Vasco Rossi is one of Italy’s most iconic live artists. The singer-songwriter has sold more than 35 million records, and his stadium shows rank among the country’s largest live productions.
His 2026 tour visited multiple stadiums from north to south across Italy, including two special productions at the Romeo Neri Stadium in the Rimini area, each of which required a full month of preparation.
The tour production featured more than 700 lighting fixtures in total, over 300 of them from GLP, spread across a stage designed to fill Italian football stadiums night after night.
At the heart of the GLP system was a four-fixture concept developed by lighting designer Giovanni Pinna: TWYN, JDC Burst 1, Creos and impression X5 IP Maxx. These four products were selected to operate as a single, integrated system.
Giovanni Pinna has been Vasco Rossi’s lighting designer for more than 30 years and has extensive experience across all types of live productions. His portfolio ranges from concerts of this scale to fashion shows, architectural installations and international tours for artists including Bruce Springsteen, Prince and Frank Zappa.
The 2026 tour design reflects a philosophy Pinna has refined throughout his career: using the fewest possible fixture types to simplify programming, enhance the visual impact and provide greater flexibility under the time pressures of a major production.
Today, I use a maximum of two or three fixture types. It makes programming faster and easier, and I also believe the visual result is much better, he explains.
The GLP package — consisting of 40 TWYNs, 100 JDC Burst 1s, 40 Creos units and 136 impression X5 IP Maxx fixtures — was supplied by Lucidiscena, an Italian dry hire company founded in 1999 and led by CEO Pino Loconsole. For Lucidiscena, the Vasco Rossi tour represents a major milestone in the company’s expansion and marks a period of exponential growth. While continuing its long-standing work supplying equipment to opera houses and major theatre productions, the company now serves the Italian live concert and large-scale events market while increasingly providing dry hire services for major international productions.
TWYN is a dual-face moving head in which each side is designed to correspond directly with one of the other fixtures in Pinna’s system. One side reproduces the wash performance of the Creos, featuring a 3 x 3 RGBL LED array, motorised zoom from 4° to 53°, up to 4,060 lumens of output and colour reproduction calibrated through GLP’s iQ.Gamut system, the same colour engine used in the Creos and the X5 Series.
The opposite side of the TWYN reproduces the strobe and colour plate functions of the JDC Burst 1, with 36 white LEDs producing 22,800 lumens and 480 RGBW LEDs delivering 12,400 lumens. This structural symmetry was what first attracted Pinna’s attention. "When I saw the TWYN, what impressed me most was that it combined two different fixtures into a single unit", he says. "Placing the TWYN between the JDC Burst 1 and the Creos created a very strong connection".
The 100 JDC Burst 1 fixtures provided the impact layer throughout the stadiums. Each unit delivers 49,000 lumens from its strobe line and 33,800 lumens from its RGBW colour plate, together with a motorised 185° tilt and 1,200 RGBW LED pixels divided into 48 individually controllable segments.
I love the JDC Burst 1 for its power and features. Vasco Rossi is an artist with tremendous musical impact. The output of this fixture perfectly suits both the artist and a stadium environment. I have 100 JDC Burst 1 fixtures in my rig, comments Pinna.
The 40 Creos units, each producing 10,800 lumens from 18 x 40W RGBL LEDs with a zoom range of 4° to 50°, provided the wash and LED bar layer. Because all fixtures share the same pixel pitch, they can be grouped into seamless, homogeneous LED bars. This configuration proved highly effective in a stadium environment while still allowing each fixture to be programmed individually for dynamic effects.
The 136 impression X5 IP Maxx fixtures completed the system by providing a wash and beam layer capable of projecting light far beyond the stage and into the stands. During the show, the X5 IP Maxx delivered a level of illumination that extended the visual impact of the rig well beyond what the other three fixture families could achieve on their own. "They filled the stage with incredibly powerful wash beams", explains Lucidiscena CEO Pino Loconsole. "At certain moments they were even able to light up and colour the entire stadium and the audience, taking the final visual result to another level".
In practice, the TWYN acted as a dynamic multiplier within the system. "The TWYN is the link between the Creos and the JDC", explains Giovanni Pinna. "If I'm working with the Creos, I can bring in the TWYN using its LED side. If I'm working with the JDC Burst, I can use the TWYN as a JDC. It's a fantastic complement. Everything revolves around the connection between the two sides within the fixture group".
The result was a rig that could be programmed as one coherent system rather than as four independent fixture types. "By reducing the number of fixture families and using the TWYN to connect the Creos with the JDC Burst 1, I effectively double the number of one fixture type or the other depending on which side of the TWYN I'm using", says Pinna. "Everything is programmed much faster and the visual result is much more consistent. The connection between both sides makes the three fixtures work together as a single unified system".
Lucidiscena invested in TWYN units specifically to meet Pinna’s requirements for the tour, working closely with GLP’s Italian distributor, Alto Lighting, to ensure the fixtures were available in time for production. "I was already impressed by the TWYN's technology", says Loconsole. "When Giovanni requested them for the tour, we immediately started working with GLP to make it happen. The first units arrived just in time and, after seeing their performance on the tour, we are already expanding their presence in our inventory".
Across ten major stadium concerts, together with the extended productions in Rimini — almost two months including setup, rehearsals and live performances — the GLP fixtures performed without a single failure.
"The TWYN proved itself fully capable of meeting the demands of live touring, delivering an exceptional level of reliability", says Loconsole. "From a maintenance perspective, it is extremely straightforward. It is a compact, lightweight and powerful fixture. And thanks to its IP65 rating, it is completely sealed and exceptionally easy to clean". Its 16 kg weight and continuous 360° pan and tilt movement also made it easy to handle and redeploy throughout a tour of this scale.
The impact of the four-fixture concept became evident just weeks after the tour ended. Lucidiscena received a rental request for a major national television production that it was unable to fulfil because every available TWYN unit had already been committed to another show. "During the Vasco tour, we received a request for a major national TV production that, unfortunately, we couldn't support because all the units were already booked", recalls Loconsole.
For a fixture that had only just reached the market in time for its first major stadium tour, this represented immediate and unmistakable validation.
This year the stage was much brighter and more powerful than in previous editions. The TWYN turned out to be an extraordinary discovery and undoubtedly made a decisive contribution to the overall success of the production, concludes Loconsole.
Photo credit: Pino Loconsole
