LOS ANGELES – True immersion knows no boundaries. Concepts like front, center, back, left and right have at most, only a vague meaning in such states. The record-breaking crowds who packed the legendary Shrine Auditorium for Subtronics’ historic six-night residency got to know this experience.

Everything in the big room flowed joyfully together as Subtronics move fluidly through dubstep eras with atmospheric remixes of classic crowd favorites and selections from his newly released album Fibonacci Pt 2. Just as the artist’s lush melodic hits merged sound, the lighting design by Erik Mahowald and his team at Bending Lite Productions shook up the familiar boundaries of space.

Sometimes during the show, the big room was divided vertically by color – for example with purple radiating down from the roof, and blue rising up from the floor. At other times waves of color moved from different parts of the room and met in the middle. This color shaping created a sense of movement that fit seamlessly into the moment of the music. All without relying on video.

“The idea for the stage design came from Subtronics (Jesse) wanting to perform in the round,” Mahowald explained. “Once we committed to that vision, and a no-video show, I saw it as a chance to focus on the color of our light as the main visual tool.

“Using fixtures like the COLORado PXL Curve helped us create dynamic, architectural looks that surrounded the whole room,” continued Mahowald. “Since the show was in the round, we were able to double-side all the vertical lighting trusses. This gave us large, sweeping visual moments that looked great from every angle.”

Mahowald used 160 PXL Curves, as well as another CHAUVET Professional fixture, the Color STRIKE M motorized strobe-wash (76 units) in his transformative design. These fixtures, like the rest of the rig, were supplied by 4Wall Entertainment.

The PXL Curves were lined up on the vertical trusses both upstage and downstage, to create a fully immersive 360-degree viewing experience. The Color STRIKE Ms were also placed vertically, allowing each fixture face to point upstage or downstage at any moment, depending on the look the design team wanted.

Most of the show was cue-to-cue or busked live. Only a few major tracks were timecoded, including some “very intentional” intro sequences. “Our overall approach focused on spontaneity and live energy,” said Mahowald, who credits much of this milestone show’s success to his team: Joshua Gregoire (Associate Designer), Spencer Michaels (Lighting Designer), Jake Keenan (Vibe Director & Pyrotechnics Specialist), Larry Barcello (Production Director), Max Goessing (Technical Director), Conor Gray (Tour Director), and JDLFX (Special Effects).

In keeping with Mahowald’s focus on spontaneity, every night in the Shrine residency was, completely different. “This flexibility we had made each performance feel unique,” said Mahowald, who added that the nature of the venue also contributed to the experience.

“The production design covered the full length and width of the Shrine,” he remarked. “Jesse’s DJ booth was at the center of the room and measured 24 feet by 24 feet, this enhanced the in-the-round experience.”