VOLUX Phantom Takes on Double Duty with Lynyrd Skynyrd and Foreigner

	(l-r0 Jonny "Tosser" Tosarello and Benjamin Moffitt. Photo: Benjamin Moffitt

The 2026 Double Trouble Double Vision Tour has brought Lynyrd Skynyrd and Foreigner together for a summer run of North American amphitheater dates, with the VOLUX Phantom playing a key role in the lighting production while delivering the performance and flexibility demanded by the tour. VOLUX Lighting, a division of Dynamic Visual Solutions Group, is a US-based manufacturer of intelligent entertainment and stage lighting products.

The tour has featured a shared staging environment built around large-format LED video and a flexible lighting system designed to accommodate the needs of both acts. With the same core infrastructure supporting two very different performances, the lighting teams can shape the stage to suit each band while maintaining the scale and impact required for a major outdoor amphitheater run.

For Lynyrd Skynyrd, lighting designer Jonny "Tosser" Tosarello was looking for a modern alternative to a longtime wash-light workhorse he had relied on for years. He particularly valued the powerful beam, beam-shaping capability, and distinctive spinning effect, but the older fixtures had become increasingly expensive to maintain on the road.

Premier Global Production Company (PGP) account manager Steven "Creech" Anderson had originally supplied the older fixtures for another major tour and had recommended them to Tosarello years earlier.

"We had purchased those wash fixtures originally way back when for the Red Hot Chili Peppers," Anderson says. "When Tosser was first looking for a wash light, we suggested them. They're great lights, and the shaft of beam that comes out of them is huge. They do a little special spinning thing, and Tosser liked that a lot."

As Tosarello began looking for a replacement, Anderson introduced him to the VOLUX Phantom. The compact fixture offered the output and pixel capabilities Tosarello was looking for, but he identified one important element missing from the initial fixture: the spinning behavior he had come to value in his previous wash fixture.

PGP passed the requirement back to VOLUX, and the company responded by developing software modifications to deliver the effect.

"They wrote the software according to Tosser," Anderson says.

That collaboration helped make the Phantom a natural fit for the Skynyrd production. Tosarello was particularly interested in the fixture's individual pixel control. "It breathes," he says. By adjusting individual pixel brightness, he can create what he describes as a breathing look, while the Phantom's modified software gives him the twisting movement he was looking for.

"Once I saw them up in the rig, I was very happy with what I saw," Tosarello adds. The Phantom also proved well suited to the practical demands of a major outdoor amphitheater tour, where the production moved between venues with different sizes and configurations. Its output and compact form factor allowed the fixtures to integrate cleanly into the shared touring system while delivering the flexibility required by both productions.

For Foreigner, lighting designer Benjamin Moffitt brought his own perspective to the production, with an emphasis on creating a strong visual show while dealing with the realities of touring. Outdoor performances can mean dramatically different ambient conditions from show to show, making fixture reliability and output particularly important. "We're the first on stage, so it isn't even dark yet, but even during the daylight, I get a strong beam outta those things!" Moffitt says of the Phantoms.

Moffitt also appreciated the compact, pancake-shaped design, noting that they "don't get caught up in the truss."

LED video provided a large-scale visual backdrop, while the lighting changed the character of the stage from one performance to the next -- supporting Foreigner's polished contemporary presentation and the unmistakable rock-and-roll character of Lynyrd Skynyrd.

For PGP, the Phantom's role on the tour also illustrates the value of a close working relationship between a production supplier, lighting designer, and manufacturer. Rather than simply identifying a replacement fixture, the process allowed a specific creative requirement to be communicated back to VOLUX and incorporated into the fixture's software.

Supporting the lighting system throughout the tour were Derek "Magnum" La France, crew chief; Kenny Landsden, dimmers; and Josef Hanson, technician, with Brent Cramer serving as rigger.