K3 Reunion Tour Breaks Records With Advanced Lighting Tech

The original lineup of K3 has reunited for a series of concerts across Belgium and The Netherlands, with the record-breaking tour set to conclude in June 2026.

The shows have drawn huge crowds, selling more than 700,000 tickets and breaking the previous attendance record at Belgium's largest indoor venue, the AFAS Dome (formerly Sportpaleis). The tour also includes major performances at Rotterdam Ahoy, with a total of 45 shows scheduled.

K3 was originally formed by Karen Damen, Kristel Verbeke and Kathleen Aerts and is managed by Studio 100. After achieving widespread popularity with family-friendly pop hits across Belgium and the Netherlands, the trio stepped away more than 16 years ago, with the group continuing under new line-ups. Their reunion has sparked strong demand, with fans who grew up with the original group—now largely in their 30s and 40s—turning out in large numbers.

Studio 100 invested heavily in the production, featuring a live band, a large cast of dancers, a stage spanning more than 30 metres and extensive LED visuals. The design includes a giant three-dimensional 'K' and '3' constructed entirely from LED panels that rotate and move across the stage.

Lighting and rigging for the tour were supplied by PRG, while Painting with Light provided the Follow-Me Track-iT performer tracking system used in the lighting design. The creative and technical lighting design was led by the company’s founder Luc Peumans.

More than 100 fixtures were connected to the Track-iT system within a lighting rig of around 1,300 fixtures. Approximately 34 Track-iT anchors were positioned around the stage, while each performer wore Track-iT tags allowing the system to track their movements throughout the show. This included a demanding sequence in which the trio travelled above the audience on a flying stage from the main stage to the front-of-house position, with the flying system’s PosiStageNet data integrated directly into the Follow-Me system.

"The alignment and calibration of the fixtures went very smoothly, and now with the feature that you can make the presets on your desk and transfer them to the Follow-Me system, it worked quite flawlessly," said Peumans. "Let's just say nobody had to wait for us. Once it’s set up properly, it’s working very well. It doesn’t fail, and it’s more stable than an average follow spot operator, in my opinion. The big advantage with Follow-Me is that you can make your light design per scene in such a way that it blends into the overall show. It allows you to choose the right fixture in the right position for the right song, so it gives you much more creative flexibility."

Frequent costume changes presented one of the key production challenges, with the performers switching outfits roughly every three songs. This required close coordination with the costume department to ensure the tracking tags could be integrated quickly during changes.

"The girls have to be comfortable with it, so you don't want it to be a hassle for them," Peumans noted. "We had a good team aligned together with costumes to do the quick changes and integrate the trackers. It just shows you that tracking needs a different kind of skill and attention behind the scenes to make it work."

The system was also used during complex staging moments, including a sequence in which the performers sat on top of the giant moving 3D “3” as it travelled towards the audience.

Reflecting on the technology's broader impact on the show design, Peumans concluded: "In general, it gives me more creativity. I find it very stable. Because it's been on some long-running shows, it also has some financial impact — you have to bring in fewer follow spot operators. It’s not just about replacing follow spot operators; it’s about unleashing creative possibilities we never had before."

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