ArtistDirect News
Stephen Sanchezs Sing Love Again European Tour Lights Up With Vintage-Modern Design
When the lights dimmed at Paris’s Salle Pleyel on April 25 2026, Stephen Sanchez’s European leg of the “Sing Love Again” tour revealed a striking blend of nostalgic flair and cutting‑edge illumination.
The show, which promotes his second studio album Love, Love, Love (released May 8 2026), carried the singer‑songwriter’s retro‑influenced sound to venues across the continent. The visual experience was engineered by PRG, whose lighting package married vintage storytelling with immersive audience effects.
At the helm of the creative vision was lighting designer and programmer David Kneipp, who has collaborated with Sanchez for three years. Kneipp explained, “When I began conceptualising the design, to achieve this look, I drew heavy inspiration from 1970s live shows, when walls of parcans behind the band created a raw, saturated look.” He added that his long‑standing partnership with the artist gave him a deep understanding of Sanchez’s aesthetic, which leans toward old‑school vibes. “Having worked closely with Stephen for three years now, I have a strong understanding of his aesthetic. He loves those old‑school vibes, but we also wanted the show to have the energy and impact of a modern production. The goal throughout was to find the balance between vintage styling and high‑energy contemporary programming, and I feel we really achieved that on this tour.”
The rig’s backbone consisted of 38 Martin MAC Aura fixtures positioned across the back of the stage and integrated throughout the set design to create layered beam looks and rich washes. Kneipp noted that the fixtures were chosen for their ability to deliver a vintage aesthetic while still offering modern functionality. “We landed on the Martin MAC Aura because, for the size of venues we were playing, they still pack a punch and photograph beautifully even at lower intensities,” he said.
Eight Chroma‑Q Color Force 12 units illuminated the show’s rectangular set pieces, cycling through combinations of deep red, yellow, green and purple. The fixtures provided the output needed to saturate the scenic elements while maintaining consistent colour rendition across a wide range of looks. A major visual element of the design came directly from Stephen’s album artwork. Kneipp built eight wooden panels painted in the album’s signature colours, each lit by a dedicated Color Force 12. “The fixtures gave us exactly the brightness and consistency we needed, while helping reinforce the visual identity of the album throughout the performance,” he added.
Programming was carried out on grandMA3 with roughly 80 percent recipes. Kneipp spent a week programming at Parallel Control Systems in Nashville and praised the software’s capabilities. PRG UK provided support throughout the run, and PRG technician Dylan Keme helped prepare the London show. “The team at PRG UK was outstanding from start to finish, keeping us informed every step of the way and remaining flexible whenever last‑minute changes came up,” Kneipp said.
Production management was led by Jawsh Thomas, whose experience touring with Shania Twain, Backstreet Boys, Our Lady Peace and K‑pop acts such as NCT127 and Red Velvet helped shape a production approach that balanced consistency, atmosphere and scalability. Thomas worked closely with PRG account director Kelly Cornfield and project planner Hamzah Wahbi. Cornfield highlighted the clarity of the creative vision as a key factor in maintaining consistency across venues of varying size and specification.
The tour’s schedule began in Paris and continued through Belgium, Germany and other European cities, with each venue presenting different layouts, ceiling heights and audience configurations. PRG’s flexible lighting package ensured that the show’s feel remained consistent, even as the rig was adapted to each venue’s unique requirements. While the tour was scheduled to run across Europe, Stephen Sanchez announced a hiatus following its cancellation, citing creative burnout and disappointment with the current state of pop music.
The “Sing Love Again” tour exemplifies how contemporary artists can blend retro aesthetics with modern production technology. It also showcases PRG’s ability to deliver flexible, high‑quality lighting solutions for touring. Stephen Sanchez’s music, influenced by Elvis Presley, Roy Orbison and Frank Sinatra, is complemented by the warm, saturated palette and immersive lighting that defined the European leg of the tour.
