A conversation with Dan Hadley

A conversation with Dan Hadley

Dan Hadley is a concert lighting designer and programmer whose calling card is control under chaos. With Foo Fighters, he builds systems that can stretch, shrink, or turn on a dime, because the set list can and will. His rigs favor modular geometry, strong brightness hierarchy, and repeatable timing so the band stays the brightest object in the room while the picture still plays to camera. Dan’s approach is quietly crew centric: show files that invite safe improvisation, cue architecture that won’t collapse when the song doubles in length, and practical choices that keep load-ins calm. The result is stadium scale energy with a storyteller’s restraint, color when it serves the lyric, silence when it serves the moment. Offstage, he’s known for mentoring younger programmers and for the unglamorous discipline that makes tours feel bulletproof. Big feeling, clean execution, zero fuss, that’s the Dan Hadley signature.

A conversation with Sean Dane

Sean Dane is a wireless-control specialist who turns noisy RF realities into reliable show systems. At LumenRadio, he works with designers, rental partners, and manufacturers to spec and scale CRMX/W-DMX networks that actually behave, on tours, TV shoots, and permanent installs. (He joined in 2019 and now serves as an International Sales Manager.) Before that he was deep in the trenches at RC4 Wireless, building battery-powered props and pixel rigs for productions where placement, power budget, and camera safety matter more than pretty charts. And before all of that, Sean spent 10 years as a prop master, which is why his advice lands in the real world: he’s lived the deadlines, the tape marks, and the last-minute rewrites. His superpower is translation, spectrum scans into channel plans, specs into on-site habits, and creative intent into wireless that feels as trustworthy as copper, without the cable.

A conversation with Mark Ravenhill

Mark Ravenhill is a lifelong lighting nerd in a suit when needed and a translator the rest of the time. He cut his teeth at Martin Professional, helping steer touring/theatre products in the MAC era, then jumped to GLP in 2009 to build the US presence and champion fixture design that serves the song, the camera, and the crew. He currently leads US sales and marketing from Nashville. Colleagues know him for the same north star he’s had since day one: lights that earn applause without stealing it, reliable optics, honest output, and looks that read from the pit to the nosebleeds. If there’s a through-line, it’s this: connect makers to designers, turn feedback into better tools, and keep the magic repeatable night after night.

A conversation with João Blümel

João Blümel is a Portuguese entertainer and mentalist who performs not only in Portugal, but also around the world. You can see him regularly on stage and on TV, where he "reads minds" using a combination of techniques from Psychology, Illusionism, Neuro-Linguistic Programming, Body Language, and Intuition.João is also a gadget and high-tech enthusiast and recently created a unique show of its kind.His new show combines mentalism with virtual and augmented reality, bringing the audience a unique and absolutely immersive experience.Due to the uniqueness of his performances and regular media appearances, João Blümel is often called "the Portuguese mentalist".

A conversation with Stephen Dobbie

Stephen Dobbie makes immersive worlds sound alive. He’s been Punchdrunk’s longtime sound designer/composer, helping shape the pulse of shows like Sleep No More, from New York’s McKittrick Hotel to Shanghai, where whole buildings are treated like instruments. Think original music, curated tracks, and smart zoning that quietly guides you from room to room.. Beyond Punchdrunk, Stephen co-runs A Right/Left Project with Colin Nightingale, creating deep-listening installations (like ORIGIN) that turn attention into a ritual. In galleries, he helped build Beyond the Road with Nightingale and UNKLE’s James Lavelle, a multi-room exhibition that’s shown in London and Seoul, expanding his “building as instrument” approach into a free-roaming, museum context. What ties it all together is feel over flash: sound that orients, breathes with performers, and holds the story without shouting. Whether it’s a maze of scenes, a contemplative installation, or a gallery adventure, Stephen’s focus is the same, design systems that let wonder repeat, night after night.