Blankenberge, Belgium - Pop group K3’s winning song at VRT networks Zomerhit 2026, “De zomer van Oya Lélé" has an evocative line that goes “Take me back one more time, to that sizzling hot summer of Oya Lélé.” Of course, no one can go back to summer, but those who recall this event (or watch videos of it) can indeed go back to this sun-drenched time in their hearts, not only through its music, but also because of the beautiful lighting and set design by Michiel Milbou and his team at Never Fear Shadows.
Set in a half disk stage, evoking images of a summer sun, the design’s warm, welcoming look embodied the spirit of the season. “For Zomerhit, the lighting needed to support the summer identity of the show from the very first glance,” said Milbou. “Because this was a televised summer music program, I wanted the design to feel warm, open, festive and instantly recognizable, both for the live audience and on camera.
“A central part of that vision was to create a strong visual element at the back of the stage that suggested a setting sun,” he continued. “That image immediately connected with the atmosphere of summer and gave the show a clear visual signature. From there, the lighting had to do more than just illuminate the artists — it also had to help shape the stage picture, add depth for television, and give every performance its own energy and character.”
In addition to creating engaging imagery, the lighting design also had to have the flexibility needed to reflect the stage personas and music styles of the wide range of artists who appeared on stage, while still projecting a single unified look. Also, because the event was televised, the lighting had to translate well on camera.
“A look can feel powerful in the venue, but it also has to read clearly and attractively from different camera angles,” noted Milbou. “We were constantly looking for ways to create bold stage images without losing clarity or making the picture feel too busy.”
Helping Milbou and the Never Fear Shadows team achieve these goals was a collection of 122 CHAUVET Professional COLORado PXL Curve 1 arrayable batten fixtures, which, like his entire rig, were supplied by Splendit. Positioned on the large half disc structure at the back of the stage, the compact quad color fixtures played wide variety roles during Zomerhit.
“They were much more than just lighting fixtures — they became a scenic and graphic element within the overall stage design,” said Milbou. “This helped us solve an important visual challenge: creating a strong and iconic backdrop that was recognizable at all times, while still being flexible enough to evolve throughout the show.
“The ‘sun’ shape gave us a clear visual anchor, but because the PXL Curve 1 is so versatile, that same structure could constantly change in color, intensity and movement to suit each performance,” continued Milbou. “This meant that the backdrop was never static -- depending on the song, it could feel warm and atmospheric, bold and energetic, or highly dynamic, while always preserving the core visual identity of the set. What I liked most about the PXL Curve 1 was that it helped us combine lighting and scenography in one gesture. They gave us the freedom to keep changing that image throughout the program. For a music television show, that combination is extremely valuable.”
Although the PXL Curve 1 anchored the show, it was not the only CHAUVET Professional fixture in Milbou’s toolbox. His design also featured six COLORado Q15 battens, 33 Rogue Outcast 1 BeamWashes, six Color STRIKE Ms, two onAir Panel 1 IP units, and four Amhaze atmospheric effects.
Working in concert with one another, these fixtures helped Milbou achieve the desired results. “What I especially appreciated is that the design felt both iconic and flexible,” he said, reflecting on the design. “The overall image remained clear and coherent, but we were still able to create enough variation for the different artists and songs. For television, that balance is extremely important, and I think the PXL Curve 1 played a significant role in achieving it.”
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