCAs. I can then use the DCA faders to control the microphones of the performers that participate in that number.”

Another feature of the console that is much appreciated by Dvoretsky and the team is its thoughtfully designed surface. Thanks to three high-resolution, 17-inch displays he can be sure that everything he needs to see is right where he needs it, with fully customisable surface placement.

“All consoles have layers, but on the Quantum 338, you can label each layer and immediately see where your microphones, drums, the rest of the band and the effects are, etc. All these little things greatly affect the speed of workflow and on a musical, every second is precious. If someone comes up to me to ask why they haven’t heard the third person in the ensemble, by the time they ask, I’ve already missed the fourth person in the ensemble!”

The ability to design his own workflow and work in the way that suits him best means Dvoretsky can respond at speed and stay in control. It is a system that continues to work well for him and the team.

“Control is very customisable and for any show, this really helps our work. After using the DiGiCo, you can no longer imagine how you could work differently,” he concludes. “Previously, I worked with one screen and looked for everything somewhere on there. Now we have a Quantum 338, you can do everything in a second and see it all. It’s a real game-changer.” 

10th June 2025

Italian Event Specialist Cipiesse Selects Outline GTO C-12 for Flagship Sound

Italy – With nearly 50 years of experience in live events, conventions, corporate meetings, webinars and private functions, Cipiesse – based in Rezzato, near Brescia in Northern Italy’s Lombardy region – is one of the most established providers of technical and organisational services in the area. The company has recently expanded its equipment inventory with a major investment: a GTO C-12 large-format line-array system from Outline, designed for the most demanding live sound applications.

Cipiesse’s use of Outline technologies dates back to the 1990s, when the company began incorporating the renowned manufacturer’s point-source loudspeakers into its productions. In the early 2000s, Cipiesse adopted Outline’s now-iconic Butterfly line-array system (which is still in service today) and has now taken the next step forward by acquiring the GTO C-12. The new system will debut as part of the company’s 2025 summer season, beginning with Skunk Anansie’s performance on 13 July at Arena Campo Marte, as part of the Brescia Summer Music series.

“We’ve always believed in quality and reliability, and Outline has proven to be a valuable choice every time,” says Santo Bertocchi, founder of Cipiesse. “After years of success with the Butterfly and Mantas systems, moving to the GTO C-12 was a natural evolution toward a top-tier technology. Our restart after the 2023 fire, which severely damaged our historic headquarters, was also a moment to look ahead with renewed determination. This investment shows our continued commitment to delivering high-level technical services to audiences in Brescia and beyond, who have always responded with great enthusiasm.”

Marco Riva, partner and operations manager at Cipiesse, echoes the sentiment: “When you’re working on stage every day, you need tools that are reliable and high-performing. Outline has consistently delivered on both counts. Their systems are recognised globally for their build quality, sonic performance and versatility. And the fact that they’re designed and manufactured just a few kilometres from us adds extra value, allowing us to rely on fast and effective technical support.”

Federico Bianchi, general manager of Audio Link, Outline’s official distributor in Italy, adds: “Investments like Cipiesse’s confirm that a growing number of professionals are choosing our systems for their quality, reliability and the brand’s international reputation. Just a few months ago, I highlighted how the Outline network is expanding throughout Italy. The fact that there are now two large-format GTO C-12 arrays in Northern Italy – in Genoa and now Brescia – and in the hands of highly competent teams, further strengthens this trend. Demand for top-tier audio solutions continues to grow in Italy, and we are ready to support it.”

In addition to the technical production of major events such as Brescia Summer Music – which has hosted major Italian and international artists for decades, spanning genres from rap and rock to pop and alternative – Cipiesse also manages the Bergamo Summer Music and Vallecamonica Summer Music series, and works closely with Dis_Play, a multi-purpose venue inside the Brixia Forum. These projects further solidify Cipiesse’s footprint in the corporate and conference sectors as well.

9th June 2025

Mike Berger and Travis Hagenbuch Create Versatile Light Wall at ACMA with Chauvet Professional

USA – The stage was big, over 200-feet wide and 100-feet long. So too was the venue, the 510,000 sq. ft. Ford Center at The Star in Frisco, Texas, the practice facility of the Dallas Cowboys.  Good thing too because the Academy of Country Music Awards went all out this May to celebrate its 60th anniversary with a spectacularly extravagant show that featured a plethora of stars representing all of the many eras and facets of this vibrant, ever-changing genre.

Tying it all together was a beautifully balanced lighting design by Michael Berger and Travis Hagenbuch that created an engaging atmosphere on stage and throughout the room, while ensuring camera-friendly looks for each magical moment during the almost three-hour broadcast, which was streamed live on Amazon Prime.

“Because of the set and venue’s scale, we started by exploring fixtures that existed in the hundreds-quantities to fill the space,” said Berger. “The rig was designed to both make a visual statement in the room as well as provide the practical positions needed to light the show. We started down a parallel path of creating an interesting overhead shape while adding in the necessary lights to illuminate the award portions of the show. Eventually we brought together both of these ideas and landed with what audiences saw on the broadcast.”

As part of their calculus Berger and Hagenbuch, who between them have been working on the ceremony for over 15 years, searched for new ways to create their ‘light wall’, which serves as an alternative to the video backdrop for some performances. They wanted something that would be a fresh, original alternative to the typical light towers that filled this role in the past and most importantly, they needed something capable of creating an array of different, intimate looks to match the diverse range of talent on stage.

“We started this year with a brief exploration of some shapes and images for the light wall that weren’t just our usual assortment of vertical towers,” said Berger. “Once we landed on the angular shapes that play off the existing side walls, we started looking at fixture options.”

This search ultimately led them to the COLORado PXL Curve from Chauvet Professional. “The one-metre length of the PXL laid in very cleanly with the sketches we had made,” said Berger. “We liked the idea of hundreds of individually moveable heads rather than a single bar where we would have had a much smaller number. The flexibility of individual tilt and zoom of this batten really helped us create a number of different visuals on out light wall throughout the broadcast.”

Kinetic Lighting supplied the 42 COLORado PXL Curve units for the all-important light wall. The rest of the rig came primarily from PRG Los Angeles. This included Strike 2C blinders on the front of Lainey Wilson’s band risers and some OnAir 1 panels backstage.

The looks created on the light wall as well as those throughout the massive rig not only engaged the live audience at the big venue, but they also worked well on camera. “The show operated much like a traditionally broadcast event, except there are far fewer commercial breaks,” said Hagenbuch. “This complicated things like stage reset time between performances and also made us mindful of how much can realistically get set up while designing looks.” 

