Country-pop singer/songwriter Kelsea Ballerini has been performing at arenas across North America this year in support of her fifth studio album, Patterns, released last October. The 37-show trek, Live on Tour, kicked off Jan. 21, 2025 at the Van Andel Arena in Grand Rapids, Michigan and wrapped up April 14 after a final concert at Scotiabank Arena in Toronto.
Promoted by AEG Events, the tour made its way from Chicago, Milwaukee and Nashville on to Detroit, Pittsburgh, Toronto and from Philadelphia and Boston down to Tampa, FL before a West Coast run that included Seattle, Portland, Los Angeles and San Diego along with Phoenix, Las Vegas and Denver. Supporting acts for the trek included MaRynn Taylor, Sasha Alex Sloan, Ashe and The Japanese House.
Streamlined Production, Multiple Hats
The tour’s production is streamlined, with key personnel wearing multiple hats. On the visual side, for example, production and lighting designer Nick Chang, principal of Prismic Productions, also serves as programmer and lighting director on the road (See cover story, PLSN, April 2025). The tour’s production manager, Chris Diener, is also the FOH engineer on the road.
Diener has been working with Ballerini for eight years, and feels it was a team effort that made the creative and production meld well together. “We did this tour a bit differently. We had the unique opportunity to do this in-house,” he said. In addition to Chang and himself, creative director Patrick Tracy oversaw all the creative elements, including blocking, scenery, and content creation.
“We could move much quicker, bouncing ideas off one another and Kelsea, as opposed to going through an intermediary,” Diener said. “We knew from past tours where we wanted to go, as well as things Kelsea’s always wanted — or wanted to stay away from. An institutional knowledge of the show. We could speak plainly about what was possible, what wasn’t possible. It allowed us to quickly sift through the impossibilities and really focus on the possibilities.”
A Dynamic Visual Show
With color and movement important factors in the overall show visuals, with automation raising and lowering lighting pods, video elements and the artist herself above the stage, the PA system had to be designed in a way so that it wouldn’t interfere with everything else going on, but still sound good in every seat in every venue.
“It was a fun challenge,” says systems engineer Jordan Baker from Nashville-based Spectrum Sound, which provided a d&b audiotechnik SL Series system for the tour.
The idea was for the PA to clear 40’ to optimize the visual elements, which included immersive visuals — including a winding helicopter ride through a desert canyon at sunrise for the song, “Cowboys Cry Too” — on the massive 90-foot-wide LED video display (which gets used for I-Mag visuals as well).
Optimizing the PA
“When Chris Diener and I designed the system, we questioned how this would affect the image,” Baker says. As it turns out, d&b software came in handy.
“One of my favorite qualities of d&b’s ArrayProcessing tool is that shifting the parameters of level drop over distance allows me to play with a sensation of focus while the PA is out of eyesight,” Baker says. “I think keeping the PA high and wide adds to the magnitude of the show, too. We’re creating a ‘larger than life’ KB experience for the crowd, and every department gets to lend a hand in that.”
“We love the SL Series,” agrees Diener. “For the most part, we were able to do the same trim each show. A couple of these venues had some lower grids, but we tried to keep it consistent, he adds, also crediting the d&b system for flexibility and control. “It has allowed us to put coverage exactly where we need, and avoid areas that were reflective surfaces. It was a major plus with our 40’ thrust as well, where Kelsea spends a ton of time during the show.”
The typical arena show setup included (20) KSL8 line array elements per side as mains, with (16) KSL8 / KSL12 elements per side for side hangs, (12) V8 per side for 220° hangs, (6) KSL flown subs per side, (13) SL Subs across the downstage edge and (6) Y10P elements for front fills. “It’s very similar to what we have had in the past,” Diener notes. “We did add some 200° outfills and a 13th center sub for pattern control,” he adds. “That helped us steer the low end nicely between the flown subs and the ground.”
The View from FOH
Along with the d&b SL Series system, Spectrum Sound has also provided the Kelsea Ballerini camp with DiGiCo consoles for previous treks. But there are some differences. “This tour, we upgraded to the Pulse software on the 338s,” Diener says. “As our show and needs get bigger, the DiGiCo Quantum 338 Pulse consoles have been keeping pace effortlessly.”
