Iron Maiden - “Run For Your Lives” World Tour with lightning designer Robert Coleman

Heavy metal legends Iron Maiden have been tirelessly touring the globe for over four decades. This year marks their 50th anniversary, celebrated with the launch of the “Run For Your Lives” World Tour, which will continue into 2026. Renowned for their theatrical live shows, Iron Maiden seamlessly blend elements from their iconic artwork with high-energy performances featuring massive stage sets, pyrotechnics, flames, and dramatic lighting. Their approach has left a lasting mark on the world of live music production, especially within the heavy metal genre.

The current tour was designed and programmed by longtime Iron Maiden lighting designer Robert Coleman, who has been with the band for nearly two decades. Using Capture 2025, Robert brought the show’s ambitious visual concept to life. We were fortunate to be welcomed by Robert and his crew to witness two sold-out shows, each with over 40,000 fans, in Frankfurt and Stuttgart, and to gain insight into the creative and technical process behind this monumental production.

We took the opportunity to send our own Pavlos Mavridis, from Capture Visualisation, to interview Robert about his work with Iron Maiden and Capture.

Pavlos: How did you come to work with Iron Maiden?
Robert: I was friends with the previous LD, Martin Brennan, who worked with Iron Maiden from 1998 to 2007. Around 2006, Martin decided to step away. After designing the "A Matter Of Life And Death" Tour, I stepped in to operate the show. The band was happy with how it went, and over time, I gradually took over the role.

Pavlos: Does the band contribute design ideas?
Robert: Yes, the band is often involved, especially Bruce Dickinson. Over the years, most band members have contributed, but recently Bruce has taken a leading role in bringing new ideas and concepts, particularly because they affect his entrances, exits, costume changes, and other stage moments. The creative director, Ben Smallwood, also receives Capture renders during pre-production to contribute to the overall vision.

Pavlos: How closely do you work with the video, pyro, and other departments?
Robert: Very closely, especially with the video team. Since the shift from traditional backdrops to a massive LED screen, they now send me the video content in advance. I import that into Capture and program around it, ensuring the right visuals are in place for each song. I also coordinate with pyro and special effects to program accurately for each cue, like explosions and effects timing.

Pavlos: How do you handle variations between venues, especially in large-scale productions?
Robert: The setup needs to be modular. Some venues have large capacities but limited stage sizes, so we adjust the rig sections to preserve the integrity of the design. Some locations don’t allow truck access close to the stage, which delays load-in and load-out. Still, most venues on this tour were stadiums or arenas, so we faced minimal challenges.

Pavlos: How much of the show is pre-programmed versus live?
Robert: None of it is click-tracked, everything is run live. Each song has its own page with sections (intro, pre-chorus, etc.), plus space for fills and improvisation, especially with strobes and blinders during drum fills. It keeps the show dynamic and enjoyable for me. I’d get bored if it were just play/pause every night.

Pavlos: How did you start using Capture?
Robert: Once I started using MA consoles, I decided to try Capture. It changed everything. A friend of mine, Niller Bjerregaard, LD for Volbeat, introduced me to the software. I was immediately impressed, it’s intuitive, cost-effective without any expensive subscriptions, and especially useful in time-sensitive festival situations where I can receive MVR files in advance.

Pavlos: When did you first use it?
Robert: Last year, in Athens, Greece, during Bruce Dickinson’s solo performance at the Release Athens Festival. I was asked to start preparing ideas for the upcoming Iron Maiden tour, so I downloaded Capture, and within 30 minutes I had a basic rig with musicians and lights set up for rendering. It was that simple, and the console connection was seamless.

Pavlos: How does it fit into your design and programming workflow?
Robert: I use Capture for both designing and programming. I still use Vectorworks for some elements, especially since the basic stage setup remains similar across tours. I export from Vectorworks into Capture and continue the process there.

Pavlos: What features of Capture were most valuable for this tour?
Robert: Simplicity. Also, being able to play media within Capture was crucial, given how central the LED screen is to the design.

Pavlos: Can you describe a moment where our software helped solve a problem?
Robert: Yes, at a festival show, I received an MVR file a few days before the performance. That allowed me to adapt and reprogram parts of the show in advance, which is essential since festival rigs often try to replicate the tour setup but fall short in key areas.

Pavlos: How do you use Capture to communicate your vision to the team?
Robert: I mostly use rendered images and videos. I haven’t had the time to explore the presentation feature, but I definitely plan to, it’s a great tool, especially for people who don’t use Capture directly.

Pavlos: Any specific Capture tools you particularly like?
Robert: The plot view is incredibly helpful, something most other visualizers don’t offer. I also appreciate the animated actors feature. It would be great to have more musicians in the library, Iron Maiden uses three guitarists!

Pavlos: Any unique moments where Capture made a creative difference?
Robert: Yes, for the CGI version of Eddie - the band’s mascot - shown on the LED screen, I built a physical 3D Eddie in Capture. I programmed strobe and spot cues on it, then rendered it out and sent it to the visuals team. They modelled the final video to match my real lighting cues, making the result incredibly immersive.

Pavlos: Any features you’d like to see added?
Robert: Media with audio. On this tour, I received MP4 files with embedded sound from the video team, and it would have helped to play those directly inside Capture for easier programming.

Pavlos: How do you see visualisation tools evolving in live production?
Robert: They’re essential now. In the past, the cost and complexity were overwhelming. But now, with Capture and a console, I can work in a focused space, at my own pace, even on tour. I don’t have to spend 15-hour days programming on site anymore. It’s far more productive and sustainable.

Pavlos: Would you recommend Capture to others?
Robert: Absolutely. It’s intuitive, user-friendly, and affordable. The up-to-date library and excellent tutorials make it accessible even for those who aren’t deeply into technology. And because it’s so widely used, you can almost always find someone nearby who knows it well. Community support comes naturally.

As this article is being published, the band will have completed the first leg of their anniversary tour and is preparing for the 2026 continuation. We’d like to thank Robert and his crew for trusting Capture throughout such a spectacular production.

Lighting Designer, Programmer, Operator: Robert Coleman Creative Director: Mike Blundell Creative Director: Ben Smallwood

Photos: Pavlos Mavridis

Last but not least, our sincere thanks to everyone who helped make this visit possible: William Luff (Wilful & Sullivan Publicity), Wolfgang Rott and the entire team at CMM-Marketing, Zeb Minto (Tour Coordinator).