Over 500 Robe moving lights were provided by three distinguished German rental and technical production companies for the 2024 Lollapalooza Berlin festival. This widely celebrated event, organized by Live Nation, took place over two energetic days at the iconic Olympiastadion (Olympic Stadium). The deployment of Robe lights once again proved their status as a robust, dependable, and weather-resistant option for outdoor events demanding top-tier production lighting.
Photo: Louise Stickland
The festival featured four electrifying stages: the North Stage, South Stage, Alternative Stage, and Perry’s Stage, all illuminated by Robe lighting systems. They were supplied by reputable companies including TSE for the North Stage, Media Resource Group – MRG for the South and Perry’s stages, and Sound Projekt for the Alternative Stage. Approximately 110,000 music enthusiasts flocked to the festival over its two days, relishing a stellar lineup amidst pleasantly warm September weather, with temperatures soaring above 30 degrees Celsius under a bright sun.
FOH crews, tasked with ensuring high-quality performances, greatly appreciated the thoughtful provision of Robe Festival Fridges by Robe Germany. These fridges were stocked with cool water and refreshments, helping crews and security personnel stay hydrated during the long hours of duty that were essential for safe and enjoyable performances.
North Stage
The North Stage was physically the largest at the festival, extending four bays in depth—one bay deeper than the South Stage. All structural support for the stage was expertly supplied by Stageco.
Peter Weist, acting as the FOH lighting ‘babysitter’ from TSE, brought his extensive experience to craft a quintessential festival production lighting design catered to the diverse acts. This design successfully accommodated headliners OneRepublic and Sam Smith, who captivated audiences on Saturday and Sunday, respectively.
The Robe fixtures integrated into the lighting rig featured a thrilling mix of FORTEs, MegaPointes, and Spiiders, strategically spread across four trusses. Key among these fixtures were the iFORTEs on the front truss, which were positioned to withstand the challenges of the most exposed areas, while additional MegaPointes lined the floor along the wings of the stage.
According to Peter, the decision to incorporate iFORTE fixtures was due to their impressive “power and impact even during daylight hours,” which resonated with the festival’s predominant daytime scheduling. The headlining acts were the only performances to be played in full darkness, making the robust daytime lighting essential not only for visibility but also for ensuring artists looked their best on camera. The intense fixtures also proved crucial for competing against the massive LED screen surfaces.
MegaPointes were selected for their speed and versatility, while Spiiders served as a reliable wash option, noted Peter enthusiastically. Despite being the oldest fixtures in the setup, they proved to be incredibly resilient and were described as fixtures that “keep going and going,” he added, expressing excitement about the newly launched iFORTE Fresnel.
At FOH, four RoboSpots were operational, paired with four iFORTE LTXs—with an extra backup—mounted on an 18-meter-high tower. The accompanying base stations were strategically placed stage right by dimmer city. Peter remarked that utilizing remote follow systems significantly enhances working conditions for operators, allowing for thinner and more stylish FOH towers due to reduced weight while maintaining effective functionality.
Photo: Kilian Körber (Media Resource Group)
The North Stage successfully accommodated six bands each day, with half bringing their own lighting operators while Peter lighting the rest. Working festivals excites him due to the vibrant atmosphere, incredible music, and the opportunity to discover new artists.
TSE project manager Thomas Stütz was engaged in his third Lolla Berlin event, having been part of the festival from its inception in 2014. He emphasized the freedom to present a comprehensive production lighting design that caters to all artists, with a significant emphasis on Robe fixtures, as “everyone is happy using Robe.”
The TSE team managed to set up and be operational within two-and-a-half days, utilizing overnight adjustments to accommodate headline performer Sam Smith. OneRepublic supplemented their performance with six additional MegaPointes under their main riser along with an array of strobe lights to elevate their show.
Designing an effective production rig for diverse festival scenarios is an art that requires foresight and anticipation of the varying needs of Alex Reed lighting designers, making it a continuous challenge.
TSE collaborated closely with production riggers Big Rig, providing essential trussing and motors necessary for flying lighting, video, and audio setups. Screen Visions was the designated LED screen vendor for this stage, while TSE also supplied the d&b audio system, backed by 12 talented crew members across sound and visual departments.
Lolla typically marks the conclusion of the summer season for the Berlin-based crew, and Thomas relishes the shared camaraderie that emerges as industry friends reunite in the FOH area, having crossed paths throughout the months of summer.
At FOH, two Robe PATT2013 fixtures were mounted to illuminate the Robe FOH Fridge, a crucial addition that helped ensure everyone in the lighting area remained hydrated and in high spirits amid the sweltering heat!
Photo: Louise Stickland
South Stage
Both the South and North stages were positioned approximately 145 degrees apart, allowing for smooth audience transitions between them. This innovative scheduling model enabled attendees to enjoy a plentiful experience without missing their favorites.
The lighting on the South Stage, provided by Media Resources Group, featured an impressive array of Robe iFORTEs, BMFLs, and Spiider fixtures. Supplementing these were 8 x iFORTE LTXs at FOH for follow spots, paired with 8 x RoboSpot BaseStations beneath the stage.
This specific arrangement was a direct request from the Sunday night headliners, the K-pop phenomenon Seventeen, who brought the festival to a thrilling climax with their spirited performance and devoted fanbase.
The standard FORTEs were installed in the roof trusses alongside the BMFL fixtures, while the Spiiders were allocated between the roof trusses and the top of the side IMAG screens. More iFORTEs lined the wings below the IMAG screens in ideal exposed positions, while 14 x MegaPointes provided backlighting and visual effects.