While Diener also uses outboard gear at FOH, he notes that, for this tour, “I really tried to strip a lot of processing back and simplify. I have found the desks do wondrous things when you keep it simple.” He points to some examples.
“For Kelsea’s vocal, I’m using almost exclusively the [DiGiCo] Mustard processing for EQ and Dynamics. The new update with the built-in MSE has been killer,” he says. “I rely a lot on the Macro functions during the show for effects, solos and routing of inserts,” he adds. “The Optocore, of course, is so critical for us as well — it makes routing between consoles so easy.”
As for his outboard go-to’s, “I use a handful, but not a ton,” Diener continues. “The drum bus has a Heritage Audio Successor into an Empirical Labs Fatso. The music bus has a Sonic Farm Creamliner 3 into a Tube Tech SCM2B. On bass guitar, I use the Empirical Labs Mike-E channel strip,” he says, adding that “it works so well with the Hofner bass and that comp/sat circuit adds just the right amount of dirt. I use a Live Professor setup for external reverbs consisting of FabFilter ProR2 and Soundtoys Super Plate,” calling those “relatively set-and-forget. For Waves, I use a lot of utility plugins such as X-Feedback, F6-RTA, C6 and Real Time Tune. The Magma Tube suite and Curves Equator have been new adds there, and I have been really impressed with them so far.”
Comparing the current setup with Kelsea Ballerini’s Heartfirst tour in late 2022, where he worked with about 80 inputs split between an SD-Rack and SD-MiNi Rack on stage, Diener notes several updates. “We have rebuilt the system extensively,” he says. Along with the upgrade to the Pulse software for the 338s, “we are now on two SD racks, with a couple of Midas XL42 preamps for some drum inputs.” In total, he adds, he’s now working with about 160 inputs from FOH.
As for their choice of consoles, both Diener and monitor engineer Chris Newsom have a long history with the same brand of desk. “I’ve been a DiGiCo user since 2012 when I first was able to get on an SD10,” said Diener, who first took on the role of production manager and FOH engineer for Ballerini in late 2017 when she was performing in support of her second album, Unapologetically. Newsom, meanwhile, has been using DiGiCo desks since 2015, starting with the SD8 console.
The Monitors Position
When Chris Newsom first joined Kelsea Ballerini’s team in mid-2021, the setup already included a DiGiCo 338 at FOH and monitors. “It was an easy transition, he recalls.
For this tour, as with the desk at FOH, Newsom is working with a DiGiCo Quantum 338 Pulse console, looking after 108 inputs in monitor world.
“I mix all eight musicians onstage as well as our three backline techs,” Newsom says. “In the past, I have mixed the opening acts as well, but our young guns on the audio crew showed big interest in mixing the opening acts this time around,” he adds, referring to audio support for MaRynn Taylor, Sasha Alex Sloan, Ashe and the Japanese House on this tour. “I was happy to let them spread their wings and take over the opening act duties.”
As with the minimally visually obtrusive P.A. system design, the stage is relatively clean and quiet, free of speaker wedge clutter. “Everybody is on in-ears,” Newsom says. Our drummer is on a hard-wired mix, and everyone else is on the PSM 1000’s from Shure. We have one person who is fairly new to the in-ear experience, but she has adapted quite well.”
And Newsom, like Diener, doesn’t rely on a massive about of outboard gear for processing. “All my processing is done onboard except for a couple of 5045’s that get used on Kelsea and our background vocalists,” he says, referring to Rupert Neve Designs’ 5045 Primary Source Enhancer.
Microphone Choices
For Kelsea Ballerini’s vocals, the audio team has pretty much settled on Sennheiser’s Digital 6000 system with an SKM 6000 / MD 9235 capsule combo. “When we first started working with Kelsea, we shot out every RF stick and capsule we could get our hands on,” Diener says, adding that they have stuck with that winning combo for her performances pretty much ever since.
“We have been on the 6K with the 9235 capsule going on eight years,” he adds. “We all love it, and she loves it. Once in a while for acoustic sets or smaller setups, we will use a Neumann KMS105 for her, which is also incredible.”
