CHAUVET Professional Creates Combination at Luke Bryan and Jason Aldean's Live Between The Hedges Tour

	"Both of these artists wear hats; Jason Aldean, in particular, wears a cowboy hat the entire show. We needed a fixture that we could use to help fill in shadows under the brim," says Kitchenman. Photo: Andre Petrus

The Live Between The Hedges joint concert by superstars Luke Bryan and Jason Aldean, began its five-date 2026 run before 63,000 fans at the University of Georgia's Sanford Stadium on Saturday April 25.

Bryan and Aldean have their own distinct musical styles. Still, despite pulling together different musical influences, the Live Between The Hedges show flowed harmoniously, thanks to a cohesive lighting and video production that wove everything together.

Justin Kitchenman of Align Design Group, LLC (production design and lighting design) and Matthieu Larivee of Luz Studio (production design and video content) fused their respective talents to create this beautifully balanced production. They also had the support of talented collaborators like associate LD and programmer Andre Petrus, and Andy Knighton, as well as PMs Chris Adamson, E.C. Neal Jr. and Blake Szymansk.

Also making a big contribution to this artfully composed show was a collection of 84 CHAUVET Professional fixtures supplied by 3G Productions LLC. This included 48 Color STRIKE M motorized strobes, positioned on the vertical towers as well as the flow trusses throughout the impressive 156'-wide stage, and 36 COLORado PXL Bar 16 motorized battens.

'The PXL fixtures filled multiple roles," says Kitchenman. "They lined the thrust, and most importantly they served as a 'hat light.' Both of these artists wear hats; Jason Aldean, in particular, wears a cowboy hat the entire show. We needed a fixture that we could use to help fill in shadows under the brim. But we also wanted a fixture that was multi-celled and could be used for high-impact visuals."

Given that the two icons have different styles, the design team divided the show into two segments and gave each segment of the show a unique look. "This worked in our favor, so there wasn't the need for 30 different treatments," says Kitchenman. "We were able to simplify things a little bit and then had some creative changes within the segments for each song."

Kitchenman describes how he, Lavariee and their teams balanced lighting fixtures with the rig's large video component. "We agreed early in the discussions that large-format video surfaces were going to be the focal point of this production," he explains. "We wanted to create a look that was a continuous surface across the entire length of the stage.

"Framing the video surfaces with lighting was a natural way to integrate the two elements," he continues. "We mirrored all of the vertical towers of the stage structure with fixtures, which gave us a shadow box vibe for the video screens. This configuration also utilized the full dimensions of the stage for our visuals, giving the production the large-scale look that is essential for a stadium show."

Lighting, along with the strategic use of risers, also helped carve out the space necessary to give each band its own distinctive identity. Having multi-tiered positions (every one of them accented by light), gave different elements in this sweeping show a unique reference point on stage.

"A unique aspect of this show is that we have two separate bands playing throughout the night," notes Kitchenman. "One band will play a three or four-song segment, then the bands will trade positions for the next segment. This back and forth continues for the duration of the show.

"The big challenge with this format was figuring out how to accommodate all of the band members' positions while keeping a level of symmetry for both acts, and also making it easy for the musicians to enter and exit during the transitions. What we came up with was a multi-tiered design that gives each member of both bands a 'home position'."

Having linear fixtures outline the risers, video screens, and other stage elements added a sense of depth to the design. To continue this framing look, the design team used the flown trusses to complete the top. They also placed fixtures on the downstage edge to integrate the bottom line.

"Although the framing is not totally seamless, and there are some elevation and depth discrepancies, the eye fills in the difference," says Kitchenman. "So, we were able to achieve the desired effect."