Just as narratives gain new forms of media as technology progresses, musicians encounter more options for their concerts. Venues, props, themes and above all stage lights prove to be important decisions while planning an event. Routinely light shows have been a focal point for many artists, whose addition of dramatic visuals to their music can at times be overwhelming. LCD fixtures, blinding lights, projectors, absurd rigs, strobes and colors all become finely synchronized to both the tempo and feeling of the actual music as well as the story being told.
Fleichinger's experiments in shapes and colors have been absorbed into the widely popular presentation of spectacular light displays. Musicians pay fleets of roadies, designers, engineers and numerous other contributors to create fantastic visuals which accentuate their music. The thousands upon thousands of dollars and countless hours of endless tinkering spent for the transportation and set up of these light rigs relay just how important visually compatible light shows are to a huge number of artists. In other words, Fleichinger would be in heaven even at many of todays mediocre light displays.
The progression that light shows have encountered through the past thirty years is unimaginable. Glancing back at the Woodstock of '69 psychedelic warriors as established as the Grateful Dead had no light show to speak of, even at the most climactic musical gathering of all time. Today light shows are as visually astounding as they are technologically incomprehensible to the majority of the world. Today when small events such as the local DJing duo the Beetkeepers spinning records to a crowd not even one hundredth the size of Woodstock's incorporate a tempo abiding light display. Today, light rigs are as accessible as the speakers playing the music, often sought out on their lonesome just for their awe inspiring affect.
This common practice of spectacular light shows aids in understanding the importance for a popular band on tour to have lights that acutely punctuate their music, no matter what genre. Psychedelic, heavy metal, funk, even hip hop artists all share the desire for their concert's visuals to leave crowds mesmerized. One particular rap artist, Kanye West, held up an entire night of music so that his light show could be witnessed in a late night time slot which according to the artist offered the most complimentary setting for his lights. West held of thousands of frothing fans for hours solely for his lights, which in the end of his performance granted him this reaction:

Bonnaroo Crowd, Post Kayne West's Performance 5:30AM
http://www.youtube.com/watch?v=8211-7zZLTE&feature=related

The intricate role visual displays have come to play at concerts is as undeniably forceful as it is unavoidable. Fleichinger's initial experimentations with portraying music through visual means has since been furthered and perfected. Projecting visually pleasing and musically motivated light shows for audiences has been around for the past couple decades, yet it's leaps in technology are unparalleled by any other aspect of music. The relationship between audio and visual forms of media that Fleichinger attempted to capture in his films previously has hit the ground running in an endless marathon that will perpetually follow an uncountable number of musicians around the world while endlessly morphing to incorporate technological progressions.

Nine Inch Nails- Reptile (Bonnaroo 2009)
http://www.youtube.com/watch?v=zkjnjvXgdPo&feature=related

Pink Floyd: Shine on you Crazy Diamond 4/?/1975
http://www.youtube.com/watch?v=9kmvILGa0OA

Pink Floyd's Pulse DVD: Shine On You Crazy Diamond 2/6/1994
http://www.youtube.com/watch?v=vyqgjCKm9nQ

Phish- First Tube (ending) 6/7/09
http://www.youtube.com/watch?v=UUslD-Mh0Xw