the design and then physically operating the consoles in the day, we can react quickly to these changes. Furthermore, as the designers, we know the reasoning behind every light’s placement and how to get the best out of each fixture, so these reactions do have a sense of artistic reasoning behind them. It’s certainly a demanding and draining way to operate, where we are not just producing paperwork, but also programming thousands of cues, listening to around 50 different artists, and also finding time to assist other LDs, but I wouldn’t change a thing because we’re incredibly happy with the results. LD: Talk a little about your lighting rig and fixture choices for the main stage. RN: I specifically went out to try and give the stage a unique identity with the lighting, and a part of that was finding either new or obscure lighting fixtures that would breathe new life into the stage. I used 176 of the new Robe 100 Beam fixtures on