Drake has hundreds of luminescent globes to keep him company. Roughly the size of the large balloons that Bill Clinton lobbed around during the DNC, they descend on wires above arena’s floor during Hotline Bling, bobbing up and down as Drake does his meme-friendly dad dancing. Later, they undulate like waves, form symbols (a 6 and a question mark), and glow like a canopy of stars.” (Review by Mike Doherty in The Gardian)
Whoever designed that shit deserves an award – it was on par and more extraordinary in spots than Beyoncé’s mind-blowing Formation World Tour setup or anything Kanye has ever done. Drake deserves equal creds for surrounding himself with such first-rate conceptualizers…” (Live Review: Drake and Future’s Summer Sixteen Tour Launch in Austin by David Hall, Consequence of Sound)
Best use of vertical space I’ve ever seen at a concert. Truly spectacular. Over a hundred of those balls shifting colors while they floated up and down, at some points hovering just five feet or so over the crowd transformed one of the least aesthetically appealing music venues in the city into a fantastical dreamscape. Who knew that spheres could do so many things? First they were undulating pink bubblegum, then they were blue ocean waves and then they were a golden prom stage… (ByDeborah Sengupta Stith and Eric WebbAustin360)
The already visually spectacular set was even more impressive during the second half of the show. Drake rose up from underneath the stage again and the hundreds of white balloons that had been hanging from the ceiling lit up in pink as the music for “Hotline Bling” began. He performed the song through a heady combination of light fog and the pink light up balloons undulating up and down from the ceiling at random, occasionally pulling out some of his famous dance movies from the song’s music video.” (Review in the Billboard)
Hanging from the ceiling were a few hundred spherical bulbs that suggested a fertile garden. Throughout the second half of the show, they became part of the storytelling: Sometimes they dropped at random intervals and to different lengths; sometimes they rose and fell in oceanic rhythm, suggesting waves or sine curves; sometimes a few dropped in a pattern, forming a “6” or a “?.” (Read Review in The New York Times)
The headliner’s set was smartly divided into distinct sections that utilized creative stage design – the hundreds of suspended, illuminated globes that descended over the audience at the start of “Hotline Bling” to form shape-shifting three-dimensional constellations are a sight to be seen – to keep the energy constant and the audience wondering what would come next. (Review by Chad Swiatecki in the RollingStone)
Austin, TX. Summer Sixteen Tour. Design and Production by GP-SK Guy Pavelo and Steve Kidd. “This is the largest event we’ve had at the Frank Erwin Center from a size and production standpoint.” ( Read Review in Forbes)
Guy Pavelo fromGPSK Design was the Lighting Designer for The 2016 Texas Film Awards, in creative partnership with Blue House Designs, and presented by H-E-B, the annual Austin-based celebration of film.
Each year, the Texas Film Awards brings together legends of cinema and television for an unforgettable evening of festivities inducting industry icons into the Texas Film Hall of Fame. The event features glamorous red carpet arrivals of the evening’s honorees, presenters and other special guests, followed by a spectacular catered awards ceremony, music, and a lively auction.
FUTURE started “The Purple Reign” 2016 Tour. Creative design, including lighting, video, lasers, and production setup by Guy Pavelo and Steve Kidd of GP-SK Design.
Drake has hundreds of luminescent globes to keep him company. Roughly the size of the large balloons that Bill Clinton lobbed around during the DNC, they descend on wires above arena’s floor during Hotline Bling, bobbing up and down as Drake does his meme-friendly dad dancing. Later, they undulate like waves, form symbols (a 6 and a question mark), and glow like a canopy of stars.” (Review by Mike Doherty in The Gardian)
Whoever designed that shit deserves an award – it was on par and more extraordinary in spots than Beyoncé’s mind-blowing Formation World Tour setup or anything Kanye has ever done. Drake deserves equal creds for surrounding himself with such first-rate conceptualizers…” (Live Review: Drake and Future’s Summer Sixteen Tour Launch in Austin by David Hall, Consequence of Sound)
Best use of vertical space I’ve ever seen at a concert. Truly spectacular. Over a hundred of those balls shifting colors while they floated up and down, at some points hovering just five feet or so over the crowd transformed one of the least aesthetically appealing music venues in the city into a fantastical dreamscape. Who knew that spheres could do so many things? First they were undulating pink bubblegum, then they were blue ocean waves and then they were a golden prom stage… (By Deborah Sengupta Stith and Eric Webb Austin360)
Hanging from the ceiling were a few hundred spherical bulbs that suggested a fertile garden. Throughout the second half of the show, they became part of the storytelling: Sometimes they dropped at random intervals and to different lengths; sometimes they rose and fell in oceanic rhythm, suggesting waves or sine curves; sometimes a few dropped in a pattern, forming a “6” or a “?.” (Read Review in The New York Times)
The headliner’s set was smartly divided into distinct sections that utilized creative stage design – the hundreds of suspended, illuminated globes that descended over the audience at the start of “Hotline Bling” to form shape-shifting three-dimensional constellations are a sight to be seen – to keep the energy constant and the audience wondering what would come next. (Review by Chad Swiatecki in the RollingStone)
