FragmentNine and JAW Studio craft a breathtaking fusion of light and scenography for the J-pop icon’s 2024 tour, harnessing the power of ROBE ESPRITES, MegaPointes, and BMFL WashBeams to redefine arena concert aesthetics.

J-pop icon Hikaru Utada’s much-anticipated return to the live stage after six years was marked by a stunningly immersive production design for her 2024 tour, in support of her latest album, Science Fiction. The tour’s visual spectacle was driven by a collaboration between Jason Ardizzone-West of JAW Studio and the creative minds at FragmentNine (F9), led by Jeremy Lechterman, with lighting playing a pivotal role in shaping the ethereal, otherworldly narrative that defined the performances.

The lighting design incorporated a significant number of high-performance fixtures from ROBE, supplied in Japan by lighting vendor Kyoritz .The rig included 81 units of the ESPRITES, 72 units of the MegaPointes, 26 units of the TetraXs, and 3 units of the BMFL Wash Beam EVs operating via a three-way RoboSpot system.

Jason Ardizzone-West began conceptualising the show a year before the tour, exploring a diverse range of artistic influences. “We talked about wormholes, portals, Kubrick’s monoliths, Emma McEvoy’s sand dune photographs, and how we wanted to challenge the expectations and perceptions of how a J-Pop arena concert should look and feel,” he explained. The vision was to craft an operatic-like space that was simultaneously familiar and alien, ancient and modern—“a mysterious landscape that is initially a sleeping machine – a portal to another level of consciousness which is slowly awakened by the energy of the audience activated by Utada’s music.”

The physical manifestation of this concept materialised in the form of nine massive monolithic structures, constructed with Roe Vanish 8S LED video tiles, which created striking visual depth and scale. These were complemented by three luminous plinths that served as performance platforms for the musicians. FragmentNine’s Jeremy Lechterman and Jason Ardizzone-West collaborated closely with video designer Jackson Gallagher to integrate lighting, video, and scenic elements into a cohesive and dynamic storytelling environment that evolved with each song.

One of the primary challenges of the lighting design was capturing and amplifying the sheer scale of the 100ft-wide stage landscape while ensuring that 75% of the fixtures remained floor-based to maintain the integrity of the scenic composition. From the outset, Robe’s ESPRITES and MegaPointes were at the core of F9’s specification due to their reliability, exceptional colour rendering, and a host of advanced features. “ESPRITES and MegaPointes were a quick and easy choice, and Kyoritz had them in stock, so everything worked out,” noted Jeremy.

The ESPRITES were arranged in two primary lines—one positioned below the stage at the back, creating a horizon-like effect, and another mounted above the main upstage video wall. Additional units were deployed overhead, assisting in the projection of shadows onto the monoliths while enhancing the kinetic energy of the video content that was integral to the show’s storytelling. “The nature and precision of the scenography required the artists to be lit very specifically, to enhance the spatiality of Jason’s original concept,” said Jeremy. The ESPRITES’ zoom functionality, brightness across the entire zoom range, and even beam field proved invaluable in achieving this goal.

MegaPointes, a staple in Jeremy’s designs since their launch in 2017, played a crucial role in elevating the scale of the production. “They’re my hybrid fixture of choice,” he affirmed. For Utada’s tour, they were flown in the overhead rig, where they helped extend the show’s visual depth, lifting the energy beyond the floor and adding height and complexity to the design.

For key and low-level lighting, the BMFL EVs, running on the RoboSpot system, were strategically positioned at rear and high-side angles. With no traditional front lighting used in the show—except for the B-stage—the BMFL EVs delivered pinpoint illumination, seamlessly blending with the overall aesthetic. Jeremy praised their performance, stating, “They worked flawlessly every night.”

As one of Japan’s most revered and influential artists, Hikaru Utada’s Science Fiction tour was a celebration of a 25-year career spanning multiple genres, all interpreted through her distinct creative lens. The production’s lighting approach was designed to amplify the experience without overwhelming it. “The goal of lighting was to always try to enhance but not overpower,” Jeremy emphasised. “We had this gorgeous landscape and content for this show, so for light to be reinforcing those choices was a decision we made collectively.” This collaborative synergy with video designer Jackson Gallagher ensured that lighting, video, and scenography functioned as a singular, unified storytelling medium.

The success of the tour’s visual design is a testament to the deep creative chemistry between JAW Studio and F9. Their partnership was so fruitful that they have since launched loudbox, a new live entertainment design collective aimed at redefining the intersection of concerts, theatre, and architecture through innovative creative direction, production, lighting, and video design.

The tour’s lighting team included lighting programmer Erin Anderson and associate designers Sydney Asselin and Alex Talbot, while F9’s project manager was Rob Kuhn. Kyoritz’s head of lighting, Tomokazu Takahashi, along with lighting interpreter Michiko Rowson, played key roles in ensuring the seamless execution of the lighting design.

Through meticulous design, a bold creative vision, and the strategic deployment of cutting-edge lighting technology, Hikaru Utada’s 2024 tour set a new benchmark for J-Pop live productions, proving that immersive storytelling and evocative scenography remain at the heart of transformative concert experiences.