See you next year,” Oasis frontman Liam Gallagher called out to some 90,000 cheering Wembley Stadium fans at the close of the band’s 28th September show, on their global Live ’25 Tour. Gallagher’s parting words set off a wave of hope and anticipation that spread across the music world.

Oasis hadn’t performed together in the 16 years leading up to their current 41-date, five-continent tour, which began on 4th July in Cardiff and concludes on 23rd November in Sao Paulo, Brazil. The eager enthusiasm created by the notion that there might be more from the multi-Brit Award-winning band next year is completely understandable, given the ecstatic response to the two-hour, 23-song journey that they are currently taking fans on at every show.

With moments that feature a hoodie-clad Liam performing classics like “Hello,” while Noel goes to town on his guitar, the band is bringing the best of the Britpop era to life. As one critic noted, the show has “brought grown men in the stadium crowd to tears: so happy were they to finally hear these songs again.”
Setting an immersive mood that strengthens fans’ connection to the band’s timeless performance is a visually rich and emotionally powerful show design by Paul Normandale of Lite Alternative design.

Featuring distinct geometric patterns, reflective of the Oasis logo and a broad palette of vivid colour combinations, Normandale’s lighting creates a crisp, contemporary look on stage that manages to be intense, while also projecting a warm, welcoming vibe. His clean design works in close harmony with the images on the show’s wide (about 100m) video wall that were created by Chris Curtis of I’m Your Boss Films, and Neil Harris.

A collection of 200 COLORado PXL Bar 16s accentuate the design’s geometric patterns, enhancing its 3D effect. The geometric patterns of the lighting design were sometimes echoed in large video wall, which had some imagery broken into sections.

Explaining the decision to divide some images with linear borders, Normandale said: “The idea was to ensure everyone would see the iconic return of the band, hence a vast rear screen allowing content and IMAG to coexist in a variety of ways throughout the show.”

Also playing a key role in Normandale’s rig are 80 Color Strike M motorised strobe-washes, which, like the COLORado battens, were supplied by Lite Alternative of Blackburn, UK. Flown above the stage on upstage truss and over the span of video wall, the high-output fixtures accent special moments with intense light and strobing in addition to engaging the crowd with audience lighting.

Normandale, who works with lighting director Graham Feast, video director Jon Shrimpton, and Ant Gordon, who runs content, praises the Color Strike M for being a reliable bright source of light whilst adding dynamism in the strobe moments for the audience,” who he notes are “a key part of the whole performance.”

Of course, the audience has not only been “a key part” of this very special show, they’ve also been completely enthralled by it, leaving every performance wanting more from this legendary band, and who knows, next year, they just might get it!