As of June 2026, Stephen Sanchez remains on hiatus after the cancellation of the tour, but the production team completed the European leg, delivering a cohesive visual experience that balanced intimacy and scale.
The show, which promotes his second studio album Love, Love, Love (released May 8 2026), carried the singer‑songwriter’s retro‑influenced sound to venues across the continent. The visual experience was engineered by PRG, whose lighting package married vintage storytelling with immersive audience effects.
At the helm of the creative vision was lighting designer and programmer David Kneipp, who has collaborated with Sanchez for three years. Kneipp explained, “When I began conceptualising the design, to achieve this look, I drew heavy inspiration from 1970s live shows, when walls of parcans behind the band created a raw, saturated look.” He added that his long‑standing partnership with the artist gave him a deep understanding of Sanchez’s aesthetic, which leans toward old‑school vibes. “Having worked closely with Stephen for three years now, I have a strong understanding of his aesthetic. He loves those old‑school vibes, but we also wanted the show to have the energy and impact of a modern production. The goal throughout was to find the balance between vintage styling and high‑energy contemporary programming, and I feel we really achieved that on this tour.”
The rig’s backbone consisted of 38 Martin MAC Aura fixtures positioned across the back of the stage and integrated throughout the set design to create layered beam looks and rich washes. Kneipp noted that the fixtures were chosen for their ability to deliver a vintage aesthetic while still offering modern functionality. “We landed on the Martin MAC Aura because, for the size of venues we were playing, they still pack a punch and photograph beautifully even at lower intensities,” he said.
Eight Chroma‑Q Color Force 12 units illuminated the show’s rectangular set pieces, cycling through combinations of deep red, yellow, green and purple. The fixtures provided the output needed to saturate the scenic elements while maintaining consistent colour rendition across a wide range of looks. A major visual element of the design came directly from Stephen’s album artwork. Kneipp built eight wooden panels painted in the album’s signature colours, each lit by a dedicated Color Force 12. “The fixtures gave us exactly the brightness and consistency we needed, while helping reinforce the visual identity of the album throughout the performance,” he added.
Programming was carried out on grandMA3 with roughly 80 percent recipes. Kneipp spent a week programming at Parallel Control Systems in Nashville and praised the software’s capabilities. PRG UK provided support throughout the run, and PRG technician Dylan Keme helped prepare the London show. “The team at PRG UK was outstanding from start to finish, keeping us informed every step of the way and remaining flexible whenever last‑minute changes came up,” Kneipp said.
Production management was led by Jawsh Thomas, whose experience touring with Shania Twain, Backstreet Boys, Our Lady Peace and K‑pop acts such as NCT127 and Red Velvet helped shape a production approach that balanced consistency, atmosphere and scalability. Thomas worked closely with PRG account director Kelly Cornfield and project planner Hamzah Wahbi. Cornfield highlighted the clarity of the creative vision as a key factor in maintaining consistency across venues of varying size and specification.
The tour’s schedule began in Paris and continued through Belgium, Germany and other European cities, with each venue presenting different layouts, ceiling heights and audience configurations. PRG’s flexible lighting package ensured that the show’s feel remained consistent, even as the rig was adapted to each venue’s unique requirements. While the tour was scheduled to run across Europe, Stephen Sanchez announced a hiatus following its cancellation, citing creative burnout and disappointment with the current state of pop music.
The “Sing Love Again” tour exemplifies how contemporary artists can blend retro aesthetics with modern production technology. It also showcases PRG’s ability to deliver flexible, high‑quality lighting solutions for touring. Stephen Sanchez’s music, influenced by Elvis Presley, Roy Orbison and Frank Sinatra, is complemented by the warm, saturated palette and immersive lighting that defined the European leg of the tour.
As of June 2026, Stephen Sanchez remains on hiatus after the cancellation of the tour, but the production team completed the European leg, delivering a cohesive visual experience that balanced intimacy and scale.