Bands & small tours
Album releases, residencies, support slots and short runs. A rig that travels, sets up fast, and makes a four-piece look like a headline act rather than a bar booking.
Nashville & Middle Tennessee
School productions, showcases, dance recitals, album releases, music videos and small tours — designed, built, programmed and operated by someone who has spent 25 years doing exactly this at arena scale.
How it works
The usual small-show problem is a rental house on one side, a desk operator on the other, and nobody owning the result. Here it's one person for the whole chain.
You approve the look on screen before anything is loaded in. No guessing, no “we'll see how it looks on the day”, no expensive surprises during a two-hour focus call.
Moving heads, beams, haze, LED wall and console — brought, rigged and run together. Vello moving heads, Chauvet haze, real fixtures named on the quote rather than “lighting package” as a line item.
The person who drew the plot is the person on the console at show call. If a cue needs changing in the room, it changes in the room.
Venue paperwork and certificates of insurance handled on request. Spare fixtures, spare data, spare power — standard, not an upsell.

Who we light
Album releases, residencies, support slots and short runs. A rig that travels, sets up fast, and makes a four-piece look like a headline act rather than a bar booking.
Multi-number shows where every routine needs its own look and the whole thing has to run to a cue stack, not a fader push. Programmed in advance, operated live.
Proper front light so faces read, colour that supports the scene rather than fighting it, and a designer who started in London theatre and still thinks like one.
Keynotes, awards nights, product launches and conference stages. Clean, camera-friendly light, LED screen if you need it, and a crew that understands a run of show.
Beams, haze and hard colour built for camera rather than for eyes. We'll work to your DP's plan or design to the treatment.
Smaller rooms that want a permanent look instead of hiring in each time. Specified, installed and programmed with presets your staff can actually run.

Pricing
Every show is different — the room, the rig, the number of looks, whether you need a crew of one or four. Putting a number on a page would either overcharge the small shows or underdeliver on the big ones.
So pricing is a conversation, not a menu. Call and describe the show; you'll get a real figure quickly, and a plot and pre-vis before you commit.
Common questions
Both, and we'd recommend both. The rig is designed and programmed by the person who then runs it at show call — that's the whole point. Dry hire is possible for teams who already have an operator, but the result is better when it's one chain.
Almost certainly. We'll want the venue's rigging points, power availability and access details up front. If the room has restrictions we'll design to them rather than turning up and discovering them.
For a straightforward show, a couple of weeks is comfortable. For anything with a big cue stack — a recital with thirty numbers, a theatre run — the earlier the better, because programming time is the part that can't be rushed.
Yes. Fully insured, and venue paperwork is handled on request — just tell us what your venue needs and who to send it to.
Yes, and it's usually cheaper and cleaner than hiring two companies. One crew, one load-in, one point of contact. See the DJ packages for how the two combine.
Date, venue, what's happening on stage and roughly how many looks you need. You'll get a real answer, not a brochure.
Also offering Nashville DJ hire and pop-up party tent rental.