Berger and Hagenbuch credit all involved in this ambitious production with helping it come off smoothly, beginning with 22°, which provided the comprehensive package of staff and equipment. They singled out the work of their tireless PRG rep, Tony Ward, who was also the gaffer on the show, as well as PRG chief technician and networking guru Jason Trowbridge, along with the entire crew of six PRG techs, eight travelling best boys and four travelling spot ops plus the local Dallas crew.

“This was very much a stadium scale show,” said Berger. “In addition to the main show rig, we want to create sense of intimacy with a bespoke floor package for most performances. We thought about all the ways to accomplish this and came up with a new approach for the light wall centred around the PXL Curves.”

9th June 2025

Claypaky Fixtures Light Up Mexican Band Matute’s New Disco Stereo Tour

Americas – Mexican band Matute is playing dates in Mexico and the US with their Disco Stereo Tour, which takes fans on a journey through the most iconic LPs of the 1970s, ’80s and ’90s.  Claypaky Tamboras, Sharpy X Frames and Midi-B FX fixtures light up the stage as Matute blends the analogue charm of vinyl with immersive visuals and a setlist packed with dance floor classics.

The group has established a loyal fanbase over nearly two decades, especially among Latin American and US audiences who crave their live shows that mix Spanish- and English-language hits from some of the most influential artists of the disco era. The new tour will highlight the influence of past decades on modern music, creating a concert that feels fresh yet has elements of nostalgia.

Matute’s Jorge D'Alessio helms the creative production of the tour. At Mexico City-based lighting design collective PRO3, partner Charly Zamudio is head of design and lighting direction with Andrés Mendoza and Luciano Marcos the programmers.

“The goal of the design was to create a kind of lightbox on the stage, framing everything in a single plane,” says Charly Zamudio, who served as lighting designer. “Screens, pyrotechnics, CCTV; everything lives within a frame of light that makes it all come alive as a unit, not as separate elements when viewing the show.”

To that end, Zamudio chose 48 Claypaky Tambora linear 100s for their intensity and pixel definition plus 72 Sharpy X Frames and 48 Midi-B FX, which added versatility and visual effects to the mix.

“We created a pixel frame with the Tamboras across the stage and a series of groupings of the Midi-B FX fixtures for the stage box,” he explains. “The Sharpy X Frames were used at the front and on three bridges above the stage.”

The “colour mixing of the LEDs, their temperatures, the definition of the LEDs or the body with pixel rings are some of the features that stand out” in the fixtures, Zamudio notes.

“Everything looks incredible. The lighting fixtures respond precisely to the entire program and we are achieving the desired result. Claypaky was always attentive and willing to support us at all times as was the Hermes Music team. When the entire lighting, audio and video crew, stage managers, camera operators, pyrotechnics and everyone involved in the show come together and work as a whole, the result is incredible!”

Matute belongs to the bands and artists of Bobo Producciones, a renowned Mexican entertainment and management company.

Mauricio Brando is Claypaky’s regional sales manager for Latin America and Hermes Music, exclusive Claypaky distributor in Mexico.

www.claypaky.com      

9th June 2025

Pierre Claude Uses Space, Light and Chauvet Professional to Reflect Moods of Etienne de Crécy Tour

France – Space is the breath of art, Frank Lloyd Wright once observed before he went on to revolutionise architecture with his open, elemental designs. This philosophy is compatible with the approach that Etienne de Crécy follows with his art. Like Wright who pioneered new ideas in building design, the Lyon-born electronic music maestro has blazed new paths by giving his sounds the space (in both the literal and figurative sense), to flourish.

Just as water and sun nourish the growth of plants, space, free of all unnecessary adornments, allows de Crécy to endow his eclectic mix of music room to expand. This is very evident in his current tour, which celebrates 30 years of his pioneering work, not only in his musical performance itself, but also in the supportive stage production design by Pierre Claude.

I love minimalism and I try as much as I can to leave as much space as possible for artists and their music ,” said Claude. “For me, that’s what the audience primarily expects at a concert. Etienne de Crécy wanted to take this even further; he wanted a track to be immediately identifiable by a colour, so that on social media, people would know which track is which, just by seeing a photo. He also uses this approach for his album covers, which are very minimalist and instantly recognisable. We have one single colour per song: saturated colours for the fast tracks and pastels for the calmer ones. I used white for the most visually complex song, so that the colour wouldn't take over. There's also one track that mixes RGB and brings out the CMY.”

Boldly and bravely, Claude relied on only one fixture in his minimalistic rig, the Chauvet Professional COLORado PXL Curve, supplied by Léon Van Empel’s S Group. “Étienne has always had technically complex designs, even though they looked simple,” noted Claude. “He often incorporates video, but this time, he wanted to use only light, but just one type of projector, which was very difficult for me to program.

“We also wanted the lights primarily to come from the floor,” added Claude. “There was to be nothing visible above Etienne. We work on the depth and width of the stage, which creates an incredible three-dimensional effect. I also wanted a line behind his shoulders, as well as one on a truss upstage, which we use very little but provides a different perspective of the stage.”

Run by touring LD Nico Riot, the tour’s rig is made up of 76 COLORado PXL Curve units. These battens are arranged in eight lines of ten bars, six of them on the floor, and one in the air. An additional six fixtures are suspended at shoulder height by the riser in the middle of the stage.

“It's breathtaking to see the stage so empty and stripped-down, yet with extreme brightness,” said Claude. “It was also impressive to see all those bars. With the PXL bars there were many possibilities with the colours and the dimmer, which are very smooth, the fast zoom and tilt. The independent tilt creates breathtaking effects like waves or the Northern Lights.

“The bars are very reliable. I was really worried that our excellent operator Nico would have to refocus every day because that's a total of 912 tilts,” continued Claude. “It could have been nightmarish, but even after long truck rides and load-in/ load-out, the motors are very reliable. Nico has been a big part of the tour’s success, as have “Lena Marinot (Blocks), who manages this huge setup with a master's touch, Square Circle (tour and production management) and Allo Floride (booking and production).”

Nico Riot’s skilful touch played a key role in creating one of Claude’s favourite looks in the show. This occurs during the song “Work,” which kicks in at about the 40-minute mark. “At that point, I think the audience thinks we've shown everything we can do up until then,” said Claude. “But it’s a real demonstration of what the Colorado PXL Curve can do and what this design is capable of. The looks change really quickly and are extremely different.”

Of course, not all of the dramatic looks had to do with light. Darkness and silhouettes also were big mood influencers during the show. Looking at this aspect of his design, Claude said: “I really appreciate the concept of artists becoming an integral part of the artwork itself, where their silhouette is woven into the design. It’s not just about their performance being illuminated by the spotlight, but rather their own physical presence and movement that infuse life and energy into the piece. This approach makes the artist’s body a key element of the artwork, creating a deeper connection between the performer and the visual expression, blurring the line between the two.”

