Lighting Designer / Lighting Director / Programmer
Mitch Mueller is currently out as Lighting Designer/Director supporting Lainey Wilson on her headline dates, as well as the opener for Hardy, and numerous festivals. Coming up as a Board Op/Programmer, Mueller worked on a variety of gigs. Mueller’s high energy operation of a show is perfectly matched to Wilson’s energy she puts into her performances. Known for dancing behind the console as he skillfully runs the lights, he took some time to speak with PLSN about how he got in the business, advice and mentors who have helped him, and where he sees himself going in the industry.
How did you end up in the industry?
I went to Belmont [University in Nashville] for three and a half years. I know it sounds stupid, but I didn’t end up graduating. I left Belmont because I got an opportunity to tour with the shop where I was interning at the time, which was Morris Light & Sound. I went in as an audio intern initially. They didn’t have a whole lot going on in the audio department at that particular time, so they asked me if I wanted to transfer over to doing lights instead. I ended up teching and all the backend stuff for about two years until I really started to get my grounding in programming. It’s just been a ride from there.
Were there particular jobs that really set you on the course of your career?
I took a bunch of random stuff that just popped up whenever I could. When I first started, I was bartending at the time as well, so trying to balance that work life with touring was more of an arduous process than I anticipated. Honestly, all my gigs that I’ve done leading up to this point have set me on a path to being able to do what I do. The first tour I was on was a full timecoded ground package that was built for me, and then I just went out and punted on house consoles. I got programming knowledge on Avo, ChamSys, and Hog consoles before I really started to understand the MA side of things. I did a couple of arena tours and theater tours where I was getting my head wrapped around the bigger picture side of things as far as rigging and power. I was super fortunate in having a lot of good teachers that helped me get my foundation set for how my career is lining up.
What were some of your first tours?
The first one I went out with was Walker Hayes. He was doing a small club tour, and I was with him for about a year. Then I did a bunch of random one-offs for Morris; odd jobs, teching, and some L1 work. I’ve done a couple of things for the CMAs and an arena tour with Hillsong United. When the pandemic hit, I was supposed to go on tour with AJR, but the whole world shut down, so I was stuck. Then when it all picked back up again, I got a call from a friend who was the Production Manager for Chris Lane at the time. I was out with him for a year and a half until I got to go out with Lainey Wilson. That is who I am with now and it is great, she is super talented. It’s been a wild ride so far in my career, I’ve had the chance to do a lot.
Who have been some of your mentors?
When I first started, it was Josh Gregoire, who is out with TSO right now. He and I were roommates, and he was in the fraternity that I was in in college, so we’d known each other for a long time. He helped get me the internship at Morris. He’s an unbelievable programmer and operator, and I’m just trying to follow in his footsteps. Then as far as teching goes, Ryan Hodge, who works a lot with 4Wall. He was a big influence for me in understanding how everything works and just teaching me the random small things that I didn’t ever think about beforehand. Going into arena and theater gigs with him and seeing how he operates as a crew chief and a really great technician—I learned a lot. I learned a lot from the two of them. Then Zac Coren, the LD for Morgan Wallen. When he, and PTP Live, moved from Pittsburgh to Nashville, he was one of my first connections that really got me set on the operating and programming course; doing all that fun stuff. He’s been a huge help to me, and I can’t thank him enough; all three of them.
What would you consider a milestone in your career so far?
Of course, playing Red Rocks with Lainey was one of my biggest milestones personally. But I hit one when I was with Chris Lane. We were opening as direct support for Kane Brown. Originally, I’m from Kansas City, MO. My very first concert I saw was at the Sprint Center, which is now the T-Mobile Center in downtown Kansas City. Working that show, that was a big one for me personally. Honestly, being able to program and do all the fun, creative stuff with lights that I didn’t think I would ever have the opportunity of doing, let alone this early in my career. I’ve been super fortunate to be handed all these positions really early on, comparatively for a lot of people that I know. I’m just super grateful.
What do you enjoy most about your career?
I really love getting to design looks and making the look feel like it fits in the moment. Whether the song is up or down tempo, still having the intentional action. What I do matches what’s going on on-stage. Lainey is an incredibly active performer. I wanted to make my rig, when I programmed it, as active as she is; trying to accent her star power. She does a really fun show and I want to have fun with the lights. Shows are meant to be fun. If people don’t have fun at shows, then what’s the point?
Is there a piece of advice you got at the start of your career that you still find applicable today?
It’s just to never say no, honestly. Every opportunity that I’ve been given, I try and help in any way I can. Just saying yes whenever you can. Even if you’re tired, or bogged down, or something like that, just keep your head straight and keep working as hard as you can. Keep learning as much as you can. I’ve always had that mindset since I started.
What’s surprised you most about your career path?
Honestly, I am shocked that I’ve stayed in country music as long as I have. I really loved the touring schedule of rock and pop artists where it’s out for a consistent amount of time and then off for a couple of months. But I’ve ended up growing really accustomed to the country touring lifestyle and I really enjoy it. Just being able to come back home to Nashville for a couple of days, then going back out, hitting the road a week or two weeks later for four days and then you go back home again. Some people get really bogged down by that schedule, but I personally have really grown to enjoy it. I guess that surprised me more than anything.
