Resume

Resume

Sean 'Tater' Mines | Lighting Designer + Director

c. (865)396-1607 | e. tater@lxtater.com | Nashville, TN

Contact Me
Ongoing and Future Work

Lighting Director | Jessie Murph | MA3

June 2025 to Present | Average Capacity: 2900

I will step into the touring Lighting Director role for Jessie Murph starting with her 2025 Headline US Tour. My job will be to keep lighting true to the original design while adapting it to fit every room we hit. I will manage a small crew that includes a lighting crew chief and two techs from Fuse Technical Group. Venues range from clubs to amphitheaters, small arenas, and large theaters.

  1. I will update the GrandMA3 (v2.2.5.0) recipe-based show file to support the various differences between each venue
  2. I will mark out motor points for each venue and oversee all of the lighting load-in
  3. I will oversee the rigging of the Fly Package.
  4. I will make room-by-room adjustments to trim, positions, and programming as needed
  5. I will work closely with the tour manager and artist team to preserve design intent while staying flexible for each venue

House Lighting Designer | Brooklyn Bowl Nashville | MA3

April 2024 thru Present | Capacity: 1200

This is one of my home base gigs. When I'm not on the road, I'm staying fresh by working here several days a week. I’m one of the core House LDs at Brooklyn Bowl Nashville, where I cover everything lighting-related. I punt nearly every show I work here, and the job changes depending on the night. That can include tying in a touring LD, punting lights, or programming the full house rig for repeat clients. On dark days, I help with maintenance and repairs across the rig. I also get to spend a decent amount of time helping the touring LDs troubleshoot and problem solve if they run into any issues with the house gear, or within their own gear.

  1. Punt/busk nearly every show, or hand off house files to touring LDs
  2. Program custom looks and sequences for recurring artists and events
  3. Tie in touring consoles and patch incoming shows into the house system
  4. Handle basic video switching when needed
  5. Manage maintenance on dark days — fixture repairs, console programming, cleaning, cabling, and labeling
  6. Ensure the touring LD has everything they need, including technical support (Programming help, networking help, fixture troubleshooting, etc.)


Limited Engagement Work

Lighting Designer & Programmer | Adam Paddock | MA2

Feb 2025 to Present | Avg. Capacity: 700

I handle all lighting design for Adam Paddock, a smaller-sized touring act. I work within their limited budget to create a plug-and-play lighting setup that fits in any venue and doesn’t require an operator. The rig is designed to be quick to deploy, visually consistent, and able to run show-ready looks right out of the box.

  1. Designed a full show file on MA2 that runs off timecode
  2. Built a compact lighting package that loads in fast and fits on tight stages with minimal power draw
  3. Programmed a mix of pre-cued songs and static looks the band can run without an operator
  4. Maintained a consistent visual aesthetic across clubs and small venues
  5. Provided remote support and show file updates during the run

Lighting Designer & Programmer | Ranch Hands Nashville | MagicQ

September 2024 to Present | Avg. Capacity: 1100

I designed and teched the Ranch Hands Nashville weekly residency held at Cannery Hall. The show is almost fully timecoded and built for a near hands-off playback by local operators. There are several manual cues for operators to fire based off the stage manager's call, and the operator arms and triggers each song before timecode is fired by the audio FOH Mixer. I also handle continued file updates as the show evolves over time.

  1. Designed and programmed all lighting cues in MagicQ
  2. Timecoded show file built for laymen operators to be able to run
  3. I also teched both QLab(Tracks and Timecode firing) and Resolume(Timecoded Video).
  4. Worked with the director and dance captains to ensure safety and aesthetics for the show
  5. Continued updates as needed, for example a new song is added, etc.
  6. Worked with the stage manager to cue out the show in their show book.


Freelance Lighting | Nashville, TN

November 2019 thru 2022 (Knoxville), March 2023 thru Present (Nashville)

When I’m not on the road, I spend my time doing freelance lighting work around Nashville and Knoxville. I’ve taken on both tech and design roles depending on what the show needs.