Creating greater power by minimising something (in this case light)? It’s a concept Frank Lloyed Wright understood, just as Etienne de Crécy does and so too do inspire lighting designers like Pierre Claude!

photos: Dorian Meyrieux, Tifenn Lussan, Bruit and Mickael Launay

6th June 2025

Andrea Bocelli delivers cinematic 360 soundscapes with Britannia Row Productions’ engineering support

UK – Celebrated Italian tenor, Andrea Bocelli, has delivered his latest live offering through an L-ISA immersive spatial audio system, an all-encompassing sound experience taking fans through three decades of operatic and orchestral excellence.

The tour’s core sound engineers all began their careers with UK tour supplier, Britannia Row Productions. FOH engineer Davide Lombardi, systems engineer Alessandro Cestaro and monitor engineer Stefano Serpagli, describe the rental house’s partnership as a familial experience.

Davide begins: “I started in the Britannia Row warehouse in early 2000s; Britannia Row and particularly Bryan Grant, gave me my first opportunities in the international live music business, so when there is a chance to work together, it’s always a real pleasure as it feels as though I’m coming back home.”

During this time, Davide has worked with some of the most amazing artists on earth, but with Andrea Bocelli it goes beyond being proud: “It’s a real honour and an intense responsibility.”

Working with first-rate classical musicians and performers, Davide says, comes with the added pressure to deliver top-tier sound in real-time. “I need to ensure that every aspect of the performance – from the PA deployment to the microphone placement – supports the emotional depth that we want the audience to experience. It’s challenging and incredibly rewarding, especially when the final product is so beautifully captured with a standing ovation.

“Using cutting-edge technologies such as L-ISA, elevates the overall production quality and shows a commitment to delivering the best possible experience for the audience,” he adds.

Davide goes on to explain that for this artist, a tangible connection to his audience is key: “Spatial audio can help create a more immersive, ‘personal’ feel, even in large venues, deepening the sense of intimacy, particularly in the quieter, more reflective moments of a concert. L-ISA makes it possible for the instruments to be positioned in the sound field to mirror their actual placement on stage, making the audience feel completely immersed in the music rather than listening from one vantage point.

“Andrea’s style is very rooted in classical music, but with a modern twist. His music blends pop and opera, so my goal is to understand that fine line and give each song the depth it deserves, highlighting the delicate, nuanced moments of the orchestra and his voice, such as the emotional crescendos in his operatic sections, without compromising the quality of his performance.”

To harness these sonic desires, Davide operates a DiGiCo Quantum 7 with two Bricasti M7 stereo reverb processors, one for the orchestra, another for the singers, yet he declares his FOH mix will never sound “good enough” if the PA is not well deployed, leaning on Britannia Row’s expert crew for pinpoint precision and engineering assistance. 

“Every tour has its challenges, but this is one of a kind. On stage we have a 69-piece orchestra and a 60-piece choir, over 100 condenser microphones and around four [or] five guests per show, plus Andrea himself. The attention to detail is mandatory. One small change can make a big difference and as we play between stadiums and arenas, it’s my duty to ensure every single member of the audience has the best experience possible, from the front to the back row. With my systems engineer Alessandro Cestaro, we already know what to do to achieve what we want, without even having to speak about it.”

The L-Acoustics L2/L2D deployment is an L-ISA wide configuration. “We’ve also side hangs to cover the areas where the scene wasn’t reaching,” begins Alessandro. “We have KS28s centrally hung in a gradient configuration to provide excellent cancellation on stage and smooth coverage across the audience area. There are also X8 point source speakers used as spatial front fills and KS21s as ground subs.”

Left and right ground stacks comprising more KS21s plus A10s for out fills to cover areas behind the 180°line. The team also used KARA II as a delay system to support coverage in the highest parts of the larger venues.

“We’ve always wanted to use L-ISA on Bocelli, and we found the perfect opportunity for our UK tour, knowing that Britannia Row could support us like only their team can,” he continues. “And of course, they delivered. From the early stages of the project, Josh Lloyd [head of engineering] and his team helped us with designing a system that could truly meet our requirements, one which would also be fast to deploy.”

With the 100+ condenser mics on stage, having the least possible spill from the PA is always a key goal for this team. He adds: “Using L-ISA was a whole new experience and being able to calibrate the system gave Davide the starting point he needed in the same amount of time a traditional left-right system would take, thanks to the Britannia Row team, who were mind blowing.”

In monitor world, Stefano was initially asked to help Davide mix the orchestra and effectively re-build the set-up from scratch. In the three years since, the relationship has gone from a FOH ‘co-mix’ to a more standard FOH/Mons set-up.

“I’ve worked with Davide for years now, and not only do we share a very similar way of working, but we’re close friends too,” Stefano says. “I love the fact that we have different orchestras, guest artists and soloists in each city and territory we enter. Consistency is the biggest goal; touring with Bocelli is more like a never-ending series of one-offs and the expectation is very high.”

Stefano has 12 wedge mixes and 12 IEM mixes on a typical show. “This is sufficient to cater for Andrea, guest sopranos, soloist musicians and guest pop artists. This also includes wedges mixes for conductors, orchestra keyboard, drums and bass player. Ninety percent of the show is fully live and score led by a conductor, so most of the mixing is done on wedges. IEMs are for the ‘pop’ part of the show, where the orchestra is accompanied by some backing tracks and clicks. This is also where the conductor and rhythm section of the orchestra switch to IEMs.”

Bocelli has an LCR array of small d&b audiotechnik E8 wedges. He furthers: “The centre wedge is purely for dry vocal and the outer stereo pair then has everything else: vocal reverb, piano, some handpicked orchestral elements for certain pieces and some backing track for the pop numbers. It’s all subtly mixed as he feeds a lot from the live orchestra and natural ambience created by the PA mix.”

Stefano also chooses DiGiCo, a Quantum 7 for this run but the Q852 and 338 models also suffice. “The Q7 surface is my favourite and my outboard is just two Bricasti M7s for Andrea and a soprano reverb. IEMs are Shure PSM1000s and wedges are a mix of d&b E8s for front line wedges and L-Acoustics X12s. The PSM1000s along with Axient RF mics and packs are the best sounding and most reliable when it comes to RF,” he adds.

Stefano also notes that this tour has been tailored to the crew’s exact needs. “We’ve received constant support from Tom Brown, Britannia Row Productions account executive and the whole team. It gave me peace of mind that everything was being thought through, allowing me to focus on my job.

