Light a band for any length of time, and some of their songs are bound to stand out as your favorites. For Yellowcard’s designer Cody James that top tune is “Holly Wood Died.” The song was released in 2006, six years before James hooked up with the Billboard Award winning rock icons. It is raw and powerful, with hard-driving guitar riffs and steady percussive undertones that ultimately erupt in an explosion of sound, exactly the sort of music that fits James’ well known and highly-regarded lighting style.

There’s  more than artistic compatibility, however, behind the success of James’ 11-year-long relationship with the band. From his very first day working with Yellowcard, the Rhode Island-based designer says he was made to feel like family. It’s a feeling that has grown over the years, even when the band has taken some hiatuses, only to come back more intense than ever.

This is also a family that collaborates together. James notes that every band member is involved in developing the looks of the show. He says that working for Yellowcard has influenced his development as a lighting designer, just as his work has shaped the band’s stage presence. In the end both are stronger for it, as James recounts in this interview.

Yellowcard has taken some extended breaks or hiatuses since you hooked up with them. Do they come back from these periods more energized, such as on this tour?
“There is a definite energy surrounding this tour. The guys are on fire and these are the biggest shows in the band’s history. And no one is taking them for granted.

The band also has an extensive catalog. So, are there songs you enjoy lighting most?
“We are actually playing my favorite YC song on this tour, Holly Wood Died. When I first started working for the band it was in the rotation of songs, but over the years it got taken out. So personally, I’m excited that one is back.”

Are there Yellowcard songs that you find most challenging to light?
“Yes, one thousand percent! After the past seven years of being with Killswitch Engage while the YC guys were not together. The acoustic songs posed a certain challenge it had been a while since I had to slow a show down.”

Why do you think you’ve meshed so well with this band?
“Honestly, and it probably sounds cliché, but it just felt like home from the first day I showed up in 2012 in Vegas. Now, years later,  having come back with the band after their break, it still just feels like home.”

What does your lighting have in common with Yellowcard’s music?
“I think I found a way to light these guys early on that never took away from their natural talent  as musicians. It all has always kind of just worked together into a very organic live show.”

How involved does the band get in lighting?
“This is a full team effort everyone is involved and everyone has a say. We do full run- throughs before a tour starts, and all the guys get to add their touches. It’s a lot of fun; and I enjoy the process we have.”

Of all the Yellowcard shows you’ve done, does one stand out as most memorable?
“The band would tell you it’s the Starland Ballroom in NJ show from what was then the final tour. But personally, I would have to say mine is Marqaret court arena in Melbourne. It was the first time I had ever got to do a YC show in an arena and I got to have my dream lighting package for the day. It will always hold a place for me.”

You’ve designed for a lot of bands, how do the fans at Yellowcard shows compare?
“The YC fans are on a different level, especially now on this run there’s parts of the show you can’t even hear the PA anymore. It’s been really unbelievable to watch the reaction every night from the second intro rolls ‘til 90 minutes later when the final YC logo hits the screen.”

How has working for Yellowcard changed you as a designer?
“I think if you really look at my work from home over the past few years you can see the strong influence YC had on most of my designs. From my color choices to how I build my looks, it all has a touch of these guys in it. The years I spent with YC early on really formed me as a designer so I think it’s only right there’s small nods to them in most of my other work.”