GLASTONBURY
On-site coverage of the Pyramid and Arcadia Spectacular’s The Dragonfly
JUNGLE
LIAM GALLAGHER
Recreating one of the most iconic albums of the ’90s live, three decades on…
Consistency, attention to detail, and the pursuit of production perfection
Breaking boundaries and raising the bar for live entertainment
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Congratulations to Adele on your simply spectacular Munich residency and for setting a GUINNESS WORLD RECORDS® milestone with the Largest Temporary Outdoor LED Screen. This unforgettable achievement is a testament to bold creativity and collaboration, and Solotech is proud to have provided the screens that brought this vision to life.
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This is not the first time that Adele has been featured on the cover of TPi – no surprise really if you look back at her history of truly outstanding live productions. However, with Adele in Munich [p28], the singer and her dedicated army of creatives and crew demonstrated the outer limits of what an outdoor performance can be. Jacob took a flight to Munich and spent two days with all the various departments to learn how this juggernaut of a show came together, breaking the Guinness World Record for the Largest Continuous Outdoor LED Screen not to mention the highest attendance of any concert residency outside Las Vegas with over 730,000 tickets sold.
Not content with just one Production Profile – and in what has become a very topical story due to recent events – Jacob also paid a visit to Co-Op Live to see Liam Gallagher and his loyal crew celebrate the 30th anniversary of Oasis’ defining debut album, Definitely Maybe [p70]. Surely the biggest thing to happen for Oasis fans in 2024…
Meanwhile, Alicia took her first ever trip to Glastonbury and has returned with an onsite report of this year’s production highlights from the Pyramid stage and the Arcadia Spectacular [p48]. She also got to check-in with Leeds upstarts Yard Act as they put on an incredible hometown show for Millennium Square. [p88]
Also making a welcome return to TPi’s pages, Ste Durham headed to Manchester’s Castlefield Bowl to interview the crew behind the phenomenal Jungle, midway through their summer of varied performances [p80].
Not wanting to miss out on the fun, I got to sit down with Andrea Bocelli’s FOH Engineer,
Davide Lombardi, to hear how he tackled the audio challenge for the maestro’s stunning 30th anniversary show in the valleys of Tuscany [p14].
As you can see, this is a bumper issue when it comes to on-site coverage, but it’s not all AAA passes and backstage interviews. We also checkin with the team at PRG UK to hear about the company’s take on the current global live events market and some of the personnel changes that have happened within their ranks [p112]; we hear from James Godbehear of Cadac Consoles who discusses the company’s massive rebrand and new product line [p96]; Allen & Heath’s Nic Beretta and Anthony Evans fill in TPi on the latest update for the dLive platform [p118]; and we have a follow-up on last edition’s counterfeit piece, with Christian Hertel of MADRIX weighing in on the issue [104]. Until next time,
Stew Hume Editor
Issue #283 September/October 2024
Editor Stew Hume Tel: +44 (0)161 476 8360
Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk
Deputy Editor Jacob Waite Tel: +44 (0)161 476 8360 Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk
Staff Writer Alicia Pollitt Tel: +44 (0)161 476 8360 Mobile: +44 (0)7508 441986 e-mail: a.pollitt@mondiale.co.uk
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Cover Photo
Adele
Photo: Alexandra Waespi
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EVENT FOCUS
12 Davide Lombardi reflects on Andrea Bocelli’s 30th anniversary show.
16 KLSTR’s plug and play technology provides connectivity across multiple st ages at Tomorrowland.
80 JUNGLE
Consistency, attention to detail, and the pursuit of production perfection.
88 YARD ACT
Pop-punk’s latest poster boys take to the stage at Leeds’ Millenium Square.
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22 Ricardo Rojas illuminates an in-theround show with Snoh Aalegra.
94 A new era for Cadac Consoles.
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26 Patchwork London aids Burna Boy’s UK summer shows.
PRODUCTION PROFILE
48 GLASTONBURY
Meet the team working on the Pyramid stage for headliners Dua Lipa, Coldplay and SZA.
62 ARCADIA SPECTACULAR
The performance art collective presents its latest ambitious project –The Dragonfly.
