Additional performances throughout the day included Billy Ray Cyrus, Cheap Trick and Thomas Rhett, meaning lighting designer Tom Kenny had to create a design that would balance daytime and evening looks, wow the live audience and translate well to the millions of viewers watching at home.
Bandit provided VL 3500 washes for fill, VL 3500 Spots as key light for band members, while VL 3000 Spots created patterns and chunky beams in the air. A combination of Robe Pointes, Solares Flares and Clay Paky Sharpys gave those watching at home eye candy, while Martin Auras coloured the audience in the streets. VL 4000 Spots and VL 4000 Wash Beams gave the added punch of big strokes of lights, while Showline SL Beam 300 FX's rounded out the eye candy.
Lighting director Keith Hoagland worked to create spectacular cues that would highlight the performer, and while he acknowledged that he had to compete with the sunlight and neon signs of Broadway, he credited Ronnie Skopac for keeping the levels balanced.
"We achieved some great looking cues for these three acts. As the night went along, we were asked to rock it up a bit, so with each act we turned it up a little more. By the time we got to Jason Aldean, we were rocking and having fun.
"As always, dealing with Bandit Lites on a project is great," finished Hoagland. "From vice president Mike Golden's handling of the account, to project manager Donnie Lockridge and crew chief Chaz Martin, Ty Veneziano and Greg Ogne as the three great crew members that drove this system up and down.
(Jim Evans)
