Janet Immerses Herself, and the Audience, in Las Vegas

Las Vegas, Nev. (April 30. 2025)—Janet Jackson has extended her Las Vegas residency at Resorts World Theatre, giving more fans the chance to hear her perform through the permanently installed L-Acoustics L-ISA P.A. rig.

Los Angeles-based producer and FOH engineer Caram Costanzo, known for his decades-long work with Guns N’ Roses, continues to handle the house mix for Jackson’s residency, a role he assumed in May 2024, before her 94-show Together Again tour. Will Foley, who joined her audio crew at the same time, is reprising his duties as systems engineer for the production.

“When I learned about Janet’s Resorts World residency, I immediately embraced using L-ISA’s full capabilities,” Costanzo recalls. “I quickly worked with David Brooks from L-Acoustics to arrange learning time with the technology. At the L-ISA Studio in Westlake Village, with James Rudder, we built the show template, stepping back from my left-right tour mix to fully explore the immersive surround sound capabilities. Janet’s music is perfect for L-ISA—her stellar, high-powered studio productions demanded we create that same standard within the L-ISA environment.”

Although many of the songs from the Together Again tour have been carried over, some feature new arrangements. “The staging and production are redesigned for the massive 152-foot-wide stage. The show is an over-the-top Las Vegas performance, and the criteria was to create a sight-and-sound spectacle for the entire audience,” he says.

Costanzo mixes the show on a DiGiCo Quantum338 console and says he “loves its clarity; you can really create your own sound with it.” He adds, “The L-ISA software is very intuitive and well-crafted. We feed 64 inputs to the L-ISA Processor II through individual channels and groups. The system is remarkably consistent between shows. When returning for February’s second leg, I resumed January’s settings within just minutes. The reliability and precision are outstanding.”

He continues: “The theater’s seven frontal arrays allow me to create a template within the seven-array soundscape and then add instrumentation and effects on a song-by-song basis. I then incorporate the rear surrounds or effects, mults and especially adding more sonic intensity when appropriately called for. 

“Everyone has been very positive comment-wise within Janet’s camp, and Janet is happy with what she’s hearing out front and the feedback she’s been given,” he concludes. “Audience response has been overwhelmingly positive, as well. I give credit to the entire audio crew—including systems engineer Will Foley and Brandon Andreasen, the venue’s head of audio—as well as everyone I’ve worked with at L-Acoustics.”