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Production Profile
P R O J E C T I O N L I G H T S & S TA G I N G N E W S
ing to Bones and Jackson, Keith is a big fan of the Syncrolites. We
had to ask why.
“Just the big, fat, bright, gigantic beams,” Jackson reports.
“When we first brought them out here, everybody wasn’t sure
about them. But as soon as everyone saw them — management,
Toby, everybody — they loved those things, and so we
kept them in, and kept adding them.”
Jackson also likes his American DJ blinders. “They’re eye
candy,” he says. “They’re all over the rig and under the deck of
the stage. They’re under each step, they strobe, they do all the
color changes.”
Like many contemporary touring artists, and most artists
in general, Toby Keith offers comments during the development
of his stage show, but he balances his own input with a
“hands-off” approach. When asked about the specific nature
of Keith’s input, Jackson answered, “He keeps in the broad
strokes. He’ll come in and look at the beginning stages. He’ll
look at the overall look of things. He usually focuses on how
the show starts, and that’s the rest of it.”
With two veterans on lighting who have put the years into
the tour that Jackson and Bones have, it’s easy for talent and
management to trust the team. They’ve learned the music, they
know the show, and after four years of working side-by-side,
the duo have reached that point where they read each other’s
minds and work in perfect sync.
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28 PLSN FEBRUARY 2007
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