Lighting Designer Marcus Jessup On Lighting Bad Bunny's Debi Tirar Mas Fotos World Tour
- @LimeLightWired
- 9 hours ago
- 5 min read
The Debí Tirar Más Fotos World Tour is Bad Bunny’s sixth concert tour, created to support his critically acclaimed studio album Debí Tirar Más Fotos, an album that earned critics’ praise and major awards, including Album of the Year at the 2026 Grammy Awards. It’s an all-stadium global tour that spans Latin America, Oceania, Europe, and other international regions. Originally announced with fewer dates, massive demand expanded it to over 50 shows worldwide.
It is already safe to call this a Tour of the Year contender and we are only in February. Bad Bunny’s Super Bowl halftime performance has only escalated the tour’s momentum, pushing it further into the global spotlight. Designed by STURDY.co, the show carefully balances raw emotion with high production value, moving between intimate moments and explosive, crowd-driven sequences built for stadium scale. Through visual symbolism, styling, and musical transitions, Bad Bunny places Puerto Rican heritage into a global context, turning each performance into a cultural statement rather than just a concert.
Conducting the lighting design for this massive production is Lighting Designer Marcus Jessup, who tells us he began shaping the show in fall 2024, more than a year ahead of the first performances in winter 2025. With the tour routing through open-air stadiums and venues without roofs, Jessup required a fully IP65-rated rig, but reliability could not come at the expense of creative range.
"The show is more than entertainment, the tour positions culture at the center of the experience. Through visual symbolism, styling, and musical transitions, Bad Bunny brings Puerto Rican heritage into a global context, transforming each performance into a cultural statement." - Lighting Designer Marcus Jessup
Gear supplied by 4Wall, Inner Circle Distribution, Claypaky, Elation, Robe, GLP, and ACME led to a design of over 1,100 fixtures that bring each performance to life.
“One of the main challenges was finding a fixture that delivered serious output without adding too much weight above the video wall,” Marcus Jessup tells us. That search, and the need for IP protection, led him to the Claypaky Ultimo Sharpy, which ultimately became a cornerstone of the rig. More than 100 units were deployed directly over the video wall, with over 280 fixtures spread across the full production to cover the range of looks the show demanded (full gear list down below). Worth noting, the Ultimo Sharpy wasn’t even on the market when Jessup started building this show, but when it finally dropped, it showed up at the exact right moment.
“Another challenge which I actually enjoy is key lighting,” says Marcus Jessup. When the artist is the focal point at this scale, visibility is non-negotiable, regardless of venue size, layout, or geography. “Deciding where to place follow spots based on the rig is always a fun puzzle with every design. We had four delay towers that handled our follow spot needs, but without a roof, figuring out how and where to rig specific fixtures definitely pushed us to think differently.”
Before diving into the gear and crew lists, there are two more elements worth calling out. The onstage VIP area and the audience lighting. The onstage VIP section introduced an uncommon design challenge. VIP areas rarely live onstage, but for this tour it became part of the visual language. With high-profile guests appearing throughout the run, the space needed to feel intentional without disrupting sightlines. “Designing around the VIP area onstage was a fun challenge,” says Marcus Jessup. “The key was making sure sightlines were never an issue for people in the pit or the bleachers.” The result was a VIP layout that stayed visually integrated into the show while keeping the performance front and center.
Audience lighting was another area where the design adapted in the field. The original plan placed fixtures in the stands, but many of the stadiums simply could not support that layout. “Placement of the HL and HR audience fixtures had to change,” Jessup explains. “I moved them to the GA floor and it turned out well.” That adjustment delivered bold, high-impact beam looks and helped pull the crowd directly into the show.
All of it adds up to a touring production that is both technically sharp and culturally intentional, built to survive stadium realities without sacrificing creative ambition. If you want to get into the specifics behind how it all comes together, scroll on. The full lighting gear list and complete crew breakdown are below.