“I’ve worked with Britannia Row and Clair Global for several years and it’s always like coming home. The standard of the service is very high and reliable: from prepping the package to the choice of crew. It’s always a smooth journey where we’re well looked after. We do use varying suppliers around the world, and Britannia Row are the highest standard around. It’s always a pleasure to be able to work with them.”

photos: Oli Crump 

6th June 2025

GLP makes a grand appearance at Academy of Country Music Awards

USA – The 60th edition of the Academy of Country Music Awards (ACM) saw a return to the Ford Center at The Star in Frisco, Texas and hosted by country legend Reba McEntire for the 18th time.

Co-lighting designers Michael Berger and Travis Hagenbuch both have a long association with the event, starting out as interns many years ago. “It’s been a nice full-circle experience working with Travis in this capacity since he really took me in during that first year,” credits Berger. This year a vast armoury of over 160 GLP fixtures illuminated artist performances (with a nod back to highlights of the last 60 years). Leading the charge were 73 JDC Lines (500s and 1000s), which edged the band risers, the award presentation stage and other areas.

The latest generation of the popular hybrid strobe – the JDC2 IP – also made a high-profile appearance, with 25 heads cleverly interspersed among Kelsea Ballerini’s suitcase dominated stage set for her performance of ‘Baggage’. while five Force 120s – GLP’s high-speed, variable direction LED fan unit – featured in Jelly Roll’s performance of ‘Heart of Stone’.

In addition, 48 of GLP’s impression X5 Compact were split evenly between the house and the base of the B satellite stage, as well as around the arena for audience backlight. Finally, nearly 50 impression X4 Bar 20s and X4 Bar 10s featured in the side walls and centre plunger of the main show set.           

Streaming live on Prime Video on the night (and then available for replay), the ACMs ran as a conventional broadcast event. However, the lack of commercial breaks created its own challenges. “This complicates things like stage reset time between performances,” states Travis  Hagenbuch, “and makes us mindful of how much can realistically get set up while designing.”

Unlike many pop-focused shows that bring in outside design teams, the ACM performances are largely produced by Raj Kapoor, Patrick Menton and their team in house. “Once they have booked an artist, we sit with them to develop the concept further and specify fixtures [and] placement,” say the two designers. “We are responsible for the programming and lighting design of the whole show, using the same base rig and augmenting it with floor packages that fit the aesthetic of each act.”

Both Berger and Hagenbuch have long been familiar with GLP’s build quality, features and performance, having been early adopters of the impression X4 Wash, X4 Atom and X4 Bar 20. “As the technology has evolved and its availability has increased, we’ve been moving into the X5 engine on a lot of these fixture types,” they say. “GLP has always been synonymous with quality and support and we have the utmost confidence speccing their product; based on the history it’s an easy choice.”

However, they are mindful of the fixtures’ awesome power. Mike Berger said: “We often play to the lowest values on these products so as to not blow out on camera! The JDC2 IPs now have a much more developed low end than we’ve seen in the past which helped with our scenic use of them.”

He singles out Kelsea Ballerini’s cameo among the highlights: “Once the concept of the large baggage sculpture landed, Travis and I looked for ways to activate it. The JDC2 IP did a great job of fitting in with the scenery, almost as if it were a piece of luggage, but then providing the lighting energy and support for the music as the song required.”

And as for the deployment of the Force 120 with Jelly Roll, he explains: “We were specifically looking for an industrial look to balance against the warm look that his second song would have. I tend to reach for the newest tech, and also some of the older stuff that hasn’t been seen in a while, such as the PAR64s on the Miranda [Lambert] performance to give variety.”

Consequently, all fixtures performed flawlessly and the event’s dynamic was fully captured in the TV presentation, produced by Dick Clark Productions.

Lighting vendors were 22° in LA, supported by PRG and Kinetic Lighting (for the Force 120s).

Mike Berger and Travis Hagenbuch credit their team, including truck lighting director Jeff Behm, who was responsible for cue list, show structure and followspots, floor lighting director Hannah Kerman, who handled focus and metering, and Ryan Tanker, Erin Anderson and Grey Nicholson who handled programming, working within a unified show file but with different responsibilities. “Then there was our tireless PRG rep, Tony Ward,” commends Hagenbuch. “He was also the gaffer on the show, supported by PRG chief tech and networking guru, Jason Trowbridge, and six PRG techs, in addition to eight travelling best boys and four travelling spot ops, along with the local Dallas crew.”

photos: Rich Polk

www.glp.de

6th June 2025

HK Audio deliver crystal clear sound for Malaysia’s Aidilfitri Madani celebration

Malaysia – HK Audio helped set the tone for a high-profile celebration at the Majlis Sambutan Aidilfitri Madani 2025, held on 19 April at Stadium Perpaduan Petra Jaya in Kuching. The event brought together a mix of cultural performances and official speeches in front of thousands of attendees, including Malaysia’s Prime Minister, the Premier of Sarawak and other senior officials, all supported by a powerful and precise HK Audio sound system.

With a venue of this scale and significance, speech intelligibility and full-range musical clarity were critical. To meet the challenge, the sound for the event was handled by Authentic Ideas and Events Enterprise (AIEE), which deployed an HK Audio COSMO concert sound system, with additional HK Audio LTSA and L SUB 4000A for outfill coverage. The result was consistent, high-definition sound across every corner of the stadium’s seating areas.

Nawawi Bin Bujang, managing director at AIEE, noted that “HK Audio COSMO is a very easy system to set up, and our team only needed a short learning curve to get the most out of it.” He added: “This event had to deliver with clarity, especially for the Prime Minister and Premier’s keynotes, and the system handled the stadium coverage beautifully.”

Stage monitoring was delivered via SONAR 115Xi wedges, a trusted choice for AIEE due to their clarity and excellent price-to-performance ratio. The monitors performed well once again, supporting a range of artists and stage setups with ease.

The event ran smoothly from start to finish, with clear, balanced sound carrying every word and musical moment to all corners of the stadium. HK Audio’s system proved to be a dependable and effective choice for the occasion.

6th June 2025

Clear-Com Technology Powers Groundbreaking Live Outdoor Sequence in Broadway’s Sunset Boulevard Revival

USA - Clear-Com’s FreeSpeak II beltpacks are at the heart of a remarkable outdoor tracking sequence in the Broadway revival of Andrew Lloyd Webber’s Sunset Boulevard, directed by Jamie Lloyd. This cinematic, real-time scene begins backstage at the St. James Theatre and spills out onto West 44th Street, with the production captured live on a massive LCD screen. The ambitious sequence, involving 62 cast and crew members requires precision timing, flawless communication and robust technology to execute every night.

