Originally from Barcelona, creative director Alex Alvga has worked with multiple artists including David Kushner, Carrie Underwood, Mickey Guyton, and White Lies, and directed performances for the American Music Awards and MTV Music Video Awards.
Alvga spoke to Live Design about Kane Brown's High Road world tour.
Live Design: A creative director typically wears many hats. What does the job mean for you?
Alex Alvga: I’ve been working with Kane since 2017, and during that time, I’ve worn many hats—from live photography to music video director, producer, screens producer, and ultimately, show and creative director. My career has allowed me to learn and gain experience in almost every department necessary to put on a show. To me, being a creative director means deeply understanding your client's brand, knowing all the elements at your disposal, and maximizing them to create the biggest and best presentation for the artist. It’s about keeping the brand's identity front and center and ensuring everything feels cohesive—from the lead image to the music videos to the live show. My role is to weave all those elements together seamlessly to create an unforgettable experience.
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LD: What was the design philosophy/goals going into the project?
AA: With Kane, we’re always aiming to push boundaries, and every year, we strive to go further than the last. Kane is on his own unique path, which allows us to create a show that doesn’t have to follow conventional rules or boundaries. If it feels right and fits the brand, we make it happen. For this tour, our goal was to elevate the production to ensure the fans have the most immersive and impactful experience possible, transforming a typical concert into a full-scale show. We wanted the production to reach every seat in the arena, allowing fans to experience the same intensity of effects, lighting, and visuals, whether they’re in the front row or in the upper sections.
LD: How would you describe the stage design and the overall world you created for the tour? What was the look you were going for?
AA: We aimed for a minimalistic yet powerful design that was versatile enough to give each song a distinct look without repeating any lighting or automation effects. The design we settled on allowed us to achieve that goal perfectly, offering a unique and fresh experience for every moment of the show while keeping it cohesive throughout.
LD: How involved was Kane in the conceptualizing, design, or gear choices?
AA: Having worked with Kane for over seven years, there’s a strong trust in place. Kane trusts his team and the designers we bring on board for each tour. Chase [lighting designer Chase Hall] and I typically come up with 3 or 4 completely different designs, which we present to him. Kane chooses one, and we develop it from there. He’s involved throughout the process and always brings exciting ideas to the table, contributing to the creative direction in meaningful ways.
LD: How do you convey music through lights, video, and staging?
AA: Kane’s brand is truly unique, and he exists in a space where multiple genres coexist—from country anthems to pop and cross-genre hits. This diversity means that the stage design, lighting, and video must adapt and flow seamlessly between these different worlds. For example, in this tour, we open with a country rock song, then transition into an EDM track, and follow that up with one of his biggest country records before switching back to pop—all within the first 10 minutes of the show. Despite the mix of genres, the lighting, video, and staging work together to keep everything feeling cohesive and connected.
LD: What was the most difficult part of transitioning from smaller venues to arenas?
AA: The jump from small arenas in 2019 to NBA arenas in 2021, and then to stadiums in 2022, was a significant shift. It’s important to design a stage that works in every environment, whether it’s an arena, festival, amphitheater, or stadium. For this tour, the key was creating a production that could upscale easily while maintaining iconic elements that ensure every show feels connected. The automated LED pods, for instance, became a signature element that tied the entire design together across different venues.
LD: What were the challenges in the design process?
AA: One of the main challenges was the sheer amount of production we had, coupled with the limited setup time we had for each show. Since this tour doesn’t have pre-rigs, the number of points and production elements—like audience lighting—made it tricky to load everything in on the day of the show. Fortunately, the crew developed a solid workflow that allowed us to make it happen every night without a hitch.
LD: Did anything (budget, space restrictions, technical issues) affect your gear and/or design choices?
AA: Certainly, budget and space limitations always play a role in design decisions. We need to balance the creative vision with practical considerations like how much production we can fit into each venue and how quickly everything can be set up and broken down. These factors inevitably influence gear and design choices, but we always find ways to work around them while still delivering the best possible experience.
LD: What’s next up for you, Alex?
AA: We’re already working on 2025, and it’s an exciting new chapter for Kane. We’re planning to bring in elements from different genres in a way that’s rarely seen in the country music world, which will elevate Kane’s show to an entirely new level. I’m looking forward to pushing the boundaries even further and continuing to create unforgettable experiences for his fans.