Michael Ledesma
Lighting Designer / Scenic Designer
Visual Ventures Design
Michael Ledesma has been lighting shows for over 40 years for some of music’s biggest names, but arguably none more gifted or devoted than guitar legend Carlos Santana whose passion-driven, mesmerizing riffs Michael complements on the artist’s House of Blues residency in Las Vegas and out on tour. Understand the feel of the music and it will help you create the lighting atmosphere. Good advice from one of our industry’s seasoned experts in the art of stage lighting.
Meet Michael
What have your highlights been in 2023 and what are you working on at the moment?
I am currently working on finishing up the year with the Santana residency at the House of Blues Las Vegas and putting together ideas and plans for next year’s touring. One of the highlights of the year was attending the Tribeca film festival for the premiere of CARLOS a documentary about Carlos Santana’s life, with a live performance. I’m so happy for Carlos.
How do you deal with an artist like Santana who is often off script or improvising on stage?
The Santana setlist, the arrangements, the dynamics, it’s all very fluid. There is not any kind of track going on in the show. I program so that in the event of things changing quickly, I am able to respond quickly with the arrangement. I always have an extra couple of pages that I have programmed for special occasions or songs that may pop up.
You’ve worked on many legendary tours and with a host of top name artists over the years. Can you share with us a couple that really stick out in your mind?
I have been very fortunate to work with so many great artists, and many great special events. A few artists that really stick out in my mind include Paul Simon: a genius, deep, and a cool guy. Gloria Estefan: great vibe. Gloria is a wonderful woman, with a great personality. Her husband, Emilio, is a really great guy. It’s always a top-notch production, very professional, and a great organization to work with. Kenny Loggins: Great memories. One of the best voices in the business and my longest running account 1986-2019. And of course Santana: He plays with the same energy, heart and soul as he did at Woodstock. I grew up listening to Santana and am privileged to work with such an amazing artist. We have a great touring family and I am happy to be a part of it. There are so many more artists that have made an impact on my life in many ways.
How did you get your start and what was your early career like?
As a kid in Chula Vista, California, I always wanted to be creative in some form. I had Christmas lights in my room all year long, blacklight posters with wild colors and painted the walls in my room red. When I started high school, I really took an interest in the theater. I learned everything I could about sound and lights and scenery. I was the student theater tech guy. I then moved on to a local college taking more theater classes. Fast forward a couple of years when I got a job at UC Davis as the production manager for UC Davis Entertainment Production. What a great opportunity it was. I met a lot of people and I learned a lot. It was a great steppingstone for what would be the next phase of my career.
How have your designs changed over the years and have the advances in lighting technology had a hand in that?
My early designs were with conventional lights, pars, ellipsoidals and ACLs. The next step in technology around 1983 was the moving light. To take advantage of this new technology your design needed to take a different approach than what you had been doing traditionally. You needed to think outside of the box. Today we are being driven by new tech advances like digital control of lighting, cameras, scenery, rigging and all types of LED.
Do you feel a need to be on the cutting edge as far as using new technologies?
In the past, I’ve used many prototypes of consoles, lights and trussing, and most the time it worked out great, but sometimes not so great. Nowadays, I’m perfectly happy to wait and use an instrument that has been proven to be dependable.
When you think back on how you learned your craft, what do you see as the most important factor?
Listen to your mentors, have respect for your fellow workers. Do the best job you can on every gig, no matter how long it takes or how big or small the gig is. Don’t Believe Your Own Bull Shit!
You teamed up with the late and legendary Nook Schoenfeld for many years and must have felt the loss especially hard. What do you take away from your years working with him?
Nook Schoenfeld was one of a kind. I have so many great memories of our early touring years. In 1990, I was the LD for Paul Simon and Nook was the ME. We took the full rig or parts of it all over the world. It was a big challenge to get our show up and going in some parts of the world, but Nook made it happen every time. I saw how he got along with everyone and didn’t let the pressure get him down, a leader. He was someone I trusted as a friend and as a professional. We made each other laugh a lot. I admire how Nook pushed to move forward in his personal life and his new career. We worked together on so many great projects over the 36 years I knew him. Nook loved being a great mentor to so many. He was my Tahoe Brother.
What do you like to do when you’re not doing lighting?
Hanging out with my family and friends. Boating at one of the most beautiful places in the world, South Lake Tahoe, California.
What’s something about Michael Ledesma that people might find surprising?
I studied transcendental meditation at the age of 16.