Clear-Com plays a crucial role in providing seamless communication among the diverse team as they manage complex logistics outdoors while ensuring perfect synchronisation with the orchestra indoors. The real-time co-ordination required for this groundbreaking performance includes crowd control, outdoor route adjustments and security, tasks made possible only with flawless communication provided by FreeSpeak II beltpacks. The production relies on two Arcadia Central Stations, configured for main and backup redundancy, ensuring uninterrupted communication throughout the performance. Fourteen FreeSpeak II TCVR-IP-19 transceivers are strategically placed across multiple floors of the theatre, including two exterior units, to provide seamless wireless coverage for the intricate outdoor sequence in Act 2. Approximately 25 FreeSpeak II BP19-X4-US beltpacks enable cast and crew to stay connected in real-time, maintaining precise coordination between indoor and outdoor locations.

The wireless intercom system provides an ultra-reliable, full-duplex communication solution critical for the precision co-ordination required in Sunset Boulevard live outdoor sequence. Utilising advanced digital wireless technology, FreeSpeak II offers interference-free communication even in challenging environments like the bustling streets of New York. The system's network architecture, built on a scaleable and flexible IP-based infrastructure, supports integration with both wired and wireless communication channels. With its high-quality audio, FreeSpeak II ensured real-time communication across a wide coverage area, even with the added complexities of unpredictable weather and ambient street noise. The system’s beltpacks which are fully capable of supporting talk and listen modes with multiple channels, allow team members to instantly adjust to shifting logistical needs, whether co-ordinating street routes, managing security, or maintaining perfect synchronisation with the indoor orchestra.

“Being part of a production that pushes the boundaries of what’s possible on stage is incredibly exciting,” said Adam Fisher, sound designer for Sunset Boulevard. “Clear-Com’s FreeSpeak II wireless intercom system ensures that every part of this elaborate scene runs smoothly, no matter the challenges. With outdoor elements like unpredictable weather, street noise and crowds, the system provides the real-time communication needed to keep everything in sync, making this performance a true marvel every night.”

The sequence, which has garnered significant attention on social media and in the press, features lead actor Tom Francis performing the title song amid the bustling streets of New York. From navigating street noise to handling unpredictable weather, the cast and crew rely on Clear-Com for co-ordination. Ensemble member Shayna McPherson also uses a camera rig to capture the outdoor action, which is then broadcast in real-time to the audience inside the theatre.

“Clear-Com technology is integral to the success of this groundbreaking scene,” said Clear-Com president Bob Boster. “It’s a perfect example of how our systems can support the creative and logistical demands of live performances, from the stage to the streets. We are thrilled to be a part of this incredible production.”

The Sunset Boulevard revival at the St. James Theatre continues to be a shining example of how technology enhances live theatre, enabling teams to overcome unique challenges while delivering extraordinary performances night after night.

5th June 2025

Chase and Status Comes Alive with PRG

UK – Drum and Bass legends Chase and Status headed out on their ambitious live tour across some of the UK’s biggest arenas with a stunning ROE video screen and MoveKet automation package from PRG UK.

After the release of 2024’s “Backbone” catapulted Chase and Status back into the cultural zeitgeist, the highly anticipated UK tour has seen the duo go from strength to strength. Bringing a high energy rave to arenas this size requires something special for the production so PRG UK headed down to Co Op Live in Manchester to chat to the team and get the load down on the tour.

Walking into the main room, the clear centrepiece of the stage is the unusual ‘letterbox’ LED upstage screen, supported by MoveKet automation to reveal the band as the show kicks off and create dynamic movement throughout the set. ROE Vanish V8T panels were used to build the 27m wide x 4m deep structure, chosen for the strong colour depth and the 50% transparency means the lighting can be integrated seamlessly as the screen moves and adds more variety to the looks throughout the show.

“It’s a rave basically, it’s a Drum and Bass concert,” says Steve Jones, crew chief. “The video content is key and really leans into that for this show. Having the blow through screen looks incredible with the lighting package and lasers behind it.”

Along with the upstage screen are two 3m x 5m IMAG screens supported by a simple but effective camera package consisting of a Grass Valley Karrera system with four Sony System cameras, two using Fuji long lenses at FOH and two pit cameras with wide angle lenses.

Another unique feature on this tour that everyone will be talking about are the six floating trusses over the crowd, powered by the MoveKet automation system. Throughout the show they rise up in a striking V shape then lower right over the crowd’s heads, fully immersing the room in the spectacle. It’s like being at Creamfields or maybe a high-end Vegas club, only with more pyro!

The show was designed by Sam Tozer and Vision Factory and production managed by Mike Clegg. They are supported by a tight-knit crew, many of which have been with the band for years. With such a labour of love, it was vital for the team to have suppliers they could trust to deliver each element of the show.

“I’ve been happy with every tour I’ve done with PRG and this one is no different,” continues Jones. “Nothing’s a problem for them, they understand the needs of this line of work and I know I can pick up the phone to them any time of day and someone will help me. The equipment and engineering are fantastic. The service both in prep and on tour is always excellent.”

Then, just like that, it’s show time. Crowds pour in from all sides, filling up the main room and spilling out into the foyer. Merch is cleaned out before the first support act even hit the stage.

As the houselights dim, the crowd roars in anticipation as MC Takura commands the stage and rips through Smash TV and Selecta. The energy never lets up from both artist and crowd as the pyro heats up and the visuals light up the arena. On the upstage screen, a mixture of high contrast content, lyrics and lip syncs from vocalists bring the show alive, with SFX provided by BPM SFX, as the icing on the cake.

A host of guest vocalists appear including NADIAH, IRAH, Ethan Holt and a special appearance from Arrdee during Liquor and Cigarettes to more roars from the Manchester crowd. It’s a jam-packed show and it’s been a pleasure for PRG to be a part of it.

In the words of Takura … long live drum and bass!

photos: PRG UK

5th June 2025

Maya Strauss Evoke Timeless Mood of Summer in Dancing at Lughnasa with Chauvet Professional

USA – Life begins again with summer, wrote F. Scott Fitzgerald. Perhaps that is why everything seems possible during this season of long nights and sunny days, especially to the young.

Memories of those summer dreams continue to burn brightly in our hearts even after they have been dimmed by time, as they were for the Mundy sisters of the fictional Ballybeg, Ireland, in Brian Friel’s Tony Award winning 1990 play Dancing at Lughnasa. Told through the eyes of the sisters’ brother, Michael, as he looks back at a time in August 1936 when they shared a country cottage, the play recounts the often-bitter events that have defined the family’s life since that long ago summer.

Providing an evocative and deeply emotional visual backdrop for this saga of hardship, poverty and lost love at a recent production of the play at Rutgers’ Mason Gross Performing Arts was a richly textured lighting design by Maya Strauss that drew on the colour rendering prowess of the COLORado Solo Bar 4 from Chauvet Professional.

