NASHVILLE – Over 75 million records sold… 35 No. 1 hits… A pair of Grammys… 16 CMA Awards! That’s just the beginning of what Alan Jackson has accomplished in his stellar career. The superstar who has given us such treasures as “It’s 5 O’clock Somewhere,” and “Don’t Rock The Jukebox,” is performing a lively selection of his many hits on the “Last Call Tour,” which concludes May 17 at Milwaukee’s 17,000-seat Fiserv Forum.

The Last Call Tour’s production manager and lighting designer Mason Felps with 46 Entertainment has done his client proud, with a bold (and totally new!) panoramic show that reflects the timeless spirit of Jackson’s inimitable sound.

“We reprogrammed the entire show this year, positioning the fixtures wider to create expansive, atmospheric looks that enhance the mood,” said Felps. “Dynamic color changes shift with the energy and progression of each song, adding depth and impact to the visuals. This show is built on big looks, really utilizing the Color STRIKE Ms to set the mood and provide the audience lighting that Alan loves.”

Felps used 56 CHAUVET Professional Color STRIKE M fixtures, which, like the rest of the rig were supplied by Backstage Productions of Cullman Alabama. The powerful motorized strobe-blinders were arranged on every piece of flown truss, notably three horizontal structures that ran across the stage over the video wall, as well as along the upstage stage deck.

“With Alan, you want to have a lot of audience lighting,” said Felps. “He loves connecting with his fans and seeing the energy of the crowd. While we’ve used traditional blinders in the past, the last few tours have featured Color Strikes to elevate the atmosphere with vibrant color while still achieving impactful crowd lighting.”

Vibrant colors indeed! Felps unleashed an array of bold hues to set the kind of upbeat good-time atmosphere that fits Alan Jackson’s music and stage persona like a well-worn pair of faded jeans. Adding the colorful scene are 12 COLORado PXL Bar 16 motorized battens positioned downstage left and right that are used to create a border and provide some eye-catching pixel effects.

Also enhancing the atmosphere on stage is the large video wall that at some points displays content that mimics a blow-through wall, even though it’s actually solid. The video content often depicts iconic moments in Jackson’s career, while at other times it displays general festive images. With his key light truss trimmed at nearly 60-feet, and the upstage trim close to 30-feet, Felps is able to strike an artful balance between video and light.

Felps is wearing many hats on the tour, including running the boards at times, but he is also quick to acknowledge the help he received. “I want to thank our crew chief Matt Stigile, L2 Claude Thomas, and FOH Tech Miles Shelton who has kept the rig running 100-percent for us each and every show.”

Working together this team is creating a series of shows fans aren’t likely to forget — a perfect tribute to a superstar who will never stop reminding us that “it’s always 5 o’clock somewhere.”