About

I grew up in Bristol, Tennessee—a town that may not have had a mall, but definitely had megachurches. I found lighting through one of them when I was about fifteen.

I had always loved music, but singing or playing an instrument was never quite my calling. Lighting became the place where everything clicked: visual art, music, storytelling, and the challenge of turning an idea into something people could physically experience. It felt like painting what I heard.

Once I realized lighting could actually be a career, I packed up my life and moved to Las Vegas at nineteen with no real roadmap—just a determination to figure it out.

I started as a stagehand on the Las Vegas Strip with Human Nature Jukebox. From there, I learned every role I could get my hands on, eventually working across lighting, wardrobe, photography, company management, and tour management. I wanted to understand how the entire production worked, make myself useful, and keep growing. That experience shaped how I approach shows today: with curiosity, respect for every department, and a willingness to work my ass off.

Now, I work as a lighting designer and programmer specializing in live music and touring productions. My work has included projects with artists such as Ariana Grande, Halsey, Chappell Roan, Noah Cyrus, and Fitz and the Tantrums.

To me, programming is the process of creating a visual for what you hear. Design takes that idea even further—starting with the world of an artist, an album, or a song and helping turn it into a physical reality.

My work is deeply driven by emotion. Music has always had a powerful impact on my life, and I want the visuals to carry that same weight. Sometimes that means creating a quiet, intimate moment. Sometimes it means blasting an entire crowd with light at the exact point a song feels like an emotional cry. The goal is not simply to make lighting look impressive. It is to make it feel inseparable from the music.

I love live performance in all its forms because it gives people the chance to step outside of their everyday lives. For a little while, an audience can be completely immersed in another world. A child can look up at a flying stage and wonder how it is physically possible. A song can suddenly feel larger than it ever has before. Those moments are the reason I do this.

Outside of production, I draw inspiration from art, history, photography, architecture, and the natural world. I also grew up spending countless hours building houses and imaginary worlds in The Sims, which, in retrospect, may have been early training. Now I get to build those worlds in real spaces.

Ultimately, my goal is simple: to make unforgettable shows with good people. This industry can be intense, demanding, and occasionally held together by caffeine and blind optimism—but there is nothing better than looking at a finished production and thinking, Hell yeah. We made that.