Working with director William Carden, scenic designer Louis Meagher-DiEllo and assistant lighting designer Kai Williams, Strauss created a beautifully balanced mix of colour, shadows, dark space and light angles to evoke a sense of mid-century rural Ireland, while accenting a wide range of moods from hope to despair.

“The production centred around a family navigating life in rural Ireland, so the cyc became an essential part of the scenic design as a presence of the beautiful Irish sky,” explained Strauss. “However, the piece is also a memory play, so the cyc served a crucial role as key emotional storytelling, making the space feel abstract and endless.

“Given how important the cyc was to the atmosphere and energy of the production, the show truly could not have been accomplished without the COLORado Solo Bars,” she continued. “The fixtures were incredibly bright and punchy; when they turned on, the space felt vibrant and alive in a way that some other fixtures couldn’t deliver. The diffusion was wonderful as well, with the half cyc diffusion filter in, the Solo Bars covered the entire height of the cyc with minimal drop-off. I was very impressed by the colour rendering as well. The Solo Bars allowed for incredibly vivid oranges and reds while still delivering bold blues with little drop-off in intensity, giving wonderful range to deliver a dynamic and bold representation of the light of Ireland.” 

There were many gripping moments in this production of Dancing At Lughnasa. Among those that stood out for Strauss occurred as the play concluded when the family comes together for one final time before the lives unravel. 

“It is a beautiful and heartbreaking moment, all gathered together as the narrator watches wistfully, unable to change the past,” said Strauss. “They are silhouetted in a gorgeous golden light, bathed in the light of the last sunset of summer.”

5th June 2025

Claypaky Fixtures Support Lighting Designer Tim Routledge for Eurovision Song Contest 2025 in Switzerland

Switzerland – An array of Claypaky lighting fixtures, including Volero Cubes, Arolla Aqua LT, Arolla Aqua, Sharpy X Frames and HY B-EYE K25s, was chosen by lighting designer Tim Routledge to illuminate the Eurovision Song Contest 2025 (ESC) held at the St. Jakobshalle arena in Basel, Switzerland.

The 69th edition of the fan-favourite competition, organised by the European Broadcasting Union (EBU) and host Swiss Broadcasting Corporation, featured two live semi-finals and a live finale during which “Wasted Love,” by Austrian artist JJ, was selected the winner.  Participants from 37 countries competed with the contest viewed by an estimated 170 million people worldwide.

No stranger to ESC, Routledge won a coveted BAFTA Television Craft Award last year for his work on the ESC 2023 telecast from Liverpool. He also won the Royal Television Society Award for Multi-Camera Lighting for that show. 

This year, the theme of ESC was “Unity Shapes Love,” with variably coloured miniatures of the Eurovision heart symbolising the unity of millions of people celebrating the contest. Production designer Florian Wieder, who designed the sets of seven previous ESCs, created a stage design inspired by host country Switzerland’s topography and linguistic diversity. It was highlighted by a 750 square-metre transparent upstage LED screen, mountain set pieces, a 25 square-metre black video floor and a massive rectangular video arch, whose four sides symbolised Switzerland’s four national languages, framing the front of the stage.

Routledge was tasked with creating a dynamic overall look for the show as well as tailoring his rig to the unique visual looks of each participant. “The St. Jakobshalle venue is quite compact and brought us challenges,” he notes. “We hung 24 automated rib trusses over the stage, and used a total of 4,500 lights, 1,800 of them behind the transparent LED screen.”

He explains that his lighting design “stemmed from Florian’s set design, which featured lots of layers and playing with perspective. Claypaky fixtures are really good at creating perspective.” London-based Neg Earth Lights was the ESC’s lighting vendor.

Claypaky Arolla Aqua LT LED moving heads, with precise, narrow long-throw beams, proved to be workhorse fixtures with 96 mounted on 12 of the rig’s 24 kinetic ribs. “They were super bright and great, solid workhorse fixtures,” says Routledge. “We used them in Follow-Me [remote tracking] mode so we could take control of them at any time.”

Additionally, 34 Arolla Aqua were deployed; eight were in the Green Room, which this year was incorporated in the stage design and not located behind the stage. The rest of the fixtures delivered lighting effects in the floor package “as strobes, washes and eye candy,” says Routledge.

He surrounded the entire edge of the stage with 119 Volero Cubes, compact, high-performance LED fixtures that merge beam, wash and strobe effects with pixel-to-pixel control. He positioned 87 on a stage shelf as floor lights with 36 of them on lifts around the main stage area. Another 32 Volero Cubes were flown on a truss above the stage’s Green Room. “The Volero Cubes were chosen as a neat and powerful floor light to edge the entire main stage, catwalk and frame stage,” Routledge continues. “Tying beautifully into the 3D grid nature of the rest of the design: the square faced fixtures with the cross shaped grid worked beautifully as a nod to the grid and also the Swiss flag. A large number were also placed on Wahlberg lifts enabling me to create different architectures and have the ability to hide them lower than the height of the stage when not in play.”

One-hundred-sixteen Sharpy X Frame multi-function, hybrid luminaires were flown to light the back of the audience. Seventy HY B-EYE K25 moving lights with wash/beam/effects functions, were also flown to serve as floodlights.

“I had used Claypaky fixtures on ESC 2023 with great success and found the Claypaky team to always be really helpful,” Routledge reports. So, it was logical to turn again to Claypaky for their latest Arolla Aqua and Volero Cube fixtures as well as tried-and-true solutions such as Sharpy X Frames and K25s. “We have a wonderful synergy and a solid relationship,” he declares.

photos: Ralph Larmann

www.claypaky.com   

5th June 2025

Area Four Industries Igniting the Festival Season with SEL Live at Land Beyond!

UK – Event production company SEL Live launched the 2025 festival season with a bang, returning with the 2025 edition of ‘Land Beyond Festival’, which descended into Brighton’s Waterfront from 2 to 4 May.

SEL Live, which rebranded from Sussex Events earlier this year, delivered full technical production, staging and structures for three stages at the popular south coast electronic dance music festival, which was themed around the ‘Vacant Planet’.

This year’s Land Beyond Festival was nothing short of spectacular, thanks in part to the visionary team at SEL Live, who brought their expertise to the fore with show-stopping production design and execution. In a festival known for its immersive experiences and bold aesthetics, SEL Live ensured the 2025 edition set new standards, deploying its full inventory of A4I brands, including MILOS, EXE Technology and Xstage, which powered their trusted structure and rigging solutions from Area Four Industries.

