Live Design talked to Raw Cereal's Cort Lawrence, show designer, show director, and creative director for Morgan Wallen's One Night At A Time tour about his design philosophy, the lighting choices, and that iconic entrance.
Live Design: What were the design philosophy/goals going into the project?
Cort Lawrence: We aimed to create something totally fresh and immersive. We wanted the audience to feel connected not just to the show, but to Morgan himself. Many artists have video walls that can overshadow the music and interaction, so we positioned a central video focal point as a header above Morgan and added auxiliary performance areas around the stadium for Morgan to intentionally and physically move closer to those groups of audience. This way, fans could feel like they were part of the action, similar to watching sports in a stadium, using the space and catching the details on the big screen. It was all about creating an unforgettable experience that felt both personal and epic.
LD: What look and feel were you going for?
CL: We aimed for a mix of intimacy and grandeur, with moments that ebb and flow naturally. The focus was always on Morgan, with all elements—scenic, lighting, video, and special effects—working together seamlessly without overwhelming each other. Morgan's style of music required a specific look that keeps him on the cutting edge along with his timeless music. We wanted the visuals to enhance the emotional journey of each song, creating memorable and nostalgic moments for the fans.
LD: How does the lighting integrate with the video, both artistically and technically?
CL: Artistically, the lighting and video were designed to complement each other perfectly and not compete during the show. We used lighting in two ways: key light and effect lighting. This approach ensured Morgan was always well-lit for the cameras on him at any given time, while the effect lighting dazzled the audience and involved them in the live music. With two powerhouse control systems, grandMA and Disguise, they both helped us push the limits of what's possible on tour, allowing for seamless technical integration and cohesive visual artistry.
LD: Pre-programming for this show?
CL: Pre-programming was very important as it started the momentum that carried us to the first show. We used Depence for pre-visualization and spent two weeks pre-programming in Los Angeles and preparing for rehearsals that took place in Lititz, Pennsylvania. We used grandMA's latest Mode 3 software for lighting programming, which was a new challenge but made the show incredible and a step toward the future. The Disguise media servers also allowed us an opportunity to try new and exciting updates for our hi-res, vivid content on a massive screen. All of this preparation allowed us to have two successful run-throughs at Lucas Oil Stadium ahead of the first show and feel very confident in delivering a perfect show to the first audiences to see this production.
LD: Can you talk us through the set?
CL: For one of the most iconic entrances ever used on a country tour, or any tour in my opinion, the drum riser lift allowed for a breakaway wooden door to be placed underneath, where Morgan kicks it down and enters the show in an explosion of energy and broken pieces. We integrated the band's set with three lifts, including that drum lift, so the band could be a part of the show with movement. The other standout set features are, of course, the replica of Morgan's Mamaw's house and the baseball bleachers. These elements really tied the show back to Morgan's roots and added a dramatic flair to the performance.
LD: What were the challenges in the design process?
CL: Designing a show this size is not an easy task; you must remain flexible and understand that some things won't work and not all ideas will make it to the very end. We also had to put a lot of thought into the engineering as this was a newer concept, placing a video wall this high and audio this low, so multiple teams were involved from the very beginning to have input on the right use of their products.
LD: What specific fixtures did you use and how did you use them?
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CL: Our lighting rig for the Morgan Wallen tour was extensive and meticulously curated to deliver an exceptional visual experience. Every light has a purpose and you will see how they are utilized:
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57 Chauvet COLORado PXL Bar 16 and 8 Chauvet COLORado PXL Bar 8 outline the shape of the MW video stage placed in the middle of the audience.
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84 Strike Bolt 1C on top of the video wall and at the delay towers to add audience light and give some strobe impact.
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10 ChromaQ Colorforce II 48 and 35 ChromaQ Colorforce II 72 as uplight key lighting for the side stage performance areas to give a TV performance lighting style.
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40 Elation Proteus Rayzor 40 and 124 Elation Proteus Rayzor Blade L for their dynamic strobe, linear wash, and sparkle.
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42 GLP JDC1 Strobe for intense strobe effects and additional back wash.
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106 Martin Mac Ultra Performance are used as high output effect lighting and 36 Martin Mac Ultra Wash for high-output key lighting on stage.
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2 Robe BMFL Followspot and 11 Robe BMFL Followspot LT are placed high up in the delay towers and high up on the front of the stage to provide nonstop follow spotting of Morgan and his band.
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70 Sixpar 200IP were used to create a unique chandelier reminiscent of stadium lights for the baseball bleachers scene.
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Each fixture was chosen to maximize the visual impact and create a memorable show, ensuring the lighting perfectly complemented the song and scene.
LD: Did anything in particular affect your gear and/or design choices?
CL: Budget and space are always factors when designing a show of any size, but our main focus was on safety and functionality. Because of the video wall weighing thousands of pounds, we had to consider weight distribution and structural integrity carefully to ensure everything worked smoothly. Thinking light and looking at the weight of every item that went on this stage was crucial. Balancing these constraints with our creative ambitions was challenging but ultimately rewarding. We are very thankful for the close collaboration between G2 Structures, Clark Reader, and Clear All Visuals.
LD: What was behind your color choices?
CL: We put a lot of thought into the color scheme, ensuring the video content served as the base of color for each song. Early on in the creative process, our art direction took shape with color matching the moods of each song and making sure our setlist was bold and simple. The lights we chose were capable of large spectra of color and could be easily programmed to match the video content's vivid colors, creating a cohesive look. This attention to detail ensured a visually striking and harmonious performance, with colors matching the mood of each song for the audience to fully immerse themselves.
LD: What were the biggest challenges of this project overall?
CL: The biggest challenge was working with a big canvas and thinking about all of the little things. Where does each camera go to capture that perfect shot? What color do we stain the breakaway door? What new ideas can we come up with for PixMob to make the wristbands exciting? How many minutes of fuel do we have for our flames? It was all about the little questions that we had to ask ourselves and balancing technical requirements with artistic goals. Everything in this design was placed down to the inch. We wanted to create a safe, functional design that also allowed for record-setting attendances and amazing sights and sounds for everyone. Achieving this balance required meticulous planning and collaboration. This precision and teamwork ensured we delivered a spectacular experience for every fan in the stadium.
This project was all about detailed planning and execution. From rehearsals to the first show, it was filled with memorable moments. The Morgan Wallen production team was fantastic, making the entire process a rewarding experience. Every challenge we faced was met with teamwork and innovation, resulting in a show we are all incredibly proud of.