The popular and influential lighting and set designer for Grammy-nominated Volbeat shares insights into a range of subjects from dealing with the COVID-19 lockdown to the creative process behind the intense, jarring, and sometimes even softly reflective looks he uses to support metal music.

Closed clubs have been an all-too common site since the onset of COVID-19. A group of house LDs who worked in some of those shuttered venues discuss how they’re prevailing over the challenges posed by the pandemic.

Our column devoted to memorable venues, continues with John Garberson’s look at Big Surf Water Park, where EDM shows take place at and above a 2.5 million gallon wave pool in the middle of the desert.

At the start of the pandemic, Will Chandler turned a 5,000 sq. ft. space at Envizion Group’s LA facility into a livestream studio and created an architecture of light with EPIX Strips. Learn how Julien Reux made good use of this rig when lighting a show by Breathe Carolina.

It was a busy holiday season for our Maverick series, starting with the Macy’s Thanksgiving Day Parade and culminating at Dick Clark’s Rockin’ New Years, when Lee Rose used the Maverick MK Pyxis to create some sizzling looks for Megan Thee Stallion at the show’s “Hollywood Party” segment. 

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