46 CONCERTS & TOURING
MEET THE TEAM Charly Camina Video director and media server engineer Mandy Pagán Operator on the show
Vishal Sharma Screens producer Marcus Jessup Lighting designer
Bad Bunny celebrates his
of his career to date. He also worked with Bad Bunny on the artist’s No Me Quiero Ir de Aquí (I Don’t Want to Leave Here) residency in San Juan last year. He has also recently collaborated with creative house STURDY.co on projects for Rauw Alejandro, Peso Pluma, Quevedo and now Bad Bunny. Jessup admits that the design process began not with the lighting rig, but with the stage itself. Designing for an entirely stadium-based circuit demands different creative decisions and each stadium is unique and presents its own set of challenges. In terms of his fixture selection across the international dates, Jessup relied on GLP, specifically 136 JDC2 IP and 14 MAD MAXX units. Over 1100 fixtures were incorporated in total, supplied by 4Wall Entertainment, including 500-plus IP-rated lights from Elation: 259 Proteus Rayzor Blades, 93 SŌL IV Blinders and 100 DTW Blinders. Jessup selected GLP’s 14 MAD MAXX fixtures to help create the tour’s stadium- scale impact, producing powerful aerial beams visible even in the larger venues, such as Estadio Monumental (Mâs Monumental) in Buenos Aires. Additionally, the 136 JDC2 IP units provided the show’s visual rhythm, combining high-output strobe, RGB colour effects and segmented control for
roots, with the set La Casita (below) inspired by Puerto Rican houses that have pink walls and a porch
The production reflected Bad Bunny’s commitment to celebrating Puerto Rican culture. But despite the success of the tour, it’s not always been smooth sailing for the artist. Donald Trump called the decision to headline Bad Bunny at the Super Bowl half-time show ‘absolutely ridiculous’, if anything proving that there’s still a long way to go for Latin artists and Latinos living in the US. Other critics weren’t happy with a show performed in Spanish, calling it ‘un- American’ despite the fact that around 59 million people in the US speak the language, and perhaps forgetting that Puerto Rico is indeed US territory. But, as the stats prove, there is high demand worldwide for an artist who unashamedly continues to promote Puerto Rican culture and embrace his heritage.
dynamic animation. The fixtures gave Jessup the flexibility to move between intimate moments and large-scale spectacle while keeping the lighting focused on the narrative. Crowd lighting was also essential to the design of the tour, and Jessup relied on 64 of Elation’s Paragon S moving heads which were all dedicated to illuminating the audience. The lighting design helped support the tour’s themes of Puerto Rican identity. Custom-designed PixMob LED camera badges also transformed audience interaction, relating to the tour’s photography concept. The tour also utilised advanced modular video displays supplied by INFiLED and Triton Visual Technology delivered immersive visual content synced to the global stadium scale.
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