SEL Live’s flagship MILOS MR2K 12 x 10 roof structure took centre stage, supported in the rig by ten 500kg EXE Technology chain hoists, as well as three 6x4 MILOS LSGO LED screen support structures delivering full video projection and live stage feed during the event. Overhead rigging consisted of MILOS M290 and M400 truss for the ceiling support bars.

The electronic dance music festival offered festival goers the chance to escape and experience an undiscovered land in Brighton with an exciting drum and bass line-up over the bank holiday weekend, where the weather didn’t disappoint with full-on sunshine, ensuring perfect festival vibes! Delivering an eclectic array of DJs, artists and showstopping headline acts, including singer-songwriter Becky Hill, Dizzee Rascal and Sub-Focus & Dimension who graced the main stage over the three days.

From intricately designed stage structures to immersive lighting and sound systems, SEL Live’s commitment to pushing creative and technical boundaries was evident at every corner of the festival. 

Bob Watson, managing director at SEL Live said: "Land Beyond Festival has been a fantastic event for us to grow with, offering a great opportunity to test new ideas and products ahead of the main festival season. The team and organisers constantly aim to elevate the experience, and our partnership with Area Four Industries provides us with the support and innovative products needed to bring their vision to life."

SEL Live has evolved into a one-stop shop of available brands from the Area Four Industries portfolio, which spans across roof structures, truss, hoists, staging, barriers and more recently their investment in EXE Technology Flexa load cells. The highly experienced team is able to bring complex stage concepts to life, whilst the modularity and strength of the systems and complementary products allow for the rapid installation whilst ensuring safety in the unpredictable British coastal weather conditions at all times.

The MILOS MR2K roof system is renowned for its robust versatility and ease of assembly and as the main Land Beyond festival stage needed to withstand heavy rigging loads while delivering dynamic designs, the event is famous for. This proved beneficial, especially around artists such as Becky Hill, who brought in an additional floor package of lighting and video to support her high-energy visual set supplied and managed by the team at Colour Sound Experiment via SEL Live. 

Theresa Gibson, head of marketing at Area Four Industries UK said: “The UK festival calendar has no shortage of stand-out events, but the Land Beyond Festival definitely transports audiences to another dimension! It’s always great to support the SEL Live team and kick off the season on the south coast at this vibrant electronic music festival and witness the amazing sell-out performance by Becky Hill on the Friday night. At Area Four Industries, we believe that the structures we create are more than just world-class engineering, they are the backbone of unforgettable experiences. SEL Live have made a significant investment in our full range of brands across the A4I portfolio and are the perfect example of how innovative structures, stages, rigging and automation can elevate events to new creative heights!”

The SEL Live team has a packed summer schedule of various festivals and events across the UK and look forward to being back in Brighton for ‘Land Beyond Festival’ next year when it is due to return from 1-3 May 2026.

The partnership between SEL Live and Area Four Industries once again proved that when creativity meets world-class engineering, the results are unforgettable.     

photos:  Jim Carey Photography

3rd June 2025

LD Systems Ramps Up the Robe for Rodeo Houston

USA – Lighting designer Nathan Brittain from Houston, Texas-based lighting rental specialist LD Systems oversaw a major lighting upgrade for the live concert element of this year’s Houston Livestock Show and Rodeo (known as Rodeo Houston) which included adding over 150 Robe moving lights to the rig.

Staged at NRG Stadium, Nathan has also created production lighting for the concerts for several years, with LD Systems as the lighting vendor.

Every five years a major technical upgrade takes place ensuring all the latest and best technologies are available for the benefit of all artists. Lighting is rigged on a bespoke TAIT-designed and built stage / roof structure and this year Nathan and LD Systems made a major investment in Robe including the addition of 62 iFORTE, 70 TetraXs and 16 iBOLTS.

It was the first time iBOLTS had been used in the USA on a concert series.

Also, after successful testing last year, Nathan and the team changed up to be using a full RoboSpot system for remote follow spotting with 16 iFORTE LTXs running on 12 RoboSpot BaseStations, giving fantastic 360-degree coverage from all around the stadium.

These new Robe products were added to the 128 Robe Spikies and 49 MegaPointes which were installed on the rig in 2018.

The 20-day Houston Rodeo event features a stellar line-up of artists for each of the nights and is the largest livestock exhibition and rodeo in the world attracting more than 2.7 million visitors, also making it Houston’s biggest event of the year!

Being the first to use Robe’s iBOLT laser source fixture 9since FDA approvals were granted in late 2024) was hugely exciting and Nathan positioned four iBOLTS in each of the four corners of the stadium on the floor where they could be used for breathtaking aerial effects throughout the stadium and for texturing those corner spaces which so often get left in the dark on massive shows like this.

Nathan remarked that this was a perfect environment for iBOLTS!

Four years ago, they had been using another brand for a searchlight style effect, but were already on the lookout for something more modern that would surpass those which had simply not been possible, until the iBOLT arrived on the scene.

He first saw the iBOLT when it was still a prototype and loved the big lens, the fat light source emanating from it and its “beautiful, elegant” flat field which is ideal for cameras. “It was a very distinctive look and an absolute match for what we wanted,” especially the texturing effects in the corners which was achieved using the prisms and gobos.

Thirty new iFORTES were positioned in the overhead trusses and another 32 iFORTE on trusses over the audience.

These were chosen as a powerful, fully featured profile light to replace the previous ones, which struggled against the considerable ambient light output from the large upstage LED wall, so after extensive testing, iFORTE ticked all the boxes as the best option.

The IP rating was a factor here. While it is an indoor show, there’s copious amounts of dirt, dust and other detritus constantly floating in the air, so the sealed optical chamber was a big plus in that context.

The TetraXs are also on the overhead rig and looked nothing short of “awesome!”

They replaced a previous effects fixture. “We really wanted something to boost the texture of the bigger lighting picture and a light source that was highly flexible, as we have to maximise all the looks across all the performances, so the rig must be ultimately versatile,” Nathan explained.

He likes the linearity of the fixture, a disruptor in the ocean of round beams, the pan functionality opens many possibilities, especially having multiple TetraXs running together in sequences. “I like the look, it’s an extremely dynamic light that can be used in so many configurations and it was that ability to produce so many contrasting looks that persuaded me to make the choice,” he stated.

They were rigged so that when oriented in a straight line, they mimicked the star shape of the stage, which looked super-cool and was an effect that riffed positively with the overall aesthetic.

Some of the RoboSpots were run in doubled-up pairs to cover the furthest 365ft throw distances from positions on the stadium perimeter to downstage centre, with single iFORTE LTXs covering the slightly shorter 300ft throw positions along the shorter sides.

They provided all the main keylight and were critical to how everyone looked onstage and on camera.

