Follow-Me System Lights The Way On Toto's Dogs Of Oz Tour

Follow-Me, the performer-tracking technology specialist, has reported that its Follow-Me 3D SIX system is once again proving its reliability on the lighting team for legendary rock band Toto, supporting the complex visual demands of the Dogs of Oz tour.

Toto's eclectic musical catalogue brings distinctive challenges to lighting design, requiring a system capable of responding fluidly to rapid stylistic changes without relying on a single visual language.

The Follow-Me 3D SIX system allows an unlimited number of fixtures from any manufacturer to operate as follow-spots for as many as six performers on stage. The SIX licence includes Posi Stage Net (PSN) and Open Sound Control (OSC) data output for synchronisation with audio, video and media-server systems, while integration with lighting consoles runs via Art-Net and sACN.

Hamburg-based GO AUDIO RENTAL supplied the system for the tour's European dates, which began in January 2025, with Bandit Lites providing the kit for the US run starting in July. Lighting Designer Greg Classen headed up the production’s visual design, supported by Bandit Lites’ Lucas Gamez as Lighting Tech.

The team faced an array of modern challenges. Changing audience habits – particularly widespread smartphone filming – have shifted lighting priorities, while Toto’s catalogue includes intricate time signatures and sudden blackouts that require absolute precision from tracking technology.

"Toto's repertoire spans the entire musical spectrum, so the lighting design has to be as versatile as possible without any limitations," explained Classen.

For the tour, the Follow-Me 3D SIX system was deployed with four console sets tracking four mobile performers, while the band’s keyboardists and drummer were lit using traditional key lights. Eighteen fixtures on the upstage truss were also mapped into the Follow-Me network, enabling the entire rig to pivot to specific targets during key musical moments.

"The reason I chose Follow-Me over any other system is because I have the entire upstage truss also mapped into Follow-Me," notes Classen. "So, at any point during the show, if I want to pull all of the washes or all of the beams to one particular target for an effect, I just turn it on for that cue or song or list of cues, and they will also follow that particular target. It works really well for some of the more incendiary guitar solos, to have the entire rig sweep to a certain point."

Operational efficiency was another standout advantage. Daily setup took less than half an hour for both follow-spots and the upstage fixtures, and the system scaled easily across venues with differing rigging capacities. Elevated follow-spot positions prevented glare in performers’ eyes, improving comfort while maintaining clear visibility. In addition, the system allowed real-time adjustments to colour temperature and intensity in response to IMAG requirements and ambient lighting.

Precision timing was crucial throughout the production. "The other serious advantage for me is that, because Toto has a lot of songs that have odd time signatures and short, sharp blackouts which conventional follow-spot operators can't do at least 20% of the time," says Classen. "You end up with a completely dark room and one follow-spot still sitting on a target. With the ability to have all that in my console, there are no mistakes."

Technical performance across the tour was consistently robust, with only brief interruptions. On one occasion, a swift switch to the backup system—supported remotely by Follow-Me's troubleshooting team—kept the show running without impact. The system’s intuitive programming environment also earned praise from the crew.

"The system was very intuitive as far as learning to programme it and getting it to work for me," Classen added. "It was a piece of cake."

www.follow-me.com