Ayrton Domino Profile tours with Cesare Cremonini

Ayrton fixtures presented by Molpass, and supplied by Agora service, helps Cesare Cremonini's longtime collaborator, Mamo Pozzoli light the way for the artist’s nationwide stadium tour. Photo: Mamo Pozzoli

Cesare Cremonini’s Stadium Tour 2022, which started in Milan and closed with a resounding event at the Imola racetrack, has just ended. The eight sold-out dates of the Tour celebrated the Bologna singer’s 20-year career with the aim of leaving behind the long period of downtime due to the pandemic and getting back on track with more drive and enthusiasm.

“We want to give the opportunity to bring back good memories to all of us, to build beauty again, not only artistic beauty, but the beauty of positive emotions and good moments to remember of one’s life,” said Cremonini during an on-stage monologue.

The project and lighting direction were imagined and designed by Lighting Designer, Mamo Pozzoli, Cesare’s longtime collaborator. For the occasion, Pozzoli created an imposing wall of light built with different units but amalgamated in a look that is aggressive and elegant at the same time, thanks to very elaborate dynamics and original research on monochromatism. Around 80 Ayrton Domino Profile S and 50 Ayrton MagicPanel R were included in the lighting plot.

“We built an LED wall divided into about 500 units of different types, whose spatial distribution organised in large arrays offered me the opportunity to constantly play on the dynamics of the lighting and the sudden changes of colour,” Pozzoli explained.

“I wanted to build a show that would seek a dialogue with the audience, sometimes even in an aggressive form, in which the perception of depth was linked to the interaction with the video world and its colours. This was possible thanks to the considerable frontal extension of the stage (60m) fully occupied by light blocks that formed the two-dimensional framework of the set, while the large central screen/portal represented the 3D element through the combination of front lights cutting, and behind, the screen itself. This gimmick allowed me to seek the right light-visual interaction and characterise the look of each song in an ever-changing way,” Pozzoli added. 

“For the first time I used a substantial number of Domino Profile IP65 fixtures, arranged on long linear trusses in front of the stage as well as on the floor on the catwalk. It’s an exceptional fixture that allowed me, through power and reliability, several creative possibilities and constant performance even in extreme weather conditions, especially during rehearsals, a crucial moment in the planning of any show,” he noted.

Similarly, through the consolidated matrices of MagicPanel – a product Pozzoli has been using for many years – he pushed particularly on the graphics side, using the MagicPanel in Extended Mode. “As is my habit, I rarely used both fixtures in tracking beam mode, preferring instead an open management to maximise the flare effect when looking at the source. I was interested in constantly engaging the whole stadium, and the incredible zoom openness of the Dominoes, in this respect, is unique,” he concluded. 

A special note goes to the highlight of the tour: a rotating mechanical bridge that, from the beginning of the concert, lifted Cesare into the audience with a single Domino positioned above the bridge itself on the opposite side to illuminate the artist in an original two-way dialogue. The Ayrton fixtures were presented by Ayrton’s exclusive distributor in Italy, Molpass, and supplied by Agora service.