Blearred was responsible for the lighting design and its creative direction, translating Laccioland’s vision into a living system of light. The stage was dominated by a monumental LED structure pierced at its center to create a chamber where Elodie and the dancers performed. This inner space functioned as a digital environment, a negative volume that constantly transformed through light, colour, and motion.

The first lighting concept was drafted by Matteo Masini, who developed the early lighting layout and established the foundation for the show’s visual identity. From there, the design evolved through a close collaboration between Jordan and Francesco Mingoia, who shared the creative direction and worked together as lighting designers. Francesco also managed the on-site phase, coordinating production, programming, and rehearsals to ensure that the design intentions translated seamlessly into the live performance.

The visual development was supported by the wider Blearred team. Marzio Del Sole contributed to the 3D modelling and spatial refinement, while Francesco Rizzotto and Olek Mar’yanov translated the creative ideas into precise technical drawings and CAD geometry. The final programming and operation were handled by Nicolò Maffeis, who maintained continuity between the studio work and the live environment. Cecilia Magnozzi curated all the presentation materials, assembling the design decks and project documentation that guided both the creative and production processes.

Technical and logistical coordination were key elements of the project. Ivan Russo, co-founder of Blearred and technical manager across all studio projects, oversaw the operational and infrastructural aspects, resolving on-site challenges and ensuring technical coherence throughout the production. Logistics were handled by Elisa Fiumanò, who managed the practical workflow on site and supported the team by removing distractions from the programming and show operations, keeping the entire process smooth and focused.

The team chose to work almost entirely with flood and wash fixtures, avoiding spots in favor of a broader and more physical use of light. This created wide chromatic fields and a powerful luminosity that matched the bold video content designed by Laccioland, characterized by large blocks of color and dynamic typographic compositions. Each scene unfolded as a single movement of light, driven by intensity and rhythm rather than detail.

The stage extended into the audience through a long runway fitted with two moving platforms that carried performers along its length, turning the choreography into a dynamic exchange between the artist and the crowd. Light followed this movement, shaping the performance as a continuous spatial experience.

Because the concert was filmed for a prime-time broadcast on Canale 5, the lighting design required precise coordination with the television direction.