The band is setup below the hood in the ‘grille’ of the car. Utilizing the same 60’ stage section taken whole out of arena set and implanted into this new environment has allowed the band, gear, and the setups from the arena shows to be moved directly over to the stadium shows. This meant that Bon Jovi can change easily and quickly from arena dates to stadium dates. While on the arena stage, Jon Bon Jovi can walk on the automated video columns, as this set offers him stairs to different platforms. “The set gives them a lot of playing levels as well as a lot of movement side to side,” comments Seeley. “The stage has some staircases, and Jon can move up two levels to play and get closer to the audience.” These left and right platforms are referred to as the "headlight platforms," 13’ off the ground, right in front of dual, 8’-diameter chrome trimmed headlights.

The headlights consist of Chromlech Elidy LED panels for lighting and low-resolution video effects. On the extreme stage left and right sides are I-Mag screens consisting of PRG Nocturne V-18 18mm LED video panels. Across the top of the set, above the hood, acting as the car’s "windshield" is a 28’x103’ video screen made up of Tait 30mm LED video product. Behind the band, in the grille area of the car, Brant has employed PRG Nocturne V-9 Lite 9mm LED video modules and GLP X4 impression LED fixtures. Tait manufactured the grill section with 60 of its custom V-9 Lite frames to hold the V-9 Lite modules as well as created custom lighting positions to hold the impressions.

The front edge of the stage is the bumper of the car, complete with the New Jersey license plate. The bumper also serves as the monitor shelf. Seeley explains, “The monitor shelf is decorated in a bull nose that has all been chromed and goes up to the mainstage level. It doesn’t come to a point, but it has a prominent front and center position. There are [Philips Color Kinetics] ColorBlasts along the front bumper, and there are ColorBlasts and impressions built into the monitor shelf. V-9 Lite is used for the turn signals. There are also moving lights along the front of the hood trim, and then you have Bad Boys and Best Boys everywhere.” Spike lights the car from various positions using PRG Bad Boy® and Best Boy 4000® spots to create a variety of different looks across the car and stage.

The project build took Tait just ten weeks from start to completion. The company supplied all the staging for the tour, including the main stage, the band riser, and a 100’ rounded B-stage catwalk that extends out 45’ into the audience. The stadium set was set up and teched during programming in Belgium before it was transported to Sofia, Bulgaria for the opening night of the European leg of the world tour. “We all took some risks on this,” Seeley says, “and I think it is really paying off for the audience. It is a real muscle car. You walk in the stadium, you see this, and you can already hear the bass. You know this is going to be loud and that you are in for a real show.”