Robe Rocks at Eurovision Song Contest 2025

	The Robe elements included 180 SVB1 and 72 iFORTE LTXs moving lights, plus 36 SVOPATT static multi-source units and 40 LEDBeam 150s, which were ensconced in the set. Photo: Ralph Larmann

Robe was an official technical partner of Eurovision 2025 in Basel, Switzerland, where lighting designer Tim Routledge and his team, together with London UK-based lighting supplier Neg Earth Lights, helped deliver a production for the world's largest live music broadcast event, staged this year at the St. Jakobshalle arena by Swiss host broadcaster SRG SSR, coordinated by the EBU (European Broadcasting Union).

Florian Wieder's stage and production design included 750 sq. m. of transparent upstage LED screen, striking mountain set pieces, and a three-dimensional, industrial-scale video frame at the front, which defined the space. This worked in conjunction with a 250-sq.-m. black video floor, assorted other video, and mapped surfaces including scenic mountains, plus approximately 4,500 lighting units.

The Robe elements included 180 SVB1 and 72 iFORTE LTXs moving lights, plus 36 SVOPATT static multi-source units and 40 LEDBeam 150s, which were ensconced in the set.

The lighting system was ground-supported to gain height and additional weight loading, although this was not obvious, thanks to the work of Johannes Schau from BigRig.

The Robe iFORTES were used for key lighting, with some running on 12 RoboSpot remote follow BaseStations.

The SVB1s were rigged prominently on the over-stage flying trusses, positioned closely together and used for a range of pixel and strobing effects to gently undulating kinetic chases as well as contributing to the numerous beamy looks that dominated the night. "They look phenomenal, especially when bunched up tightly like that," Routledge says.

Twenty-four over-stage trusses were on an automation system, allowing Routledge to create different architectural looks for each artist, boosting the dynamics of the space while the depth was further accentuated by the lighting units rigged upstage of the screen. The surface could be revealed or melted away with lighting, according to the overall look of each participant.

The SVOPATTs were rigged upstage, positioned for throwing blocks of light into this area below the depth. This new Robe product features nine individual modules, each containing seven 40W RGBW multichips, a center pixel, and a 200W white LED strobe. The modules can be used in beam, wash, or effects modes; the fixture generates over 75.000 lumens at the integrating sphere.

The units were hidden out of shot, but contributed behind the set, punching in volumes of light behind the physical mountains. "It was more about getting a volume of light in the right place than it being flashy and in-the-face with them in this context," Routledge says.

The SVB1, a compact moving head version consisting of one single SVOPATT module, is also new. iFORTES were positioned all over the rig for multi-angle coverage and, as noted earlier, were used for most of the followspot work and all the essential key lighting.

This has been Routledge's fixture of choice for the task since the product was launched in 2023. "They are bright, the CRI is better than any other fixture I've used, and they are reliable," he confirms, adding, "Right now, there isn't a better key light out there on the market!"

He has also used RoboSpot remote follow systems on several major TV shows and prefers remote follow systems that have a human physical operator controlling the light source.

The required attention to detail is demanding, and an immense volume of information needs to be processed methodically and practically. Multiple production disciplines are closely aligned and work both interdependently and harmoniously; the schedule onsite is very intense, as is the pressure. "Doing a Eurovision Song Contest is a lot of hard work, so you must want to be there, teamwork is vital, and on top of that, we have fun as well as delivering our best imaginative ideas ... because this is the spirit of Eurovision," Routledge says.

This year, he managed a bigger core team of 14 people than he had in Liverpool, as the lighting control department was also in charge of programming the playback video content for all the delegations.

Routledge's gaffer was Keith Duncan, with Mark Henry as his best boy. James Scott and Morgan Evans were his two associate lighting designers. The programmers were Alex Mildenhall and Tom Young on moving lights, with Marc Nicholson on key lights, working closely with overnight programmers Alex Passmore and Martin Higgins.

Louisa Smurthwaite coordinated and called all the followspots, coordinating with 14 professional operators from UK-based follow spotting specialist, Pro Spot.

Routledge's video department was led by producer Sam Lisher, working alongside programmer/technicians Andy Coates, Luke Collins, and Emily Malone.

Neg Earth's lighting project manager was Lindsey Markham, who managed the technical details and the lighting crew working under Keith Duncan.

They were part of a 250-person show run crew who ensured that the multicamera extravaganza, directed by lead Multicamera director Robin Hofwander, ran seamlessly on the night.

Eurovision 2025 was enjoyed live by approximately 6,500 people in St. Jakobshalle Arena; with 36,000 watching on giant screens in the adjacent football stadium serving as an "overflow" area for the broadcast that was seen by an estimated 170 million viewers worldwide.

The winner was Austria's JJ (Johannes Pietsch) with "Wasted Love", an all-action operatic style ballad set during a storm at sea, with a cinematic presentation packed with moody contrasts and stark monochromatic moments.