Marfa Lights showcases Donny Montell with Cameo

A film-worthy experience

On 29 August 2025, Kalnų Parkas – a public park in the Lithuanian capital of Vilnius – was transformed into an extraordinary open-air stage for a unique live experience: Donny Montell, one of the biggest pop stars in the Baltics, presented his new stage show – an audiovisual masterpiece with a cinematic depth effect and maximum attention to detail. As with his previous live productions, the musician relied on the design studio Marfa Lights for the creative realisation, and this time around, the company was also responsible for realizing the concept for stage and lighting design. The Marfa Lights team used the full range of Cameo lights to create the perfect setting for the film-like stage show.

The stage as a film set

For Andrius Stasiulis and Pijus Norušis, lighting designer at Marfa Lights, it was clear from the outset that the stage should look “like a frozen film scene in the middle of a busy street”. Compared to the Donny Montell shows of recent years, this time it was less about dominating the stage set with a huge number of spotlights and more about supporting the cinematic effect of the overall concept. “We deliberately didn’t want to show off with complicated effects, but rather use the light subtly – hidden in the stage to change the perspective, not to outshine it”, says Pijus Norušis.

The designers’ aim was to give each song its own image, with each perspective creating a new mood without losing the visual consistency of the production as a whole. This was made possible by a finely tuned interplay of light, scenography and IMAG images on the large LED screens.

“The special thing about the PIXBARs is their consistent colour rendering, whether at minimum or maximum intensity.”
Pijus Norušis, lighting designer at Marfa Lights

Multi-layered looks

Marfa Lights distributed more than 350 Cameo lights for Donny Montell on, next to and under the stage. The PIXBAR SMD IP G2 LED bars were mounted above the LED screens to provide both stadium-like blinders and dynamic pixel mapping effects. “The special thing about the PIXBARs is their consistent colour rendering, whether at minimum or maximum intensity,” says Pijus Norušis. “This was a great advantage, especially with our heavily desaturated, cinematic colours.”

The ZENIT W600 LED outdoor wash lights were also given a special task: installed under the permeable stage floor, they generated a luminous glow from below with the support of numerous hazers, which impressively set the scene for the artists and objects despite the grid floors above. “In this respect, the ZENIT W600s were by far the most effective lights that we have tried out in comparable situations in recent years,” confirms Pijus Norušis.

Softlights for the live stage

The Cameo S4 IP LED softlights were a special feature of the lighting setup – a type of spotlight that is usually found on film and TV sets, but which fitted perfectly into the cinematic scenery of the Donny Montell stage show: “Thanks to their huge size, the S4s were a real eye-catcher and had enough power to fill the entire venue with colour,” explains Andrius Stasiulis. “Thanks to the pixel mode, we were also able to create more sophisticated and detailed looks.”

“The S4s were a real eye-catcher and had enough power to fill the entire venue with colour.”
Andrius Stasiulis, lighting designer at Marfa Lights

In addition, over 100 ZENIT P130 LSD LED PAR lights with 45° filters were used along the catwalk to provide side lighting for the cars and dancers. The OTOS B5 IP65 beam moving heads were originally intended as an extension of a large SMD bar tower, but spontaneously surprised the audience during rehearsals with a laser-like scanning effect when using a linear prism. The OTOS B5 was also used as an alternative backlight for the artists. “The light output of the B5 is truly outstanding”, says Andrius Stasiulis. “Even dark colours are clearly visible in the air.”

The equally powerful OPUS X PROFILE were positioned invisibly behind the PIXBAR LED bars by Andrius Stasiulis and provided the main backlight for the artists without detracting from the effect of the PIXBARs placed in front of them. “It took a lot of calculation and adjustment until we found the right distance, but the result was worth it: the light sources remained concealed and the effect was fully preserved.”