70 LIAM GALLAGHER
Recreating one of the 1990s’ mosticonic albums live, three decades on…
96 Brompton Technology looks to the future of video processing.
98 Ultimate Ears Pro raises awareness for noise induced hearing loss.
100 The importance of stage management redundancy.
104 MADRIX tackles counterfeit products.
IN PROFILE
106 AVM-SFX pilots a dry-hire model.
110 Adamson Systems Engineering celebrates 40 years of business.
112 PRG shares insights on the current
116 Rhea Rodney looks back on her Glastonbury experience. GEAR HEADS
118 Allen & Heath introduces the V2 and RackUltraFX card. FEEDBACK
122 KB Event’s custom-wrapped tr uck takes to BLUDFEST.
124 Hans Cromheecke on the importance of unified data.
126 Celestial powers Glastonbury Festival’s first drone show.
To celebrate three decades of performing on some of the world’s biggest stages, the famed maestro put on a three-night hometown concert with the stunning backdrop of the Tuscan skyline. Speaking to TPi, FOH Engineer, Davide Lombardi reflects on the unique project…
When performers put on an anniversary hometown show to celebrate a notable milestone, you often see them head back to a small venue in which they got their start. However, when Andrea Bocelli looked to celebrate his 30th anniversary of his career, he turned the ‘hometown show’ on its head –instead, opting to create a stunning temporary venue in the hills of Tuscany not too far from his local village. STUFISH Entertainment Architects designed the stage, debuting a large kinetic art sculpture, encapsulating the themes of time, place, and Bocelli’s personal and musical journey. The three nights of performances also welcomed a star-studded ensemble including Shania Twain, Ed Sheeran, Brian May, Zucchero, Johnny Depp, and Russell Crowe, as well as the biggest names in classical such as Plácido Domingo and José Carreras. Alongside guests, 58 musicians from the orchestra, four house band members and a 40-piece choir featured on stage.
Responsible for handling the audio delivery for this intimating line-up was Davide Lombardi. Having last caught up with Lombardi while he
was mixing for Roxy Music’s 50th-anniversary tour, this was certainly a different setting to find the engineer. The first thing we discovered was that this project was a certainly more ‘involved’ project for Lombardi.
“I was brought on in early April and asked not only to mix but to be the Audio Manager of the event. This meant creating a sound design, planning the monitoring system, interacting with the orchestra, house band, and conductor as well as being the sound representative for the broadcast recording and every guest who performed with Andrea Bocelli.”
Early in the process, Lombardi explained how there was a close collaboration with STUFISH and the show designers as they discussed the “harmonious integration” of audio within the design. “Finding this harmony was the main challenge,” commented Lombardi. “Every single detail had to be thought through in advance, doing as much as we could on DWG files as the risk of forgetting small fine points was high.”
The location of the event also created some interesting stumbling blocks due to the shape
of the hill where it was taking place, which meant it was not possible to run cables underneath the stage or on the stage where dancers and performers needed a clear path.
“T he backstage area had limited space for the sound equipment which was allocated into two containers,” added Lombardi. “An additional challenge was represented by the hostile environment with unfriendly dust and high degree heat dominating our days.”
The audio equipment for this testing project came courtesy of Agorá that supplied a comprehensive L-Acoustics PA. To cover the entire crowd, Lombardi designated the area into four distinctive sections.
The first covered the first five rows and was handled by four KARA II on the stage with two KS28s on the floor under the catwalk. Meanwhile, the second area covered the next 40m with the first set of PA towers. “We had weight limitation on those towers and due to their wide position - 48m apart - and the presence of the B-stage, we decided to use eight K2 and two KARA II down in a narrow setting, all on 70°,” stated Lombardi adding that
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on each platform there were also three KS28 in cardioid mode. The second line of PA towers, with a better ground base, was made of eight K1 and two K2 down, with eight SB18 in cardioid mode, flown behind. This allowed coverage for 50m of the main floor area, including FOH position. The last line of towers provided coverage for the remaining floor seats and stands with the highest seat at 12m, including 10 K1 and two K2 with six KS28 in cardioid mode flown behind. Under each PA tower was a SYVA to cover the nearby areas and bring the sound image down.
“Everything was run by LA12X amplifiers and connected via AVB,” continued Lombardi. “Regarding the B-stage, we hid six 5XTs under the catwalk and two KIVA as frontfills. During performances at this location, we had specific changes applied to the first PA Tower and Kara frontfills to move the sound image and create a more intimate experience those close to the
performers.” The FOH Engineer praised the work of Alessandro Cestaro, who was brought in as the System Engineer of the event and aided in the PA deployment.