Lighting Gear List:
286 x Clay Paky Ultimo Sharpy
255 x Elation Proteus Rayzor Blade L
120 x Chauvet Color Strike M
114 x GLP JDC2 IP
100 x Elation DTW Blinder
700 93 x Elation SOL IV Blinder
88 x Acme Pixel Line IP
64 x Elation Paragon S
12 x GLP Mad Maxx
10 x Robe iForte LTX FS
7 x Acme Pixel Line IP 500
4 x Proteus Rayzor Blade S
4 x Robe iForte
2 x GrandMA 3 Full Size
Video Gear List:
580 x ROE Vanish 8T 1000 x 1000
2 x Disguise GX3 x 2
1 x GrandMA 3 Full Size
SFX Gear List:
40 x 120w Laser
20 x MDG The One Touring
22 x MagicFX Stadium Shot II
20 x ReelEFX RE 5 Fan
Crew List
Creative Director // JanAnthony Oliveras
Show Design & Creative // STURDY.
Show Director & Stage Design // Adrian Martinez
Multi Media Director // Justin Sanchez
Head of Content // Jasper Heenan
Executive Producer // Kevin Henry
Account Mananger // James Houneseck
Producer // Alex Rollier
Project Coordinator // Flo Singer
Jr. Creative / Editor // Noah Hernandez
Stage Design // Skylar Elis
Asst. Stage Design & Renderings // Pablo de Larrañaga Aramoni
Lighting Designer // Marcus Jessup
Co-Associate Lighting Designer // Eliot Jessep
Lighting Director // Krizia Liz Velez Cruz
Lighting Programmer // Louis Choisy
Lighting Programmer // Kevin Labitan
LX/Power/Utility // Dario Hermosilla
4Wall Lighting Crew Chief // Jorge Caraballo
4Wall Lighting Techs //
Harold Trenhs
Anthony Jose Villa Guzman
Junior Manuel Villa
Luis Geraldo MacDonald
Jorge Valdez Jr.
Julio Emmanuel Fuentes Melendez
Arturo Jose Reyes Rodriguez
Jayro John Vera
Andres Schmidt Carazo
Brandon Lee Zarra
Jameson Costa
Jose Ramon Diaz Vadiz
Jorge Antiono Valdez
Notch Design & Screens Production // All of It Now
Screens Producer // Vishal Sharma
Notch Designer // Berto Mora
Notch Designer // Stella Kinoshita
Producer // Nicole Plaza
Media Server Operator // Charly Camina
VJ // Armando Pagán Morales
VHS Artist // Daniel Silverman
Notch Artist // Ted Pallas
Notch Artist // Brenton March
Motion Capture Artist // Yanjun Chen
Pyro // Mayco Aponte Rodriguez
Laser Techs //
Carolina Osorio Londoño
Andres Rivera Londoño
Alejandro Calle
David Chona
Jhon Jairo Alvares
Rommel Andres Zapata Zarate
Sergio Cedano
Bertulfo Antonio Montoya Garcia
Pixmob PM // Ilse Vanesa Rodriguez
PIxmob Crew //
Felix St-Laurent
Carl Anthony Beauregard
Felix Omar Torres Soto
Artist Management // Noah Assad
Management // Wilfredo Pagan
Tour Manager // Angel Mejias
Road Manager // Jesus Pino Vazquez
Show Caller // Luis Velazquez
Production Manager // Rolando Figueroa
Production Warrior // James Costa
Production Supervisor // Rolando Garbalosa
Hospitality Coordinator // Lucy Martinez
Labor Crew Manager // Jay Boles
Assistant Stage Manager // Pablo Ricardo Castro
Load Master // Michael Trujillo
Electrician // Marcelo Jose Rudoni
Electrician // Jeremy Mckee
Stage Manager // Samuel Davila
Stage Manager // Roy Santos Cruz
Technical Drawings // Matthew Geasey
Lead Rigger // Ruben Acosta
Lead Rigger // Joseph Ramirez
Delay Rigger // Cristian Adrian Galeano
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