CONCERTS & TOURING
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The team at GEA Live collaborated with UK-based visual studio North House, which was responsible for the show’s visual design – while lighting design studio The Art of Light delivered the glittering lighting effects woven into the visual narrative. The lighting set-up features solutions from Robe, Cameo, MA Lighting and Martin Lighting. “Lighting design plays a crucial narrative role,” explains Hogenkamp. “With 168 lighting fixtures and 4079 programmed cues, every musical moment is matched by a visual counterpart. These aren’t merely lighting effects – they’re emotional cues, worldbuilding tools as well as transitions that guide the audience through each game’s mood and tone. “From the haunting shadows of The Last of Us to the fiery, mythological glow of God of War , each lighting sequence has been programmed to reflect the essence of the world on stage.” All of this has been tied together by the show’s director Gary Lloyd, who worked tirelessly to blend the musical, visual and technical elements into one seamless and powerful live event. “We collaborated closely with the game studios to create custom content for each specific IP, using an incredible technical set-up to enhance the live experience,” continues Douwes. The staging features a 17.5x10m Roe LED back screen, paired with five custom-made roll drops constructed with a special type of projection gauze. Five Panasonic 4K projectors are then used to cast content onto the gauzes. “The roll drops are positioned in front of the stage, allowing visuals to be layered across two surfaces while still keeping the musicians clearly visible at the centre,” describes Douwes. “This set- up creates depth in the visual content, as well as a unique, 3D stage design, with over 1000 movements of the roll drops at varying heights throughout the show.”
“Everyone who worked on the show knew how deeply people love these games and stories, and we wanted to build something that honours that – something that feels true to the Playstation legacy while delivering a fresh, unforgettable experience,” Douwes emphasises. IT STARTS WITH A CONTROLLER “Immersion is at the heart of this production,” Hogenkamp says. “Every element – visual, sonic and spatial – was designed to bring the audience deeper into the world of each game.” Although the term ‘immersive’ finds itself thrown about profusely within the world of live events, Douwes explains why Playstation: The Concert doesn’t use the label without reason. “We wanted to push the idea of immersion beyond just visuals and sound. It’s about creating a space where the audience feels like they’re stepping directly into the games they love,” she says. “The way the show is designed, you’re not just hearing the music – you’re inside it.” The concert’s musicians are placed in a specific way at each venue, so they feel part of the environment rather than separate from it. The lights, sound and projections then work together to blur and ultimately remove the boundaries between the stage and audience. “We also made sure the pacing of the concert mirrors how a player experiences a game,” elaborates Douwes. “It’s not just one song after another; it flows like a journey – emotional highs, moments of quiet reflection and sudden bursts of energy – just like when you’re playing and get caught up in the story. It’s a fully sensory experience. Not just a concert, but almost like a playable memory of these incredible worlds.” Hogenkamp adds that “through surround sound, panoramic visuals, dynamic lighting and real-time cue
Aloy’s Theme was originally created for the Horizon Zero Dawn E3 2015 trailer, and is also used as the main menu background music
The Last of Us director Bruce Straley described the game’s music as ‘minimalist dissonance and resonance’
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