Luz Studio Lights The Way On Rascal Flatts' Life is a Highway Tour with CHAUVET Professional

	"Their catalog has some ballads -- which needs gobos or very subtitles lighting chases, power ballads -- which needs powerful lighting swaps, and rock and roll songs, which needs dynamic effects." Photo: Grayson Gregory

There is a reason why physicists have defined time and distance in terms of light. Given that it appears to be everywhere at once, light is uniquely qualified to reflect the passage of time over remarkable journeys. Matthieu Larivee and the team at Luz Studio channeled this power when designing the production for Rascal Flatts' 21-city Life is a Highway Tour, which ran for three months this year in North America.

The tour covered, the multi-award-winning band's 25-year career, one that has resulted in 16 No. 1 hits and over 11 million concert tickets sold. When discussing the best ways to reflect the band's far-reaching achievements, the Luz team took a slight step back from the immersive 3D video elements that characterize many of their designs and leaned more heavily on light.

"Given the nature of this retrospective tour and the band's rich history, we focused on lighting, which is timeless," says Larivee. "Their catalog has some ballads -- which needs gobos or very subtitles lighting chases, power ballads -- which needs powerful lighting swaps, and rock and roll songs, which needs dynamic effects. Therefore, our lighting rig mixed with the digital lighting rig, gave all the tools to support the show."

A key part of the shows non-digital lighting rig were its 42 CHAUVET Professional Maverick Storm 1 Hybrid fixtures supplied by Bandit Lites. Describing the 420W 7,700K source beam-spot-wash unit as a "versatile fixture, " Larivee used it to set a wide range of moods with colors and gobos.

"We had the Storm 1 Hybrid in various positions to aid us in defining the shape of the rig without being too graphic and modern," he says. "Also, since this tour was a celebration of the client's 25th years of music, we wanted to support a strong connection to the audience, so we used two V trusses to help bridge the stage with the audience light."

Larivee explains how light, digital light and video were blended in this production to create an engaging canvas for the band to tell its story through music. "We did use one set extension for the entire show with multiple layers. Like a Swiss Army Knife. The condense video was dynamic, but it displayed a 90-minute show within 30 seconds.

"We started the show with the band logo on a 3D sign and we did light it up differently for three songs," continues Larivee. "That way we were able to focus on the band for top of show. Then we flew the sign to get to a virtual canvas for IMAG. That canvas was a frosted glass. Behind this glass was a wall of light that came in slowly though the next couple of songs, until at one point we got to the wall of lights and stayed there until the end of the show. So, the idea is really about having a digital lighting rig to enhance the actual lighting rig, and less about a set extension or location."

Helping to ensure that the light rig had the flexibility to flow with the digital and video element of the design was a floor cart system created by Bandit's Dizzy Gosnell, Jake Tickle, and Andy Knighton. "With the two faces, they could light up and then create unique graphical effects that never felt too repetitive," Larivee says of the carts, adding "they helped light serves as a bridge between the band and video screen."