  1. Set up and struck full lighting systems including conventional, LED, and intelligent fixtures
  2. Programmed, patched and addressed fixtures in GrandMA, ChamSys MagicQ, Avolites Titan, Obsidian Onyx, and ETC Eos consoles
  3. Built one-off looks and punt pages for smaller shows that didn’t require timecoded programming
  4. Aimed, focused, and maintained touring rigs and house systems
  5. Handled pre-show prep including fixture testing, firmware checks, and cabling
Past Experience ('24 to '25)

Lighting Technician (L2) | Jessie Murph | Summer '25 Festivals | MA3

March 2025 thru June 2025 | Average Capacity: 10,000+

This was my last run with Jessie Murph as Lighting Technician. It started with two weeks of rehearsals and lighting programming in March. I was brought on directly by the band to bridge communication between the creative team and Fuse’s tech crew. I helped guide the Fuse team through building a custom lighting rig that featured fragile, wrapped fixtures and was originally designed for Jessie’s Coachella 2025 debut. The rig was also re-prepped for Bonnaroo 2025 (later cancelled) and made its final appearance at Tailgates and Tallboys 2025.

  1. Programmed the entire lighting network including the console, NPUs, and nodes
  2. Handled IP routing and made sure there were no conflicts at any of the summer festivals
  3. Tied our rig into the festival house system each show day before the LD started work
  4. Managed the lighting team for the Coachella changeover, which a rather simple lighting rig. However, we had to assist with the Carpenters to ensure we made changeover— both weekends ran with time to spare
  5. Coordinated comms between spot ops, the video board op, the dimmer tech, and the LD to keep show communication clean and direct

Lighting Technician (L2) | Jessie Murph | Fall '24 US Tour | MA2

September 2024 thru November 2024 | Average Capacity: 2200

I was the lighting tech for Jessie Murph’s 2024 Headlining fall tour — a two-semi-truck run with venue sizes ranging from 1100-cap clubs to a 6000+ cap arena. I was part of the day-to-day touring crew responsible for keeping the rig consistent and ready across a wide variety of stage sizes.

  1. Prepped the lighting rig each day and oversaw all load-in/load-out
  2. Directed stagehands during truck packs and set changes
  3. Handled fixture swaps, data runs, and power distro checks
  4. Gave the Lighting Director time to focus on programming by managing physical setup and positioning
  5. Assisted with cloning to house rigs and updating positions during focus

Lighting Designer - Opener | Big Yavo | JM Fall '24 US Tour | MA2

September 2024 thru November 2024 | Average Capacity: 2200

While touring with Jessie Murph, I also took on lighting for the opening artist, Big Yavo. I punted his set every night using a custom-built page on MA2. This role involved adjusting the house rig daily, rebuilding looks as needed, and making sure the opener’s set had consistent impact across all venue sizes.

  1. Created and programmed a full punt page on MA2 for the opener
  2. Cloned in new house rigs nightly and adjusted looks to fit the local trim and rig shape
  3. Matched vibe and energy to the opener’s set without timecode
  4. Troubleshot rig differences or missing fixtures between venues
  5. Coordinated timing with audio cues and kept things tight from FOH without rehearsal

Lighting Director | VEAUX | EP Release | MA2

September 2024 | Average Capacity: 700

For VEAUX’s EP release show in late summer 2024, I was brought in to take a previsualized MA2 design and bring it to life on-site. I ran tech rehearsals, adjusted the ground package, and finalized all positions and presets. The show was fully timecoded and included video content driven by Resolume, which I also handled.

  1. Ran a tech rehearsal to confirm all positions and preset timing
  2. Finalized and updated presets and sequences from the previs file
  3. Routed timecode out of the band’s audio interface and into MA2
  4. Integrated and triggered a Resolume show file in sync with the lighting cues
  5. Adjusted content scaling and playback to match the venue’s aspect ratio

Lighting Technician (L2) | Jessie Murph | Summer '24 Festivals | MA2

April 2024 thru September 2024 | Average Capacity: 10,000 +

This was my first run with the Jessie Murph camp, originally hired by the lighting vendor as their first lighting tech. I handled everything from prepping the rig at the shop to managing changeovers on show days. The rig toured through major festivals and was designed for fast deployment and tight transitions.

