Erica D. Hayes and Zach Berget: The Art of Tailoring a Show
Live from the Live Design International (LDI) Conference in Las Vegas, this episode features lighting designer Erica D. Hayes and show director Zach Berget of Wasted Potential. Host Ethan Steimel leads a deep dive into the creative, technical, and financial processes behind designing live music shows—covering everything from artist vision and budgeting to workflow, production tools, and managing last-minute changes on tour. Below is an insight into some of the topics covered in this Podcast.
Where does the creative vision for a live music show typically come from?
Erica: It varies by client. Some artists or their creative directors come with fully formed visions. Others give me a budget and complete freedom to develop a concept based on the touring logistics—whether it’s a van tour or a multi-truck setup. Understanding venue tech specs and transportation constraints is essential to tailoring the vision.
Zach: It’s different for every project. Sometimes the artist provides visuals or even just emotional cues. My job is often to translate those feelings into visual elements. It’s critical to ask the right questions upfront to ensure the project starts in the right direction. Our company, Wasted Potential, handles everything from design to labor and production staffing.
How do you get hired for these types of shows?
Zach: Most gigs come through our network—record labels, agencies, and previous clients. In the early days, we made a lot of pitches. Now, established trust helps reduce that. But if we’re targeting a new artist, we still cold pitch when necessary.
Erica: I’m very direct. I’ll ask artists or production managers if I can join a tour. Many gigs come while working another job—tour managers and PMs I trust often bring me into new opportunities. I’ve also been invited to bid on projects through creative teams or by putting together a design proposal within budget constraints.
What’s the workflow like after landing the gig?
Zach: First, we align on the creative direction, usually using a mood board. We then build a concept deck showing set pieces and visuals, followed by a production design phase. If approved, we create a show direction deck with song-by-song breakdowns, including lighting, video, lasers, and choreography cues. Communication is key—every department must understand staging, blocking, and effects.
Erica: I begin with drafting the rig in Vectorworks and exporting to Lightwright and GrandMA3 for previs. Pre-production time is crucial, but rehearsal time varies widely—some artists skip rehearsals entirely. I also create lighting tech riders customized to venue capabilities, whether we travel with gear or rely on house systems. Previs helps streamline limited tech time in real venues.
How do you balance artistic vision with limited budgets?
Zach: Budget is always a constraint, even on big shows. For Coachella, we had $200,000 to cover everything from labor to trucking. We did full previs in a PRG space, running visuals on a single screen. It worked because we prioritized the design, but compromises were made elsewhere. It’s all about knowing what’s most important to the show.
Erica: I’ve done entire visual revamps for $2,500. For the Isley Brothers’ Vegas residency, they wanted custom visuals for dozens of songs. We had to narrow it down to the most important ones. The smaller the budget, the higher the expectations sometimes. Clear communication and managing those expectations are essential, especially with legacy artists.
What happens when an artist changes their mind mid-tour?
Zach: We always define the number of revisions in our initial proposal. If an artist wants major changes mid-tour, we flag it as out of scope and discuss additional costs. Paper trails—emails, meeting notes—are critical. If there’s no budget to support changes, we have to negotiate next steps or stick to what was originally approved.
Erica: It happens. I’ve had artists reject visuals they previously selected. If it’s not resolved within the scope or the artist won’t invest more, we sometimes scrap the content. It’s especially tricky when the artist is also their own manager, like with Anita Baker. Having a professional buffer like a tour or production manager helps immensely.
Key Takeaways from the Episode
- Previs & Tech Details
Erica uses Vectorworks + MA3 for previs, programming offline in hotel rooms or studio spaces to minimize onsite time. - Cross-Industry Skills
Both guests encourage theater students to cross into concerts and corporate AV for more financial stability and creative diversity. - Cold Pitching Advice
Find a connection—tour manager, agency, or even a mutual contact. If cold pitching, make your design highly customized and impactful. - Console Talk
GrandMA is the industry standard, but some still use Hog or Avalights. Knowing multiple systems is ideal, especially for festival circuit work. - Vendor & Crew Relations
Having a trusted vendor and crew—especially those who understand diverse leadership—is essential. Safety and respect are top priorities on show sites.
Listen to this Episode on:
Website / Spotify / Apple Podcasts / YouTube
This episode of the Artistic Finance podcast is hosted by Ethan Steimel.
Editor's Note: At StageLync, an international platform for the performing arts, we celebrate the diversity of our writers' backgrounds. We recognize and support their choice to use either American or British English in their articles, respecting their individual preferences and origins. This policy allows us to embrace a wide range of linguistic expressions, enriching our content and reflecting the global nature of our community.
🎧 Join us on the StageLync Podcast for inspiring stories from the world of performing arts! Tune in to hear from the creative minds who bring magic to life, both onstage and behind the scenes. 🎙️ 👉 Listen now!
