VOYDOME was set to be the highlight of my year, and it did not disappoint. SVDDEN DEATH’s alter ego, VOYD, takes dubstep to new heights (literally), turning his shows into a performance rather than just an EDM event. VOYDOME on March 15, 2025, was no exception, with production going beyond visuals and lasers to include the periodic levitation of VOYD himself. It’s one thing to be there in the audience, but to be able to learn about how a show like this is produced makes it even more incredible. If you want to learn more about what goes on behind the scenes to make a show of this scale happen, then you’ve come to the right place.
SVDDEN DEATH’s team is incredible, with so many talented people contributing. I was honored to interview Shayn Hotton, who is one of the creative directors on the team, specifically on the production side. He’s also a co-owner of X CVLT, a creative collective studio that works with artists like REZZ, Marshmello, and SVDDEN DEATH. Shayn credits his success to hard work and the support of industry giants willing to give him opportunities. He got his start on Excision’s team as a grunt tech. There, Shayn started to see the different paths—lasers, lighting, video—and he fell into video. He shared that “funny enough, I once took a corporate skills test that rated me highly on working with shapes and spatial patterns. Three months later, I found myself in video production, and here we are!”
Credits: @OHDAGYOPHOTO
When asked how the team works, Shayn says that they’re like the “Knights of the Round Table,” with Schaefer Brady, Colin Duggar, Adam Elarnaouty, Danny Howland, and himself having an equal say, just like Arthur and his knights. They bounce ideas off each other and collaborate to create something amazing. Shayn credits this equality between them for making their team so special.
The core production team is about 5-10 people who work around the clock, but in total, the team is quite large. Amanda Lynn is the production manager, who “negotiates the costs of lights, lasers, and video panels, making sure our creative vision stays intact within our budget.” Ben Hogan, Colin Duggar, and Adam Elarnouty are the agents and managers on the team who work with venues, promoters, and insurance. Schaefer Brady is another creative director who oversees merch, flyer design, and media capture.
Credits: @OHDAGYOPHOTO
When it comes to timing for designing and planning a production like VOYDOME, it takes about three to four months of consistent work. The goal is to create something special that pushes boundaries. Shayn says, “I always think back to when I was out there for the first time, and I was working a desk job and like being out there, something hit me, like a bat in the chest, and I’m like, I need to do this. I try to think about how I would inspire the Shayn out there.” Usually, the initial concept is much bigger than what’s possible, and it’s refined based on budgets, logistics, and available gear.
You might be wondering what set VOYDOME apart from previous VOYD sets. First, this was the team’s first fully time-coded show, meaning every note and visual cue was tied to an exact time stamp. This was needed for the aerial lifts, or levitation, that occurred throughout the show. The second factor was the sheer scale, with Tacoma Dome being the biggest room the team has ever controlled. This third aspect isn’t unique to VOYDOME but something that sets SVDDEN DEATH apart, and that’s the fact that Danny cares a lot about the underground scene and is always giving up-and-coming artists a platform, which makes his lineups so special. Shayn does the same with visual artists: “If I see someone with potential, I’ll throw them into a huge production like this to help them grow.”
Credits: @OHDAGYOPHOTO
The hardest part of the production for VOYDOME to get right was the timing and perspective. Shayn and Maxim Poirier, also a co-founder of X CVLT, worked with sculptor Daturahex to fine-tune the audience perspective for the custom content Maxim was rendering. Another challenge was the rigging stunt, which they didn’t get approval for until the morning of the show. There are a lot of gatekeepers in production, which leads to dealing with a lot of technicalities to make things happen. I was curious to learn if there were any small details that the audience might not have noticed but took a lot of effort. Shayn shared that content rendering takes hundreds of hours because he and Max push each other creatively until they refine it into something special.
In terms of the setup process, the team arrived on Tuesday, three days before night 1 of VOYDOME, and worked full-time until the show. It’s a round-the-clock effort, with riggers set up points, engineers testing the setup, and all departments (video, lighting, lasers, pyro) coordinating without stepping on each other’s toes. Mistakes can be costly, so the team has to manage budgets carefully. There’s a big difference between a tour stop and a single night. With a tour, there’s the ability to refine over time. By show 30 or 40, everything is locked in. With a one-night event, you only have one chance to get it right. If just one thing goes wrong, it could cause a major problem, so pressure is much higher for these events. Knowing that just one issue could lead to disaster, I wanted to find out what sort of backup plans and safety precautions are in place. Every department has backups, and everyone prepares for worst-case scenarios. If something goes wrong, Shayn has 10 people he can call immediately. He even has backup laptops of his backups. Given that there was a lot of pyro and aerial lifts, safety precautions include fire spotters, spacing for pyro, and rigged safety lines. Everything is carefully planned, which is complex but necessary.
Credits: @OHDAGYOPHOTO
As part of the audience, we’re so focused on the experience that we don’t think about the amount of work it takes to make the event happen. VOYDOME itself was my favorite set of the year, but I really want to commend the entire team for the amount of work and dedication they brought to the table to make it happen. My conversation with Shayn not only deepened my knowledge about production but left me feeling more grateful that I get to experience the product of their hard work. I want to thank Shayn Hotton and the entire SVDDEN DEATH team for welcoming me and showing me the ropes. Getting to have conversations with kind, talented people like them brings me such fulfillment, and I’m happy to be able to share their stories with the rest of the EDM community.
Follow SVDDEN DEATH
Instagram | Facebook | Twitter | TikTok
Follow Stage Hoppers
Instagram | Facebook | Twitter | TikTok | Spotify | Home