In the world of live music, there are artists in front of the lights, and there are artists behind them. Taylor Haynes is a freelance lighting designer and director whose office is anywhere major gigs can take place from arenas in Tokyo and hotel rooms in New York to festivals and fields (and everywhere in between).
Haynes is the mind behind the visual spectacle for some of the biggest names in music, his kit is carefully curated to maximize his way of working, productivity and output. Every detail matters for someone like him, which is why we were so excited to sit down with him and learn about his approach to working anywhere (and with espresso Displays).
“Everything you see at a show, from the lights to the visual experience, is something someone like me has designed or directed,” Taylor says.
"The artist normally looks after the music and then we come in and design and programme their visual elements of their show to match their branding and how they want to perceive themselves," he added.
Who is Taylor Haynes?
- Freelance lighting designer and director
- Former tour manager and production lead turned visual storyteller
- Based between the U.S. and New Zealand, but operates globally
- Worked with artists including Skrillex and Fourtet, Lil Baby, Spice Girls, Bakar, Wilkinson, Omar Apollo, Crystal Fighters, and (many) more
- Currently designing arena-level tours, festivals, and international stage shows
“I started out running a small production company in New Zealand. Over time, I moved into artist liaison, tour management, and then locked into lighting full-time. It’s where I’m happiest,” Taylor says.
His Role in the Show
- Concepting: Collaborating with artist teams and management to visualise the look and feel of the show
- Stage & lighting design: Creating stage layouts and lighting blueprints in Vectorworks and Capture
- Programming: Time-coding light sequences using Ableton Live, and building out cue stacks in grandMA3 software
- On-site setup: Finalising automation and adjustments during rehearsals, then running the show in real time
- Multi-show workflows: Often programming one artist’s tour while actively touring with another
“Right now I’m touring with one artist and programming for another artist upcoming European tour. I do both at the same time thanks to my portable rig.”
The Tools of the Trade
To pull all this off, Taylor travels with a modular setup that lets him work at the hotel, in a rehearsal studio, or at a sold-out arena: "I've used so many different pieces of equipment and trialling different things, building racks... building stuff that I would have to put on a truck."
Mobile Programming Kit:
- 2x laptops – MacBook and PC (for flexibility across software)
- grandMA wing (portable lighting control console)
- 2-4x espresso Displays – mounted above MA wing to mimic an MA Light but is still flyable
- 3 Wing Pelican case – packed to exactly 50 lbs for air travel limits
“The espresso Displays and wing fit perfectly in the Pelican case. I can fly with it, set up anywhere, and start programming immediately.”
Arena Show Console - touchscreens galore:
- grandMA full-size console (5 built-in touchscreens)
- 2x espresso Displays – added for specific performance needs:
- 1x portable monitor runs NDI feeds from follow-spot operators
- 1x portable monitor shows and edits the main cue stack in real time
Why the Right Tools Are Essential
"For me, I just test... I test as much as I can. If it can save you time, it's worth a lot. If something saves you time or makes life easier for you... whatever the cost of the product is irrelevant if it makes a big difference to time."
Taylor’s approach is obsessively refined and unapologetically pragmatic. The goal is to build a workflow that optimizes time, output and a level of precision that very few can achieve.
espresso Displays earned their place in his kit by delivering where others failed:
- Multi-touch precision – essential for editing macros and cue stacks
- Magnetic stand – elevates the display off the desk to integrate with his console layout
- Lightweight and durable – small enough for backpacks, sturdy enough for the road
- No input lag – required for live show control in high-pressure settings
“I broke one display on a flight and instantly felt the impact. My productivity dropped. I’m now buying three - two to use, one as backup.”
Always On the Move
Taylor’s current tour will take him through Australia, New Zealand, Abu Dhabi, and Tokyo before the end of the year. Along the way, he’s continuing to build and deliver high-concept, high-performance shows, often from his hotel room.
At a Glance: Taylor’s Gear Stack
- MacBook & Gaming PC: Dual platforms for cross-software needs
- grandMA3 Wing Console: Compact lighting control for programming anywhere
- espresso Displays (2-4): Touchscreen extension for cue stacks, NDI feeds, macros
- grandMA3 Full Console: Arena-grade lighting board for live shows
- Ableton Live: Time-coded light and automation sync
- Vectorworks / Capture: 3D visualisation and set design
- Pelican Travel Case: Custom-packed to 50 lbs, fits all mobile gear
Taylor represents the elite tier of live event production: where art, creativity and grit meet technical precision. Nothing is left to chance. In a world where milliseconds matter, tech products have to earn their place as part of a system that creates epic moments.
“It’s a small product, but in our world, it makes a big difference.”
.png)
.png)
