One of the other ways that lighting works for bands is the method I had to work with.
Since a lot of bands do not adhere to a set list and like to switch things up and call things on the fly, the lighting director (and sound engineer as well) has to be just as equally flexible.
So, I would have to just program a number of scenes and keep them available on submasters and bump buttons so I could create the appropriate scenes, chases, and punches on the fly.
If I operated off of a cue list, I would have been out of luck when something changed on the fly. So, if you're working with predetermined set lists (that are adhered to), then you can program each song down to the little stuff and be totally safe hitting "GO" each time you need to activate a cue change.
If the bands make changes and call stuff aside from the set list, then you'll just need to program a bunch of scenes and chases that you can keep handy on bump buttons or something to be readily available as needed, so you can make the right selection.
PS - don't forget to program in your blackouts and in-between song lighting, you know, where bands like to talk to the crowd and all.