Thinking on your feet and making quick adjustments is essential in any touring LD’s career. Just ask Jamie Fadden! The 2026 Parnelli Award Lighting Director of the Year stepped up fast when the opportunity came to be part of Rock ‘N Roll Hall of Famer Sammy Hagar’s crew. Thus began a great five-year ride, one that came to a happy conclusion earlier this year.
It all began in 2021. The Pittsburgh native was a lighting tech on the Red Rockers touring crew at the time. LD Matt Mills had to move on to a new endeavor mid-way through the tour, and Fadden was suggested as a replacement. Sure, she was eager to take the project. “When will I start?” she asked. “Right away!” Came the startling response.
A baptism of fire to be sure! With Mills looking over her shoulder and coaching her, she aced her first show. (Nothing like a gifted, experienced LD helping an up-and-coming talent!) “This is your show, now make it your own!” Mills told her.
This encouragement gave Fadden the confidence to embrace the challenge to the fullest, and shape Hagar’s show to reflect her own creative vision. Now, five fruitful years later, Fadden is turning over Hagar’s tour to Rachel Duka. “This is your show,” she’s advising the young LD, ‘now make it your own!”
How did the experience of working for Sammy compare to your experience before you started lighting him?
“Before touring with Sammy, most of my touring experience was in the pop punk world, small clubs, bus and trailer tours, and a little more DIY. I was doing a lot of the work myself, designing, programming, and teching. Some days I was unsure if I would even have stagehands, so sometimes I was loading in and striking the rig solo. It was very much a “figure it out and make it happen” environment.
“Stepping into the Sammy level of touring was a large shift. Up until that point, I wasn’t fully grasping the difference between a tour manager and a production manager. I didn’t realize a dedicated tech was an option for me, let alone having an entire crew. The structure was the biggest change for me. Load-ins started earlier, ran more efficiently, and suddenly, there were clear times for focusing and spot meetings. And for the first time, when I asked for something to be done a certain way, I had a crew to make it happen, and my voice carried weight in a way it hadn’t before. I had shifted from what felt like guerrilla-style shows to a true profession.”
How involved would Sammy get in lighting decisions?
“For the first several years working with Sammy, I honestly felt like I flew a bit under the radar. He didn’t give a ton of input on lighting, so I was able to just do my thing and make creative choices, with occasional notes from him.
“That really shifted in the design process for The Best Of All Worlds Tour. The show was built around his entire catalog, so as a result there was a much bigger creative conversation happening. I came in with a strong vision, but for the first time I had to present, defend, and refine those ideas, not just with Sammy, but with an entire team. It was intimidating at first, but pushed me creatively and made the final result stronger.
“One of the most memorable moments for me was when Sammy saw the rig in person for the first time. He stood up on the drum riser and took it all in and then proceeded to tell me that the design had exceeded his expectations. After all the pressure and exhaustion leading up to that moment, it completely hit me, and I found myself crying right in front of him. It’s a moment that will forever live with me.”
Did Sammy have any preferences regarding how you lit him? For example, no front light, no follow spots, etc.?
“Working with Sammy, I wouldn’t say he had a strict ‘NO’ policy. However, he gravitated toward lighting that felt dramatic and supported the emotion of the song. One of the biggest learning curves for me was calling follow spots, and this was my first time really doing it at that level.
‘A key request from him was making sure he was lit anytime he was speaking, which sounds simple enough but can be a challenge because he’s such a free spirit on stage. Sammy moves constantly and not always according to the setlist. I had to learn how to read him in real time and anticipate his moves. If he didn’t have a guitar on yet, or I saw the mic slowly coming up, I knew that meant he was about to start speaking, even if we were technically supposed to roll into the next song.
“There were also moments where he would voice to me specific looks that he liked. I remember one show where he told me that he “loved the police style lights” during “I Can’t Drive 55.” When the boss wants cop lights, you give the man cop lights! I didn’t have my full rig for this particular one-off show and had to improvise. I ended up creating a red and blue chase, using the upstage and downstage wash, which wasn’t my ideal solution but got the point across, and he was happy. At the end of the day, it was about always staying flexible, reading the moment, and supporting his energy on stage.”
How has your experience with Sammy shaped you as an LD?
“Working with Sammy shaped me in just about every way as an LD. It was the first time in my career that I truly understood what the role actually meant. Before that, I was used to doing everything myself and just trying to make the show happen. However, stepping into that world, I could finally see the bigger picture. It wasn’t just about programming or getting lights on stage; it was about working with a team, shaping a vision, and contributing to the overall experience of the show. It also gave me a new level of confidence in my abilities. Over time, I stopped second-guessing myself and started trusting my instincts, both creatively and as a leader. I learned how to communicate my ideas, stand behind my decisions, and create an environment where the crew could do their best work.”
Of all the shows you did with Sammy, does one stand out as most memorable?
“I’ve done some weird and wild shows with Sammy Hagar. Everything from weddings where I couldn’t see over the giant flower arrangements, to rodeos, beaches with FOH behind the stage in a cabana, NASCAR, tiny clubs, bars and golf events. No two shows ever felt the same.
“However, the one that stands out the most for me is playing the Kia Forum on the BOAW Tour. Up until that point, I had never been there. To a lot of other LDs, it’s just another day, but for me it meant everything. This is a room where Led Zeppelin sold out six consecutive nights. As I’m standing in that room, running lights for a legend, I really felt the weight of that history, and it choked me up. It was truly one of those moments where I had to stand back and take in how far I had come.”
What is the one thing you’re going to remember about working with Sammy?
“Even on the hardest days, where I felt overwhelmed or second-guessed myself, there was always a moment that reset everything, and that was the call “go for house lights.” No matter what kind of day I was having, as soon as the house lights went out, there was a surge of adrenaline, followed by this sense of settling in. I will always remember how much I genuinely loved that show and how good it felt to run the lights for it. You could often find me singing and dancing to the show while running lights. So, what’s the one thing I will remember? It’s the show. That’s my favorite part.”