As for the other mics used for this tour, Diener offers his perspective. For drum overheads, he’s a big fan of Vanguard’s V44S stereo mic. On this tour, however, “we have a giant video wall that a big stereo mic looked a bit obtrusive in front of, so Derek [Bargaehr] at Vanguard sent us two of the V4, the mono version, to do a low spaced pair. They are the same sonic character as the V44S, and the band and I love them.”
Other mic faves include DPA’s 4099, 2017 and 2011. “I use a 4099 on hi hat and a cymbal stacker, as well as four of them for audience mics on the thrust,” Diener says. “We like to have those close audience mics for fans up against the barricade.” He also uses a pair of 2017’s and 2011C’s on stage as wide/narrow pairs, “plus a pair of 2017’s at FOH as wides, and a pair of near coincident 2011Cs at the back of FOH.”
For the kick drum — in and out — it’s a Shure’s B91A and a Solomon LoFReQ. “I like the attack of the 91A with the roundness of the LoFReQ. It’s really worked well to balance what kick sound I need each day.”
Diener’s also partial to the Shure Axient w4018vl capsule for background vocals and Sennheiser’s 421 Kompakt on toms, with Sennheiser 435’s for band talkbacks and band background vocals.
The Journey Continues
Looking back on the Live on Tour trek, which wrapped up in mid-April, Diener expresses gratitude for the opportunity to work with Ballerini. “She has really given us a lot of ownership of this enterprise and we all feel like we are in this together,” he says. “She has trusted us to grow this step by step and Im proud to say we have done just that. She is so involved and has a passion for putting on the best possible show we can for the fans. It really is a pleasure to be here.”
Diener adds that he would be happy to continue as both the production manager and FOH engineer for Ballerini’s future tours. “I will continue to do both as long as humanly possible,” he says. “The best part about our team, is we have so many great department heads including our incredible stage manager, Justin Sumrall. He takes a lot off my plate on a day-to-day basis that allows me to sit in the office when needed and not worry during the show. Hiring these key positions is the only way I can continue to do both, truly. I love the mixing aspect; it keeps my physically connected to the show almost as another performer. I love the duality of both positions.”
The journey, he notes, all started in late 2017 in a venue that had some pretty daunting acoustics. “We did a shoot for TV in her high school gym,” he laughs. “That was a challenge but ended up being a great show.” Fast forward to 2025, and the artist’s show production has grown by leaps and bounds — and could well grow even further. “We have taken this show from two buses in trailers to 13 semis and eight buses,” Diener says. “And we’re just getting started.”
Kelsea Ballerini Live on Tour
Crew
- FOH Engineer: Chris Diener
- Monitor Engineer: Chris Newsom
- Systems Engineer: Jordan Baker
- Production Manager: Chris Diener
- Tour Manager: Dustin DeRosier
- System Techs: Marissa Creelman, Kean Grych, Gehrig Duncan, Shane Lindermann
- Sound Company: Spectrum Sound
Gear
FOH
- Console: DiGiCo Quantum 338 Pulse
- Speakers: Mains: (20) d&b audiotechnik KSL8 per side, Side Hangs: (16) KSL12 & KSL8 per side, 220° Hangs: (12) V8 per side, Flown Subs; (6) KSL Subs per side, Ground Subs: (13) SL Subs along downstage edge, Front Fills: (6) Y10P
- Amps: d&b D80
- Processing: DirectOut Prodigy
- Plug-Ins: Waves, Live Professor, Fab Filter, Soundtoys, UAD
- Power Distro: Whirlwind
- Snake Assemblies: Sine
- Rigging Co: Upstaging
MON
- Console: DiGiCo Quantum 338 Pulse
- Amps/IEMs: FIR Audio Xenon 6, Shure PSM 1000
- Wireless: Sennheiser Digital 6000, Shure Axient Digital
- Mics: Sennheiser SKM 6000 / MD 9235 capsule; Vanguard V4; DPA 4099, DPA 2017, DPA 2011; Lauten Snare Mic; AKG 451; Shure B91A; Solomon Low Freq; Shure Axient w4018vl Capsule; Sennheiser 421 Kompakt, Sennheiser 435
