French artist and music producer Michael Canitrot became the first DJ to perform in front of the Statue of Liberty in Upper New York Bay with Liberty Lights. Directed by Romain Pissenem (High Scream), the production used Robe luminaires to shape its visual concept.
This unique performance formed part of Michael Canitrot's touring Monumental concept and also marked the 250th anniversary of American independence, as well as the 140th anniversary of France's gift of the Statue of Liberty to the United States, commemorating the centenary of the abolition of slavery.
The specially composed 15-minute musical performance—also broadcast by ABC—was accompanied by a spectacular lighting and laser mapping show designed and produced by High Scream under the direction of Romain Pissenem, working closely with the artist and the Monumental creative team.
Romain and Michael Canitrot had long wanted to collaborate, and this project brought together their creative talents. Liberty Lights was staged at the invitation of the Consulate General of France in New York.
The lighting design and direction were led by Ian Tomlinson of High Scream, using Robe luminaires—including 12 iBOLTs, 30 MegaPointes and four iSpiiderXs—along with additional fixtures to define the show's visual identity.
Monumental productions are conceived specifically for each location, transforming sites of architectural, historical or cultural significance into immersive performance environments, making every production unique.
In this case, the challenge was even greater due to the iconic nature of the monument, the innovative concept of combining it with multimedia art, and the spectacular backdrop provided by the Manhattan skyline.
Additional lighting equipment was supplied locally by PRG, while the Robe luminaires were provided by Robe North America with support from Robe France. Because of the highly detailed laser mapping—designed by Jérémie Bellot and François Deretz—the lighting design had to be both precise and meticulously planned.
"We needed elegance, simplicity and impact in equal measure", explains Romain, who developed the lighting concept together with Michael before Ian Tomlinson implemented and coordinated it on site.
Ian notes that the Robe luminaires provided "bright, flexible and reliable" light sources, enabling the team to achieve all the required effects. They also played a key role in lighting the 20 dancers performing around the stepped platform at the base of the Statue for the film crew. According to Ian, "maintaining the integrity and dignity of the Statue at all times" was a top priority, as was ensuring it remained the central visual element accompanying Michael's performance.
The greatest challenge for the lighting designer was the fixture placement. As the Statue of Liberty is a protected monument, there were strict restrictions on where equipment could be installed. However, the monument's own architecture ultimately became an advantage. "The different levels of the pedestal almost naturally suggested the best positions for the lighting fixtures", Ian explains.
Logistics also presented a major challenge. All equipment had to be transported to the island by ferry and, since the monument remained open to visitors during the day, the technical crew could only access certain areas at specific times during the installation. Once the system was in place, the production included a VIP performance followed by two days of filming.
The 12 iBOLTs were arranged in two rows of six on either side of the Statue at the middle level of the pedestal. Their primary role was to create powerful vertical beams that framed and defined the monument. The 30 MegaPointes were installed both on the upper tier of the pedestal, closest to the Statue, and on the lowest tier, furthest away. The combination of these positions—alternated with other light sources—provided excellent depth for both the visual effects and the cameras. Ian also highlights the "natural synergy" between the historic architecture and the contemporary production, which enhanced the atmosphere of the event. The four iSpiiderX fixtures served as the key lights for Michael Canitrot from the corners of his DJ booth, positioned in front of the Statue on the highest platform. All luminaires were strategically rigged to project lighting and effects directly onto and around the Statue, complementing the intricate laser mapping.
The principal creative challenge was working with the sheer scale and presence of the Statue of Liberty, a monument that dominates the entire site. It had to be treated with respect while simultaneously being transformed into a striking, temporary work of contemporary art.
 |
 |
The outstanding coordination, planning and innovation demonstrated by the production teams—including the film and broadcast crews—together with the energy of the project and the historic significance of the occasion, made Liberty Lights a remarkable event. The cinematic production was coordinated by OS Studios and directed by Remco Evers.
Robe has supported Michael Canitrot's artistic projects for several years, with its luminaires featured in other Monumental productions, including those staged at Mont-Saint-Michel and the Eiffel Tower. The brand also participated in the first edition of the project, held at the iconic Phare des Baleines lighthouse on the Île de Ré, off France's west coast near La Rochelle. Conceived during the pandemic, the original digital performance aimed to bring people, music and visual art together through a shared experience.
Photos: Geoffrey Hubbel (show) and Peter Moore (setup)