With so many variables in this project, the audio team opted to replicate the usual set-up of Bocelli’s normal live concerts to bring a level of consistency. This included two DiGiCo SD7Q in mirror mode. “I received a stereo group of the orchestra mixed by a trusted and great colleague Stefano Serpagli and then I balanced it with house band, choir and vocals,” stated Lombardi. Stage side the audio department had a pair of SD7Qs, one of which was controlled by Giuseppe Porcelli, for the orchestra and band monitoring through Allen & Heath ME500 personal small desks connected via MADI.
The second SD7Q was mixed by Filippo ‘Pips’ Zecchini who was dedicated to all artists, conductor and choir. All desks were in Optocore loop with three SD Racks to allow an easy and
sleek overall control of the signal paths. Capturing the vocals of Bocelli along with six other opera singers that needed free movement, Lombardi selected the DPA 6066, omni directional mic to “maintain a high-quality audio” he said, adding: “Using them on B-stage was a risk, but we were pleased with the result.”
The whole orchestra was on DPA 6061 for strings and a mix of Schoeps MK4 and MK21 capsules for other sections and the choir. Guest artists had a dedicated radio microphone of their choice. Regarding monitoring, opera singers had a different monitoring system of L-Acoustics X8, while guest artists were all on Shure IEMs. Meanwhile, Bochelli had an opened in-ear system specially modified for the occasion. Between radio microphones and IEMs, there were close to 60 RF channels all overseen by RF Technician Ivan Omiciuolo. This project marked the first time that Lombardi had collaborated with audio supplier Agorá.
“From the beginning, owners Wolfango and Vittorio De Amicis showed the availability and flexibility to obtain excellent results,” enthused Lombardi. “The team member’s quality was a prerogative of mine favouring professional skills and capability of teamwork which I believe are always the winning keys.”
With such an epic event and with so many guest performers being welcomed to the stage, Lombardi tried to nail down his highlight of the concert run. “Andrea Bocelli’s virtual duet with Celine Dion for The Prayer was certainly a highlight. The song was written by David Foster, who for the occasion played the
piano. Who Wants To Live Forever, performed by Bocelli and Brian May on the B-stage was also an epic moment. “This was a memorable work opportunity,” he closed. “I have felt proud at times watching the event from birth to completion and I enjoyed the artists and the audience’s emotions which I will always treasure. All departments worked in harmony and those vibes made the overall experience very pleasant for everybody.”
www.30.andreabocelli.com www.davidelombardi.com www.agoraaq.it www.stufish.com
KLSTR’s plug and play technology provides lighting professionals with next-generation connectivity across multiple stages at the annual electronic dance festival.
Words: Jacob Waite
Photos:
Tomorrowland and TPi
KLSTR was founded in 2019 with a clear mission: to make networking technology accessible by simplifying the management of lighting fixtures. To fully grasp this innovative workflow, which aims to challenge the current way lighting professional’s setup and manage lighting rigs, TPi visited one of the world’s largest and most technologically advanced festival sites – conveniently located near KLSTR’s innovation headquarters.
“Our vision is to give the users a modern way of configuring and managing their lighting rig. We want users to simply connect their fixtures and have their setup ready to go with just a few button clicks. We identified that being able to read out the cable topology of the fixtures is the key to a faster workflow,” explained Roel Apers, co-founder and CEO of KLSTR, speaking to TPi on site at Tomorrowland’s Love Tomorrow conference.
“Our new workflow is designed to discover the fixtures in the right connection order, by simply assigning a fixture ID and autopatch, or uploading an MVR file to the rig, and your setup is fully configured.”
Drawing on their expertise in sophisticated network switches and insights into improving lighting professionals’ workflows with modern IT protocols, Apers and the team behind KLSTR developed a system to accelerate bringing the lighting rig online and troubleshoot it in a fraction of the time that’s needed with current
technology. The result: KLSTR.nano, which is based on DMX/RDM, and KLSTR.one, which is based on Gigabit ethernet.
Both solutions are based on a hardware chip implemented in the fixture that communicates with their free KLSTR.ctrl application. This plug and play ecosystem equips lighting professionals with the tools needed to manage the complexities of modern lighting rigs.
