AUSTRALIA: Lighting designer Paul ‘Pauly’ Owen has been touring this year with the Avolites D7-215 lighting console, delivering a visually explosive show for Australian hip hop icons Hilltop Hoods on their global touring cycle. Known for pushing the boundaries of freestyle concert lighting, Owen has crafted an eye-catching visual environment that evolves in real time alongside the group’s rhythm-driven live performances.

Regarded as one of Australia’s most influential hip hop acts, Hilltop Hoods have spent decades shaping a distinctive live identity that blends narrative lyricism with powerful stage production. And Owen has been working with the group for nearly 20 years, developing a freestyle lighting methodology closely tied to the band’s musical pacing and stage energy. His approach merges influences from multiple lighting disciplines — from theatrical finesse to the raw intensity of rock ‘n’ roll — creating striking visual moments tailored to the attitude and storytelling style of hip hop performance. The technique has earned him the industry nickname “The Hip Hop Lighting Guy”.

The current touring cycle follows the release of the group’s Fall from the Light album and began with festival appearances across Australia and New Zealand before expanding into a European run. The production has since scaled up to arena performances across the ANZ region.

Owen first deployed the D7 console during the Australian leg of the tour, where lighting equipment was supplied by rental company Harry the Hirer. The European leg utilised an Avolites T3 system before the production returned to the D7 for the latest Australian shows.

Having used Avolites control platforms since the early 1990s, Owen cites the brand’s renowned ‘buskability’ as a key factor in his long-standing loyalty. His operating style with Hilltop Hoods relies heavily on improvisation, responding to the energy of both the band and the audience while maintaining the precision normally associated with tightly timecoded shows.

The Hilltop Hoods tour also marks Owen’s first full touring cycle using the D7 platform, although he previously worked with an Avolites D9 console during the 2023 “Red Hot Summer” tour by Jimmy Barnes of Cold Chisel fame — another regular collaborator.

Portability has proven particularly valuable during the Australian leg of the tour, where large geographical distances often require frequent flights between major cities. The compact nature of the D7 console makes it well suited to these logistical realities.

Among the features Owen uses most heavily is the console’s Key Frame Shapes generator, which enables the creation of real-time lighting effects during live operation. Much of the Hilltop Hoods lighting design relies on pixel-based fixtures, allowing Owen to map effects across the rig and generate dynamic patterns that appear simultaneously edgy and visually refined. “Using the D7 and a bit of lateral thinking, you can effectively animate a look without having to use a media server,” he explained.

Owen describes the console’s programming architecture as both straightforward and cleverly designed, allowing lighting rigs to be configured rapidly when arriving at new venues. “You can get a rig working via the console in about 20 minutes which is pretty cool,” he states, adding that he approaches lighting design primarily from a visual perspective rather than a technical one. “The console is the translator between what’s in my head to how the lights will look onstage, and I have found out of all the options that Avolites generally is the best translator for me … hands down!”

This reliability is a key reason he continues to specify the brand for many of the larger productions he works on. “Avo consoles are designed from an LD’s perspective,” he observes. “The company are lighting people as well as developers, they know their industry and have a feel for the tasks and challenges for which the products are being used. That’s resulted in a very efficient, logical and powerful workflow.”

A typical Hilltop Hoods festival lighting package features front and back trusses carrying around 60 fixtures — including spots, washes, stripes and blinders — supplemented by a floor package comprising five rolling dollies. Each dolly is equipped with five Vanish LED panels, 20 MagicBlades and 50 LED Moles, topped with Cobras, alongside additional Mole units positioned around the stage. MAC Aura XBs provide low-level side wash lighting from stands, while Klus LED strips are used for signage elements.

The forthcoming arena leg of the Fall from the Light tour will significantly expand the rig, incorporating approximately 260 to 270 lighting fixtures alongside special effects and video elements, including ROBE iFORTES.

Owen’s operating style remains deliberately raw, rhythmic and flexible, responding directly to the intensity of the music and audience reaction. He often describes the visual energy of the show as “a punch in the face” — deliberately confrontational but crafted with precision and intent.

Rather than relying heavily on timecode, Owen programmes a broad palette of looks and then performs the lighting show live from front of house, working the faders and controls in real time to deliver a unique visual experience at every performance.