The Spikies are still looking good and impressive doing their super-fast movement and kinetic style effects, plus bringing an individual look to the space and Nathan still totally rates the MegaPointes as “fantastic tools and rock-solid reliable workhorses,” which in this case were deployed on the deck around the star stage, as well as above the backdrop behind the band.

The main challenge of integrating lighting upgrades to this event rig is the scale of implementation and responsibility involved, basically making the right decisions and specifying kit that will work constructively for everyone’s shows.

The complete lighting control network was also new this year, with fibre running around the whole stadium.

The shows are run more like a TV production than a festival. Guest LDs rock up with their artists and give input beforehand, but the shows are all programmed and run by Nathan and his crew.

Working alongside him as lighting systems engineer / programmer was Lance Williamson, who took care of all the perimeter lighting. Rodeo’s lighting programmer was Carson Beckman, while Dan Barrett was the RoboSpot ‘wrangler’ and technician. They were also joined by lighting techs Fred Deci, Wade Henry and Elijah O'Day.

Last but not least, LD Systems’ project manager was Rob McKinley.

LD Systems purchased its first Robe products in 2013 when the Pointe was launched. The company – part of the Clair Global Group – also celebrates its landmark 50th year throughout 2025, so it was a big deal to be able to make this investment and underline the commitment to the brand via a great working relationship with Robe’s North American team.

photos: LD Systems

3rd June 2025

Tim Routledge features Ayrton fixtures at the Eurovision Song Contest 2025

Switzerland – The 69th Eurovision Song Contest, hosted by Swiss broadcaster SRG SSR, and co-ordinated by the EBU (European Broadcasting Union), took place in the St. Jakobshalle Arena in Basel, Switzerland in front of an audience of 6,500 people, a further 36,000 watching on screens at a nearby football stadium, a global audience of 170 million viewers and over two billion online views.

The Eurovision Song Contest is now one of the biggest, brightest and most colourful live productions in the world, and the 2025 edition boasted the biggest rig in Eurovision history. Ayrton fixtures played a key role in Tim Routledge’s spectacular and ever-changing, metamorphic design which included the complete range of Ayrton laser-phosphor sourced fixtures Mamba, Kyalami and Cobra, as well as Domino LT, Rivale Profile and Nando 502 Wash, all supplied by London-based Neg Earth Lights. “I had a lot of options to play with in this playground,” says Routledge. Just as well for the number of performances (nearly 50 including half time and opening performances) which happen in such notoriously quick succession.

The St. Jakobshalle Arena may have been smaller than traditional Eurovision Song Contest venues, but Routledge’s lighting and Florian Wieder’s stage design defied physics and combined to produce a series of shows (two Semi-Finals and the Grand Finale) that were huge in look and magnificent in impact.

The set was dominated by a 750sq.m transparent LED screen backdrop behind the main stage and catwalk leading to a self-supporting video proscenium arch that was developed to replace the lack of overhead hanging space. The traditional Eurovision Song Contest Green Room was located opposite the stage, sandwiching the audience which surrounded the stage and catwalk and filled the space between the video proscenium arch and the enveloping arena seating.

“The venue might have been smaller but it gave us a totally black box that looked clean and fresh and not distracting on camera,” says Routledge, who chose Ayrton fixtures to create key looks in his design. Rigged upstage of the LED screen were 45 Ayrton Domino LT and 36 laser-sourced Ayrton Cobra fixtures which provided the moving light contingent behind the screen, blasting beams of light through the video output for strong blow-through effects combined with a vast 3D grid of lighting.

“The Cobra and Domino LT were great workhorse fixtures throughout the show, but one significant and distinctly different moment was during the Austrian (and this year’s winning) entry, Wasted Love by JJ,” says Routledge. This culminated in a single, virtual lighthouse on the main LED screen, behind which a single Domino LT was positioned precisely to provide a real beam of light that projected out and dramatically swept across the audience. “The precision of Domino was paramount at this point.”

Over stage, three pairs of moving perspective trusses held 96 Ayrton Rivale Profiles which Routledge used for strong aerial beam effects. “We chose Rivale Profile because it is a compact fixture with a good gobo selection and colour palette. We also needed something extremely reliable since they were rigged on constantly moving truss and readily available in the quantity we needed from Neg Earth Lights, all of which Rivale were.”

A diminutive star of the show was Ayrton Kyalami, 200 of which were rigged on three sides of the auditorium to provide reverse and cross light beam effects around the audience. 34 Ayrton Nando 502 Wash fixtures filled in for audience keylights. “Because Kyalami is such a compact unit, we were able to rig them around the entire second row of seats without interfering with sightlines,” says Routledge. “They gave us a clean line of beams which we could use to extend the beam work from those beautiful Mamba fixtures on stage out into the auditorium to give us some huge looks.”

The new Ayrton Mamba is what Routledge terms his ‘hero fixture’. Released in January this year, Mamba is the first laser-sourced IP65 fixture in Ayrton’s 6 Series, twice as powerful as its highly successful smaller sibling, Cobra, with a wide 250mm front lens that lighting designers have fallen in love with.

Routledge loaded the top and bottom edges of the rear LED screen with 100 Mamba, which lent depth and architecture to the set and lighting states, as well as a beautiful large-lens effect in the background. “I needed something with a punchy beam, great gobos, crisp beams and fabulous colour matching, especially in the strong saturated colours, that could punch through the brightness of the video screen to build a lot of architectural beam light effects,” says Routledge. “I tried out the Mamba and these provided intense, crisp, architectural looks with colours that really pop on camera.”

Positional integrity was key for these looks as any light out of place would ruin such precise effects. “We had some very complex positional pallets for Mamba, but they held their positions perfectly and looked insane on camera,” confirms Routledge, citing last year’s winning entry, Nemo’s opening of the Grand Finale, as a prime example. During a reprisal of his song The Code, lighting programmer, Tom Young, knitted Mamba’s beams into complex monochrome matrix of kinetic shapes and patterns.

This is not the first time Routledge has used Mamba, having used them on the London New Year’s Eve show which was a very different project. “We were fortunate enough to work with Neg Earth Lights where we were able to workshop our ideas with the Ayrton products on site at their London base. We did some shoot-outs and the Mamba was perfect for the job. Like the rest of the Ayrton fixtures, they have great gobos, great colour homogeny, hold their positions well and are extremely reliable. Having the expertise of the UK Ayrton distributor available so locally was an ideal combination of service and supply.”

The Eurovision Song Contest Semi-Finals took place on 13th and 15th May with the Grand Finale on 17th May.

photos: © Sarah Louise Bennett, © Ralph Larmann and © Alma-Bengtsson

3rd June 2025