“Productions using the KLSTR ecosystem save significant time benefits, enhance operational reliability, and unlock a wide array of operational, creative and logistical benefits. We believe it’s time to innovate within an industry that brings emotion to millions of people,” Apers continued.
“W ith KLSTR.nano, we can read the cable topology of your DMX line, with this information our application draws a visual representation of your system. Making it super easy to configure everything. Apart from that, it’s a radically different approach from a traditional DMX bus,” he added.
“W ith KLSTR.nano we create point to point connections, allowing you to daisy chain up to 100 devices with 600 metres of cable between two devices. In case of failure, KLSTR.nano can even show you a shorted cable between two fixtures while keeping all devices online as well as many more cool tricks.”
KLSTR.one is based on the same idea where cable topology is key, but this is ethernet-
based. With existing ethernet systems, multiple settings must be correctly configured, being time consuming, with a lot of room for error.
“KLSTR.one is based on the idea that if we integrate a managed ethernet switch inside the device and use modern day IT techniques, the application can use the information inside the network switch to unlock a super-fast workflow,” Apers explained.
Simply connect your devices, open the application and the application will instantly discover the devices via IPv6. The application will then collect all information from the device and draw how they are connected to each other. “Once a fixture ID is assigned, you’re good to go. One of the other advantages is that you are allowed to make rings for redundancy,” Apers noted.
“We have a deep connection with Tomorrowland; being a Belgium-based company, it’s rewarding to contribute to the world’s largest festival right on our doorstep,” Apers expressed enthusiastically. “Each year brings new developments across the site, prompting us to provide unique solutions that empower lighting professionals’ creativity.”
To t his end, KLSTR featured on the lighting rig for CORE stage, featuring Lucenti PixlStripOne devices connected several PixlDrive 8s with KLSTR.one embedded. Lust For Life, a technical production company for several stages of the festival, adopted KLSTR.
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nano for the Rise stage. Ayrton Cobras were also equipped with KLSTR.nano on the Main Stage. “The feedback from end users has been overwhelmingly positive,” Apers proudly reported. Beyond Tomorrowland’s glamour, Luke Edwards emphasised KLSTR’s utility on smaller tours, or one day events saving time when working with local crews unfamiliar with fixture types.
“B y just saying ‘those fixtures go in a line over there‘ without needing to know fixture numbers is huge when it comes to saving time during load-in. With KLSTR, being able to put them in the right address just by reloading your MVR is so easy,” he noted.
Following a successful debut at Prolight + Sound, KLSTR showcased the creative capabilities or the platform for the first time in the UK at London’s PLASA Show. “Although we currently have been testing our system on the Belgian market, we’re of course talking with several big manufacturers and rental houses, so expect to see more KLSTR devices on the market soon,” Apers concluded. www.klstr.tech www.tomorrowland.com
Adamson Systems Engineering proudly announces its 40th anniversary, celebrating four decades of ground-breaking advancements in sound reinforcement. Founded by Brock Adamson, the company has consistently redefined audio technology, establishing itself as a leader in the industry with numerous patents and iconic products. From the legendary MH225 to the latest VGt Line Array system, Adamson's commitment to quality and performance has made its loudspeakers the trusted choice for top touring engineers and prestigious venues worldwide
The company’s dedication to in-house manufacturing ensures that every component meets the highest standards of performance and durability. As part of its ongoing evolution, Adamson has invested in advanced manufacturing technologies, including a new $4 million electronics facility, enhancing production capacity to meet growing demand. With a legacy built on passion and innovation, Adamson Systems Engineering is excited to continue shaping the future of audio technology, reinforcing its commitment to excellence as it embarks on the next chapter of its journey.
Production Designer, Ricardo Rojas reflects on an ethereal ‘in the round’ show with Snoh Aalegra as part of the Sydney Opera House’s celebration of contemporary art.
Vivid LIVE marks the annual centrepiece of the Sydney Opera House’s year. In keeping with the festival’s history of creative programming, Swedish singer-songwriter Snoh Aalegra lit up a 360° stage with her talent and magnetic presence, backed by a dynamic and eye-catching production design.
“Snoh Aalegra’s music is emotional, and she has impeccable taste, so I knew the design for this show had to reflect those qualities,” Production and Lighting Designer, Ricardo Rojas commented. “A design which felt grand yet intimate, vulnerable yet powerful, intentional, graceful, emotionally charged, atmospheric and dreamy. A living, breathing design that could evolve, unfold and blossom during the performance.”
