Tom Kenny
Lighting Designer
Tom Kenny has had a remarkable career. Working for U2 at age 14, touring with rock icons like David Bowie, The Who, and Page and Plant, lighting talent like Eric Clapton and Elton John and so many more, not to mention an array of major awards ceremonies, TV programs, theatre and film, his 43-years in lighting reads like a who’s who of legendary stars and productions. And there’s much more in the tank! He is one of our industry’s most respected and hard-working designers whose experience and advice we can all learn from.
Meet Tom
What were your highlights in 2022?
Every January I do the Critics Choice Awards in LA, which is a signal of who is going to win the Oscars. The talent in the room is amazing. Then I work with CMT on CMT Crossroads or CMT Storytellers working with country stars and up-and-coming talent. It’s beautiful work and you can really do proper lighting on those shows. I do four shows a year for Univision working with a great team. I also worked on projects for Paramount, other TV shows and charity events. One of my highlights was the “South Park 25th Anniversary Concert” at Red Rocks, working with Matt and Trey, which was an amazing experience. I’ve always had that in my life, amazing experiences. The Who keeps me going as well, and there were projects that I can’t even talk about due to NDA’s.
You are Irish-born and Florida-based. You left Ireland for the US years ago. What did you find most difficult about changing cultures?
The first time I came to America I worked on David Byrne’s solo tour in the 80s. He and I clicked immediately. That introduced me to America. But the only thing Ireland has in common with America is the English-speaking language! Everything else is completely different.
Do you come from an artistic family?
Back in Ireland, all my brothers were musicians and my dad was into the Irish language and culture, he was an engineer/draftsman and he used to bring us everywhere. I was surrounded by Irish music, which is rich in emotions and drama. Also the school I went to was full of artists. It rubs off on you, it affects you and really molds you. One thing, if you are a parent, is let your kids go to every gig, every theatre, even if it is the worst music in the world, let them go to it because that opens your mind.
How did you learn about lighting?
I learned about lighting by being a technician. There’s nothing better than working for your local lighting company, helping a local lighting production and learning to deal with people. I lit fashion shows, industrials, videos, concerts, whatever I could get my hands on. I worked on every aspect of them, so I learned a little piece of everything and still do every day.
You often express how fortunate you have been in your career and how lucky you are to have worked with some of the best in our business. Can that rub off on others in some way?
Especially this past year, I’ve been trying to find younger people who are enthusiastic about our industry and give them an opportunity. We lost a lot of people during the pandemic and there isn’t enough young talent. Too many of the good lighting designers are not being replaced by quality designers who have real world experience. When I meet a good stage crew person, I’ll try to give them an opportunity. That’s how I got my start. When I started out, I was always the youngest on the crew so I try to keep an eye out for young talent and give them a chance. Anyone with experience like me should be doing the same - looking around for people who are enthusiastic, who want to be in our business.
This industry changes and develops quite quickly, especially when it comes to product development. How do you keep up with the latest in new product design?
There have been massive numbers of new mind-boggling fixtures that have come out the last 10 years. I’m a big friend of the vendor and I’ll ask what they have that might work on something particular, not necessarily the most popular piece of production item but something that suits the project. It’s what you feel works for that artist.
Has new product development led to changes in your designs?
Design has the same basic elements but it changes with technology. A good example of product development influencing design is the IP-rated lights that have come out. I do so many outdoor shows, in Miami or Europe, where there is a lot of rain and that new technology has helped us a lot.
Are there looks you see out there today where you think ‘hey, I did that first’?
There are so many good designers who have their own style, I have my own style, many LDs do. But I see a lot of young people copying those designs, designs that were created for other artists. A design only works for that particular artist. A Billie Eilish design only works for Billie Eilish, or a Bowie design or Robert Plant design only works for them, and I think experience tells you that. We didn’t have YouTube or pininterest growing up. It’s too easy to copy what’s been done before instead of being inventive.
Are there shows you see today where you think “that’s not working”?
Some shows out there look amazing where they are really thinking out of the box but I find with a lot of artists that the set has outgrown them. I’ve worked with people in the past who spend all their nights fighting with the overgrown set. That seems to be how things have moved in the wrong way. It always goes back to that person that’s on stage. No matter who it is you have to make sure that they’re seen and they’re complemented.
Your bio says that your 'live approach experience gives your lighting a very unique look.' Can you expound on that a bit?
I’ve been lucky that I’ve always worked with brilliant bands. I turn up and create and try to be inventive in the moment. A lot of experienced designers think in the same way; you have to be brave enough or experienced enough to act in what you have.
From day one of a project to the end, what do you see as the most important part of the process?
It’s the communication. The minute an artist’s team knows about a tour or show they will get me involved. It’s a direct line. It’s so easy today compared to when I was growing up. It’s the same when you get to a show. The most important piece of equipment at a show is the headset so you can communicate with people. It’s all about communication and people’s trust.
What part do you enjoy the most?
Doing the show and rehearsals. For 3 ½ minutes of a song you might have spent 3 days, or 3 weeks or 3 months to get it right. It’s fulfilling to see the result.
What is most important to you when presented with a new project?
Who is involved and who is producing it. In the first hour or so, I’ll know if I want to be involved or not but it takes experience. With time you learn who is good to work with and who isn’t.
Does the genre of music or piece of music matter to you?
It doesn’t matter what music it is. When doing lighting or sound you have to be like a method actor, you’ve got to like it for the time you’re in it and do your best.
How can a lighting manufacturer best support a lighting designer?
You don’t need to come out with new product all the time but it’s important to listen to the person that has to program that light, the technician that plugs it in every day and the people that put the systems together. It’s important to listen to those out on the road more than just the lighting designers.
What are your main interests outside of our industry?
Movies. I love going to movies. It’s one of the only places you can be visually and audibly excited like at a concert.And although we’re inside buildings all of the time I actually like looking up at the sky and trees and nature. And of course my friends and family.
People say that you never really retire from this industry. Do you think that will be true for you?
Oh, yeah. There’s a certain addictiveness to live events. I’m as busy now as I was when I was in my 20s. Roger Daltrey told me once that as you get older you decide if it’s the couch or life. You’ve got to keep your brain going.
