Over 300 CHAUVET Professional Fixtures Help Tom Kenny and Team Light Latin Grammy Awards

	"A big video wall is essential, and the big beam looks give us a structure to show off," says Kenny.

Accepting the 2025 Latin Grammy Award for Best Traditional Tropical Music Album for her hit "Raices," the legendary Gloria Estefan thanked her husband and collaborator Emilio Estefan, by saying that their 50 years of making music together still felt "like the first day." The sentiment provided a perfect metaphor for the 26th annual Latin Grammy Award ceremonies, at the MGM Grand Garden Arena, November 13. After more than a quarter of a century, the Latin Grammy Awards still feel fresh and original.

This was evident right from the get-go when the night's honoree Carlos Santana kicked off the program with his iconic hit "Oye Como Va," and was joined on stage by contemporary Latin music stars like the program's co-host Maluma, along with Barrera and Nodal. Also included was the first performance at the Latin Grammy Awards by a country star, Kacey Musgraves.

Helping to capture the three-hour telecast of the program for 42-million Univision viewers was a Tom Kenny lighting design that featured 308 CHAUVET Professional fixtures supplied and installed by 4Wall Entertainment.

"Award shows like to show off the grandeur of a room -- and the Latin Grammys has a grandfathered elegance to it all. A big video wall is essential, and the big beam looks give us a structure to show off," says Kenny, who praised his "A Team" of collaborators including LDs Felix Peralta, Fuji Convertino, and Joey Vineyar, along with a hardworking crew headed up by Alex Flores and John Ellar backed by Bob Suchocki.

Kenny singled out the 134 Maverick MK3 Washes for pumping up a steady level of excitement throughout the program. "We used them for big audience looks," he says. "They were the main work horses for Fuji and Felix when creating their powerful looks."

Underscoring the many high intensity moments during the show were the rig's 68 Color STRIKE M motorized strobe-washes. "We had the Color STRIKEs all over the rig for big power pushes and hits," says Kenny, who also used the RGB pixel mappable panel section of the fixture to contribute to the immersive monochromatic color washes that transformed the stage at key moments.

Adding a geometric element to the stage that translated well for TV viewers were 106 COLORado PXL Battens. Kenny had 97 PXL Bar 16 units positioned on facias to emphasize a linear look. The remaining battens (nine PXL Curve 12 fixtures) were used in the background of the satellite stage.

"The PXL Curves worked very well on the satellite stage," says Kenny. "Some of the more 'artsy' artists like Joaquina and Elena Rose took full advantage of their cool effects."