Lighting designer Marcus Jessup is deploying a large-scale Elation Professional lighting system with more than 500 fixtures for Puerto Rican superstar Bad Bunny’s Debí Tirar Más Fotos World Tour.
The global stadium tour, which kicked off on November 21 in the Dominican Republic, travels across Latin America, Mexico, South America, Oceania, and Europe through July 2026.
Jessup states that IP-rated fixtures were essential, as all shows take place outdoors in exposed positions.
In total, more than 1,100 devices are being used, supplied by 4Wall Entertainment, including over 500 Elation IP-rated fixtures: 259 PROTEUS RAYZOR BLADE, 93 SŌL IV BLINDER, 100 DTW BLINDER, and 64 of the brand’s award-winning PARAGON S moving heads.
Founder of the multidisciplinary design collective Moving Through Space, Jessup has collaborated with artists such as Bryson Tiller, Diplo, Machine Gun Kelly, and Kendrick Lamar, and in recent years has focused on the Latin market, working alongside creative studio STURDY.co on projects for Rauw Alejandro, Peso Pluma, Quevedo, and now Bad Bunny.
The tour, in support of his album Debí Tirar Más Fotos —winner of the 2026 Grammy Award for Album of the Year— spans 57 shows and has seen overwhelming demand, breaking records at multiple venues. Bad Bunny’s recent Super Bowl halftime performance has further boosted the tour’s success.
Storytelling at scale
Bad Bunny places great importance on aesthetics, and the show, designed by STURDY.co, blends intimacy and spectacle, shifting between personal, emotional moments and high-impact stadium-scale experiences. By integrating visual storytelling with musical flow, the production places Puerto Rican culture at the heart of the performance.
The creative concept behind the design was inspired by the emotional storytelling and visual world surrounding 'Debí Tirar Más Fotos'. The intention was to create a cinematic and immersive show without losing the intimacy of the music. The concept focused on atmosphere and transformation. Together with associate designer Eliot Jessep, I aimed to build a world capable of seamlessly shifting between vulnerability and intensity, explains Jessup.
From concept to gear selection
The designer has been working with Bad Bunny over the past year and was responsible for the design of the No Me Quiero Ir de Aquí residency in San Juan last year, which sold out 30 nights and became a cultural phenomenon. “Coming in after previous designer Es Devlin was a personal honor”, he states. “I’ve always admired her work”.
Jessup began the initial design for Debí Tirar Más Fotos in fall 2024, more than a year before opening night. Prior to the tour, Elation invited him to its Los Angeles headquarters to get hands-on experience with some of its latest products.
“I’ve been very impressed seeing their progress over the years”, he shares. “I spent quite a bit of time in the showroom, which helped me decide on different design options. Elation has the largest presence of fixtures on this rig, and I’m very happy with my decisions”.
Atmosphere and emotion
Jessup’s approach to atmosphere and emotion combines technical mastery with storytelling, creating key moments that reinforce the narrative and translate effectively across large outdoor environments. With Debí Tirar Más Fotos, he delivers a lighting design that demonstrates how, even at stadium scale, atmosphere and emotion can remain central elements.
A key component of the design is more than 250 PROTEUS RAYZOR BLADE L linear fixtures, which run along the top and bottom of the main video wall and wrap around the stage perimeter, delivering visual dynamism and the output needed to compete in a stadium environment. These one-meter LED bars output up to 12,500 lumens and function as wash, strobe, FX, blinder, and audience lighting. Their dual strobe lines are bright, and their 210° tilt rotation allows for dynamic positioning throughout the show.
“I used them to wrap the entire stage”, explains Jessup. “They not only brought the stage to life but also lit the bleachers, including VIP areas located on stage”.
With the VIP section integrated into the stage and high-profile guests appearing throughout the run, managing sightlines was critical—something the designer describes as “a fun design challenge”.
Blinders as visual accents in the show
Positioned in a line above the main video wall, the 93 SŌL IV BLINDER fixtures complement the tour’s diverse color palettes and provide powerful visual accents.
They are by far my favorite blinder on the market. My favorite feature of the Elation fixtures used is the RGBLAW LED array in the SŌL IV. You rarely see this type of blinder in the field, so it was interesting to try something different, says Jessup, who adds that he would have liked to use them across the entire rig.
Straight lines became a key visual language within the design. “I really enjoyed working with this visual approach”, he explains. “The combination of RAYZOR BLADE L and SŌL IV allowed us to create very defined and visually clean delay effects”.
Delay towers
Audience lighting is also a key part of the design. Jessup chose to place 64 PARAGON S fixtures on four delay towers—16 per tower—dedicated to lighting the audience and making them feel part of the show.
The PARAGON combines multiple fixture roles in a single design, with a versatile system based on a variable CRI engine and interchangeable profile, Fresnel, and PC Beam lenses. “The PARAGON S Fresnel lens proved very effective”, says Jessup. “It was a great feature, and we decided to keep it throughout the tour”.
Also mounted on the delay towers, the 100 DTW BLINDER fixtures provide a classic stadium aesthetic. “Their role was to give the rig that typical stadium lighting feel, like in 'Friday Night Lights'”, he explains. “I would have liked to use SŌL IV throughout for consistency, but I’m happy with the DTWs”.
Jessup concludes by reflecting on the tour and the collaboration that made his design possible: This tour will be one for the books. I’m grateful for the opportunity to work with such innovative equipment and would like to thank John Dunn and the Elation team for making it possible.
Crew
- Creative Director: JanAnthony Oliveras
- Show Design & Creative: STURDY
- Show Director & Stage Design: Adrian Martinez
- Stage Design: Skylar Elis
- Lighting Designer: Marcus Jessup
- Co-Associate Lighting Designer: Eliot Jessep
- Lighting Director: Krizia Liz Velez Cruz
- Lighting Programmer: Louis Choisy
- Lighting Programmer: Kevin Labitan
- 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
- Production Manager: Rolando Figueroa
- Electricians: Marcelo Jose Rudoni, Jeremy Mckee
- Lead Riggers: Ruben Acosta, Joseph Ramirez
- Delay Rigger: Cristian Adrian Galeano
Photos courtesy of Moving Through Space