  1. Prepped the entire festival rig before the first show
  2. Labeled and organized gear to streamline load-ins and truck packs
  3. Created the truck pack layout to speed up builds and strikes
  4. Was the sole lighting tech responsible for show-day changeovers
  5. Handled and assisted fixture checks, focus adjustments, and quick troubleshooting on site with the Lighting Director

Set Elec & Head Spot Op | West Side Story | '23 to '24 Int’l Tour | MA2

November 2023 to March 2024 | Average Capacity: 1200

This was a non-union international tour of West Side Story. I held several roles throughout the run, but my official position was Head Spot Operator and Set Electrician. We played a wide range of venues across Europe, often adapting to radically different rigs and local crews in each city.

  1. Load in the lighting rig, accounting for long-term residencies at some stops
  2. Organized and directed local stagehands to ensure clean load-ins and load-outs
  3. Managed three dedicated lighting trucks out of a fifteen-truck tour
  4. Worked in a wide range of European venues — from centuries-old opera houses to modern Zeniths
  5. Swapped shifts running the light board and operating spots depending on the day
  6. Followed a manually-cued show format with a stage manager calling lighting cues
  7. Created and updated paperwork related to Set Electrics and Spotlight ops
  8. Worked with local spot ops to go over cue sheets, gels, and house gear
  9. Called cues to a second spot op while operating spot 1
  10. Assisted the L1 with lighting focuses and conventional fixture prep
  11. Helped troubleshoot rigging issues — especially with front truss and downstage tower placement in challenging venues
Past Experience ('22 to '23)

Lighting Technician (L2) | The Band Camino | Fall '23 Festivals | MA2

August 2023 thru October 2023 | Average Capacity: 2500

I was the lighting tech for The Band Camino during their headlining Screaming in the Dark Tour. My main job was making sure the ground package was show-ready and consistent from stop to stop. I handled truck packs, fixture checks, and kept everything running smoothly across a wide range of venues.

  1. Managed full lighting system load-ins and load-outs for every show
  2. Oversaw the touring ground package build and daily setup
  3. Handled dimmer checks, fixture addressing, and cable management
  4. Worked directly with house crews and venue reps to integrate our system
  5. Responsible for unloading/loading trucks and maintaining truck pack flow
  6. Supported the LD with focus, position cleanup, and troubleshooting during rehearsals

Union: Lighting Shop Asst. | FELD | Disney On Ice Show Build | MA3

IATSE Yellow Card May 2023 thru July 2023

After finishing my run with Disney On Ice, I stayed on at FELD’s Florida headquarters to help dismantle the touring rig and build out the new show from the ground up. This involved working with both new gear and infrastructure, prepping for first rehearsals, and assisting with additional FELD properties as needed.

  1. Unboxed and teched new lighting fixtures from Robe, Chauvet, and GLP
  2. Built cables from scratch — PowerLock, Ethercon, 12/3, HBL2421, HBL3762, and more
  3. Handled all truss work: labeling, addressing, rigging, and fixture hangs
  4. Programmed and tuned the BlackTrax system for early rehearsals
  5. Taught safety procedures for working at height, including use of SRLs and lifelines
  6. Certified to operate forklifts and boom lifts during the build
  7. Assisted with other FELD productions including Ringling Brothers 2023 and Marvel Live 2023

Union: BlackTrax Tech & Bench Tech | FELD | DOI '22 to '23 | Onyx

IATSE Yellow Card / Pink Contract Union Tour. June 2022 thru April 2023 | Average Capacity: 6000

This was a 36-week international tour following a two-month residency in Mexico City. I held multiple responsibilities across the tour, including dimmer tech, climber, programmer, and eventually Bench Tech. I worked closely with the electricians, climbers, and production stage manager to keep the rig safe, consistent, and cleanly maintained in a wide range of venues.

  1. Responsible for dimmers and power distribution during load-in, including inspections with the venue’s master electrician
  2. Updated lighting positions on the Obsidian Onyx console (over 300 positions)
  3. BlackTrax system tech for hanging infrared sensors, calibrating Motive software, and coordinating focus with four climbers
  4. Lead climber for all overhead grid work
  5. Moved into the Bench Tech position halfway through the tour, maintaining Clay Paky Alpha 1200s, Alpha 800s, Sharpy 330s, and older Chauvet washes/battens
  6. Swapped and rehung broken fixtures during changeovers; maintained automation motors in the grid for roll drops
  7. Repaired, cleaned, and troubleshot lighting fixtures mid-show; coordinated parts ordering with department head and stage manager
  8. Logged all repairs and maintenance during the tour
  9. Cleaned, maintained, and repaired Ultratec Radiance Hazers
  10. Responsible for packing the first two prop trucks during showtime, and final loading of the lighting and rigging trucks

