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Tom Sutherland turns to Robe for Luke Bryan’s Las Vegas shows

For his first Las Vegas residency shows at the Resorts World Theatre, American country music singer and songwriter Luke Bryan hired show designer/director Brian Burke and lighting/set designer Tom Sutherland from DX7 Design.

The house lighting rig at the new 5,500 capacity Resorts World Theatre venue features large quantities of Robe moving lights, all of which were supplied by Solotech, who completed the install and also co-ordinate the venue’s on-going technical services.

Sutherland got 108 x Robe MegaPointes on the lighting plot for his main effects lights, together with 54 x Tarrantulas - Robe’s largest LED wash beam - and 17 x BMFL WashBeams which are all running on the theatre’s four RoboSpot systems.

The production was initially designed in December 2021 for a show opening in February 2022. Opting for an epic widescreen look, the upstage LED screen was 100 ft wide. Downstage of that were a three-tier moving set based on a series of diamond shapes which is a cornerstone of the show environment. For time and convenience, the set was designed around lifts and hydraulic products that set builders SGPS/ShowRig already had in their inventory.

Band members were positioned on each layer of the risers which could extend from 5 to 20 ft. They had customised video fasciae and tops, and were internally lit with strobes and LED fixtures, offering an eye-catching architectural element combined with the LED screen.

Utilising the straight trusses in the stage roof as hanging points, the riser geometry was mimicked with LED battens. There was a complete MegaPointe surround to the screen. Thirty along the top and bottom edges with seven a side left and right, consuming 74 MegaPointes in total. The other 34 x MegaPointes were placed on the overstage trusses ensconced in between the chevron-shaped LED bars.

The Tarrantulas were deployed on these same trusses, sometimes in between the MegaPointes and sometimes in autonomous positions. Six of the BMFL WashBeams were rigged on the most upstage truss with another eleven on the front truss, and these were used for all the key lighting.

Luke Bryan wanted a big party vibe to the show so Tom Sutherland made sure to reveal multiple optical tricks as the show narrative unfolded, including a 192-fixture PAR can “rock wall”. As the band struck up the opening chords of “Country Girl” for the first encore, Bryan descended from the roof strutting up and down a walkway with pyro and lighting blazing.

On Sutherland’s FOH creative team were Hunter Selby who also assisted with the lighting design, GrandMA programmer Joe Holdman, plus video director Scott Chmielewski. Custom video content was created by Gravity. Tom Sutherland worked closely alongside the video team ensuring all the lighting and video cues were matched or contrasted in terms of light, shade, dark and using the negative spaces for the show which was run to timecode. The day-to-day show lighting operation/direction throughout the residency stints was overseen by Justin Kitchenman, Luke Bryan’s long-term LD.

Tom Sutherland and Brian Burke have collaborated on several other projects including for Westlife’s most recent live shows. Sutherland first met Luke Bryan whilst lighting the 2021 series of “American Idol”.

(Photos: DX7 Design/AEG)

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