“We definitely required the intensity and brightness from these FORTEs and BMFLs,” remarked Kilian Körber, Media Resources Group’s on-site key account manager. He elaborated that over the summer, his team supplies a plethora of festivals, and there is “never a discussion” about which brand to choose; “Everyone is very happy to work with Robe,” he confirmed.
The FOH lighting coordinator on the South Stage was Marvin Amstädter.
Photo: Louise Stickland
Perry’s Stage
For the very first time, lighting for Perry’s Stage at Lolla Berlin was provided by MRG, based in Crailsheim, Baden-Württemberg. The stage, situated within the grand confines of the Olympic Stadium, maintained its reputation as a lively hub for EDM and dance music enthusiasts, with Martin Garrix and The Chainsmokers headlining the stage on Saturday and Sunday, respectively.
With its focus on dynamic visuals, 34 x MegaPointes, 52 x Pointes, and 41 x Spiiders were installed, complemented by 4 x BMFL Blades, 18 x Tetra2s, and two standard FORTEs. The lighting layout was tailored according to the lighting requirements specified by the headliners.
Oliver Reusch managed the lighting for Perry’s Stage, while Kilian reiterated that there was no second-guessing when it came to selecting Robe for such a fast-paced stage; “Having Robe on the rig makes things much easier for us, as everyone accepts the brand, and there are never any questions—everyone is happy to work with these products.”
Kilian emphasized that crew satisfaction directly impacts his own happiness, a crucial ingredient for ensuring smooth operations during festival environments, even when faced with extended hours and demanding work.
Media Resource Group has relied on Robe fixtures for around 15 years, and Kilian has dedicated over five years there, involved in a range of exciting and ambitious projects.
He acknowledges that RoboSpot technology has transformed the landscape of follow spotting, allowing technicians to save invaluable time and avoiding hours spent atop towers. He remarked that newer LED engines are now sufficiently bright for all long-throw applications.
Though there were no FOOTSIE fixtures utilized at Lolla this year, he regards them as a brilliant innovation for key front lighting alongside the RoboSpot system.
Photo: Louise Stickland
Alternative Stage
Sound Projekt, hailing from north-eastern Germany, oversaw the lighting, audio, and stage management for the Alternative Stage for its fourth consecutive year. This stage showcased a plethora of talented artists, including Sam Tompkins, Glass Beams, and Christopher, among others. Project management was spearheaded by Fabian Schwabe, while the lighting was expertly coordinated by Martin Trantow.
This year, video elements were omitted from the stage, prompting the team to create all visual drama solely through lighting. They sought “properly multifunctional” lights to effectively address various artistic scenarios, as articulated by Fabian.
The lighting design implemented a practical and well-proven festival strategy, employing 20 x MegaPointes for beams and 24 x Spiiders for washes. These fixtures were distributed across three over-stage trusses and two roll-on-roll-off floor trusses, enhancing floor specials from the deck level.
To further enrich the rig, 4 x iPointes and 6 x iSpiiders were strategically positioned on the exposed front truss. The floor setup garnered significant appreciation this year, as all artists made use of the space, relying entirely on Robe fixtures drawn from their rental inventory.
MegaPointes are considered “hugely flexible,” as noted by Martin, who indicated that they excel in both beam and spot applications, providing ample output for the stage size and the six bands gracing it daily. Some artists brought their own lighting operators, while Martin managed the lighting for various performers spanning genres from indie pop to big-beat rock.
This diversity in genres, particularly on the Alternative Stage, is something Martin finds immensely rewarding, welcoming the challenges that come with lighting such varied styles. He remarked, “It’s fun and also a great learning curve to produce a good light show across these diverse performers,” affirming his dedication to creating impactful experiences.
Photo: Louise Stickland
Both Martin and Fabian commended the quality and reliability of Robe’s products and highlighted the “outstanding” support from the Robe Germany team. They also appreciated the presence of the Robe DE Festival Fridge, which was extensively utilized during all their summer events throughout 2024!
Info: www.robe.cz
Hese fixtures were pivotal in crafting dynamic looks tailored to the performances, ensuring that each artist stood out while benefiting from the versatility of the setup. The choice of the MegaPointes and Spiiders provided a good balance of sharp beams and soft washes, essential for differing styles of music and performance aesthetics.
In terms of audio and stage management, Sound Projekt aimed to maintain the highest quality of service, ensuring every act received the best possible platform to showcase their talents. The dedication of the team, including project manager Fabian Schwabe and lighting coordinator Martin Trantow, allowed them to adapt quickly to each artist’s needs, making adjustments on the fly to meet the unique challenges each performance posed.
As for operational aspects, the Sound Projekt crew prided themselves on their agility and collaboration, coordinating closely with artists and their teams to optimize the flow of each set. Their commitment to quality not only enhanced the audience experience but also ensured that the performers enjoyed their time on stage.
The success of the Alternative Stage reflects the considerable expertise and passion which the Sound Projekt team brings, making them a vital component of the festival’s overall atmosphere. Their focus on utilizing robust yet adaptable lighting solutions, coupled with efficient audio management, contributed significantly to Lolla Berlin’s dynamic and electrifying environment.
The festival continues to innovate each year, with the integration of cutting-edge technology and creative design approaches, underscoring its status as a premier event on the European music festival circuit. This year’s emphasis on collaboration with renowned brands like Robe and the strategic use of advanced equipment has set a new standard in festival production, ensuring that both artists and fans alike enjoy an unforgettable experience.