Production Elec | Always Patsy Cline | Clarence Brown Theater | EOS

April 2022 thru May 2022 | Capacity: 576

Served as the Production Electrician for a short run of Always Patsy Cline at Clarence Brown Theater. I was brought in to support both the electrical systems and student-run lighting crew. Most of my work centered around daily prep, emergency systems checks, and student mentorship.

  1. Stood by for all technical rehearsals in case of electrical or fixture issues
  2. Mentored college students studying technical theater and live lighting
  3. Led daily fixture flash out, replaced gels and lamps, and trained the student board op on EOS programming techniques
  4. Performed nightly blackout checks to ensure light isolation and emergency lighting functionality
  5. Repaired broken LED tape and swapped faulty fixtures as needed

Festival Elec & LD | Big Ears Festival '22 | Knoxville, TN | Avo Titan

February 2022 | Capacity: 1000

Brought in to handle lighting for Big Ears Festival at the World’s Fair Park Amphitheater. Worked both as a festival electrician and lighting designer, managing install, programming, and show execution for multiple artists across a temporary rig setup.

  1. Installed a temporary lighting package on-site at the amphitheater
  2. Coordinated scheduling and logistics with festival staff to stay on track
  3. Programmed and operated Avo Titan Arena to integrate with the provided rig
  4. Ran lighting for bands and followed creative direction from artist management
Past Experience (Pre '23)

Stagehand | IATSE Local 197 | Knoxville, TN |

October 2018 thru June 2022

Started working with IATSE Local 197 while attending the University of Tennessee. I began as a pusher and gradually moved into whatever role was needed—covering carpentry, electrics, props, audio, and more.

  1. Pusher
  2. Carp/Electrician/Props/Audio
  3. Weight Loader
  4. Venues included: Tennessee Theatre, Clayton Center for the Arts, Clarence Brown Theater, Knoxville Civic Auditorium and Coliseum, LeConte Center, Gatlinburg Convention Center, Knoxville Convention Center, Thompson-Boling Arena, Neyland Stadium, and more

Monitor Engineer | The Shed Juke Joint | Maryville, TN | M32

January 2020 thru June 2021| Average Capacity: 2000

I picked up this gig right before COVID lockdowns, so there was a gap from March 2020 to May 2021 while the venue was dark. Once shows resumed, I ran monitors on an M32, handling both ears and wedges for bands playing our outdoor stage.

  1. Ran an M32 console for monitor mixes
  2. Handled both in-ear and wedge mixes depending on artist preference
  3. Worked with touring engineers and advancing techs to prep monitor needs
  4. Troubleshot RF issues and stage patching on the fly
  5. Mixed for a wide range of artists across genres

Spot Op / Board Op / ASM | Clarence Brown Theater | Knoxville, TN |

August 2018 thru December 2019 | Capacity:576

While attending the University of Tennessee, I spent most of my time interning with Clarence Brown Theater, working across both the Stage Management and Lighting Departments. I held a mix of spot op, board op, programming, ASM, and swing roles depending on the production.

List of shows and crew position in chronological order:

  1. Candide - Spot Operator
  2. Alias Grace - Light Board Operator and Programmer
  3. Santaland Diaries - Assistant Stage Manager (ASM)
  4. A Christmas Carol - ASM Swing
  5. King Charles III - Assistant Stage Manager (ASM)
  6. The Real Inspector Hound - Crew Swing
  7. Detroit '67 - ASM Swing
  8. The Madwoman of Chaillot - Light Board Programmer (EOS) and Crew Swing
  9. Million Dollar Quartet - ASM and Rehearsal Guitar Tech
Github
Plugins

Created by: Sean "Tater" Mines, I.A.T.S.E.

Lighting Designer, Director, and Technician

Github
Plugins

Created by: Sean "Tater" Mines, I.A.T.S.E.

Lighting Designer, Director, and Technician



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This website is still under construction! Please let me know if you run into any issues <3 - Tater