The design also had to cater for an ‘in the round’ audience. “I have this design philosophy that all limitations are opportunities, so I leaned into it. I soon realised that it was an opportunity for every single person in the venue to have their own unique experience of the show. No two people would have the same perspective
and view of the stage,” Rojas said, explaining his creative workflow.
First, he starts with a pencil, paper and his notebook. “I focus on the overall shape and form of the stage during this step, I develop the overall stage composition, where the performers will go, where lighting will be. I don’t think about specific fixtures yet, just general ideas of where everything should be placed,” he explained.
The second step involves drawing everything in Vectorworks. “This is where I dive deeper into the details of the production design. I take the pencil drawings and try to think in more practical terms,” Rojas noted. “I make sure the scale of all the elements fit on the stages we are going to. I make sure that any rigging elements are possible and doable. Trim heights, fixture types and spacing is all developed and decided on here.”
The final step involves importing from Vectorworks into Syncronorm Depence R3. “All of our previsualisation and render work is done in Depence. It allows us to delve into the detail
of the lighting programming and bridge the gap from the abstract and technical drawings, transforming them into photo-realistic renders,” he reported.
Kinetic Spheres – RGB spherical lighting fixtures that can move up and down up to 30ft – were the most striking element of the design, situated on a 28ft overhead circular truss. “The range of looks we were able to achieve was impressive. They added an incredible amount of depth and versatility to the show,” he noted.
In fact, Rojas treated the Kinetic Spheres as a scenic element to make the show feel “intimate” yet “grand” amid the performance. “Playing with scale was an essential element,” he stated. “It allowed for us to achieve the goal of a stage that would transform throughout the set and look and feel different throughout.”
Perhaps just as important was the key light with four remote PRG GroundControl units chosen as follow spots. “The biggest challenge of a 360° show is being able to light the performers wherever they may be on stage. I knew we needed one of these units in each
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corner so that we could follow Snoh’s movement and allow her the freedom to be herself and move and flow freely,” he added.
The side key light was also crucial, to this end, 12 GLP X4 XL Washes were situated on each side of the stage.
“T his allowed us to have a fill light for Snoh and ensure we could light her anywhere she went,” Rojas enthused. “I also wanted to match the circular element of the spheres overhead with something on the floor.”
This is where the 20 further GLP X4 Washes came in, arranged in a circle, framing Snoh in the middle of the stage.
The atmosphere was another critical element of the show: “I wanted it to be hazy throughout the show, to make everything feel dreamy and ethereal. We had to find the right balance of haze and maintain it throughout the show,” he continued.
“I also needed some more energy overhead with two overhead lighting trusses that hung above the circle truss housing 16 Martin Professional MAC Quantum Washes, 12 Ayrton Perseo S Profile Spots, 12 CHAUVET Professional Color Strike Ms and 12, 2-Lite Blinders – all controlled by MA Lighting grandMA3 full and lite consoles.” Some of Rojas favourite looks included the introduction of the Kinetic Spheres during the track, Be My Summer, including the dynamism and shapeshifting nature of Nothing Burns Like the Cold, and Nothing to Me.
“M y intention was always to reveal different layers of the design throughout the set, and we did a great job of sticking to that,” he remarked. The ambitious design had to be loaded in on the morning of the show and was made possible thanks to the collaboration of PRG Australia, the Sydney Opera House and Rojas in the lead-up to the event.
“It required an international team effort to pull this show off, I’m grateful for everyone who helped along the way,” Rojas said, praising the support of PRG Account Manager, Jason Glass; Lighting Crew Chief, Charlie Hall; Lighting Programmer, Danni Cabaruvias; Touring Lighting Director, Paul Phou and Creative Director, Izabelle Wilson.
“W hen you look at the history of the Sydney Opera House, you realise what an honour it is to bring a show to that venue,” Rojas concluded ecstatically. “This was a bucket list venue for me and a privilege bringing one of my designs across the world to such a special venue.” www.snohaalegra.com www.ricardorojasdesigns.com www.prg.com
Patchwork London supports Burna Boy’s UK summer shows including a debut appearance on Glastonbury Festival’s Pyramid stage as well as a headline performance at London Stadium.
