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Luz Studios engages on Jason Aldean tour with help from 175 Chauvet fixtures

Matthieu Larivee and the team at Luz Studio designed Jason Aldean’s 24-city “Highway Desperado” tour, which concluded October 5, 2024, at Georgia’s Macon Amphitheatre.

They incorporated multi-level fascia risers into their design. “The risers were the start of the design”, says Larivee. “I wanted to focus on the lower part of crowd POV. This is where people are mainly watching, and this is the main background of the pictures on social media. This is especially true on amphitheater tours where it’s hard to manage haze. Therefore, the lower part of stage is where we get more impact with the artist.”

To ensure that this area popped for the live audience, as well as in social media posts, Larivee and his team positioned 59 of their 67 Chauvet Professional Color Strike M motorized strobes - all supplied by Bandit Lites - on the deck floor. Yet despite their intense output and other performance features, the look of the Color Strike M fixtures felt too modern of the aesthetics of this tour. The Luz team addressed this by working closely with All Access Staging to find a grated metal to be used in front of the grid of Color Strike Ms behind the risers.

“We found a nice material that we painted and there was enough negative space for the lighting to shine through without the fixture being visible, and there was enough detail to create an amazing refraction of light”, elaborates Larivee. “That refraction helps creating so many different looks without seeing the source.” Adding to the ambience were 54 Strike Array 2 fixtures located on risers behind each band member to create a sense of warmth. Between songs, these fixtures were run at 5-percent brightness to evoke a downhome retro feel.

Towering above the evocative deck was a 50’ by 24’ three-dimensional video wall that served as a richly textured canvas. The design team, which included Pierre Luc Bedard, David Rondeau, Phil Marquis and LD Andy Knighton, positioned 54 Maverick Storm Wash 2 units behind this video wall. “We were using the Maverick fixture with the video content control, so the physical shape of the screen and the matrix of light kind of gave rise to more geometric shapes”, says Larivee.

(Photos: Jeff Johnson/Justin Mrusek)

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