The working relationship between Patchwork London and Burna Boy has incredibly humble beginnings – starting with a direct message on social media. “They originally reached out to us on Instagram, then came to visit our office,” revealed Patchwork Founder, Steve White, reflecting on the working relationship with the artist’s team alongside Patchwork Touring Director, Calum Mordue.
Following this initial meeting, the company went on to support the team during the artist’s album launch at PRYZM Kingston and underplay at Roundhouse, London in August 2023. With the Roundhouse and PRYZM shows done, Burna headed out on a stadium and arena tour of the US. This was their full show, which included two DiGiCo SD5 consoles in ‘monitor world’ and a DiGiCo 338 for FOH duties.
When t he production flew to t he US, t hey enlisted the support of Patchwork’s partner company, Worley Sound, who provided an identical package in collaboration with the UK rental house. Patchwork set up the show in the UK during rehearsals which Worley mirrored
in t he US. Fast-forward to 2024 and Tèmídayọ̀ Oládẹhìn, Burna Boy’s production lead, got back in touch with Patchwork regarding various festivals and a headline Wembley Stadium show. This time they needed to build on the existing kit list with more channels, musicians and outboard requirements.
For this summer’s shows, Burna Boy’s audio team harnessed the new DiGiCo Quantum852 at FOH with two DiGiCo SD7 Quantum monitor consoles. These were on an Optocore Loop with seven SD Racks (32 bit) for inputs, outputs and FOH outboard inserts. Unbelievably, Patchwork had to make considerations with i /o c ard configurations because of t he 504-channel limitation of the Optocore system. FOH had an extensive selection of both analogue and digital outboard equipment. This included two Rupert Neve Designs 5035 Shelford chanells, two 211s, four RMP-D8s, two Portico II channels, a Portico MBP and a 5045; a Bricasti M7, a Sonic Farm Creamliner, a TubeTech CL1B compressor, Waves SuperRack LiveBox and Extreme Servers. Monitor world
boasted a 5045, a Bricasti M7, Waves Extreme Severs and KLANG DMI Cards.
With numerous musical elements from musicians, backing singers and a drumline, the wireless requirements were slightly higher than your standard production. Patchwork used 34 channels worth of Shure Axient Digital Wireless Microphones. This was made up of two ADX2FD for Burna, which automatically switched frequencies via ShowLink. Three AD2 for the backing vocalists, 29 AD1 belt packs for the string, marching band, talking drums, Omele, guitar, bass, brass and choir members. Using the AXT630UK Antenna Distribution system made it easier for the audio team with two Active UA874WB Antennas on board. The team also utlised 26 channels of Shure PSM1000 InEar Monitors and PA821B Antenna Combiners. The main challenge with this project was the sheer amount of wireless spectrum space required – especially for the Glastonbury show. Patchwork RF Technician, Alex Legge, used AD600 to scan the RF environment, Wireless Workbench to deploy and WaveTool to monitor.
In addition, the number of packs and people proved a challenge. The team used an 8ft table to lay the packs out for different members of the band, performers and crew.
Along with equipment, Patchwork supplied five members of crew, including FOH and Monitor Console Technicians, two Patch Technicians and an RF Technician. For the stadium and Glastonbury shows, the company sent an Audio PM.
“Working with Temi, Duriel, Josh and the wider team is a pleasure,” concluded White. “For a show of this size to maintain such wonderful spirit is something special, and we’re really honoured to be part of that. As far as the project and technical demands are concerned, it’s something that has pushed us forward. Maintaining our boutique and custom approach to something that large is a challenge which we feel we’ve risen to pull off.” www.onaspaceship.com www.patchworklondon.co.uk
The brains behind the hugely successful Weekends with Adele collaborate with experts in the field to redefine live entertainment through sheer artistry, advanced production and precise planning – crafting an unforgettable spectacle over the course of 10 shows and challenging the established conventions of touring with a purpose-built 80,000-capacity stadium…
Adele in Munich transcends the bounds of traditional concert experiences. Built following months of intense collaboration, a roadie-specified stadium houses a close to 700,000lb production, which envelopes 80,000 attendees nightly in a sensory journey through Adele’s back catalogue. Spearheaded by a consortium of industry titans, each element – from Adele World, 5,000 sq m of LED and 36 hangs of PA through to meticulously laid cabling and purposebuilt infrastructure reflects a commitment to flawless execution. Behind the scenes, a delicate dance of logistics orchestrated by a dedicated crew ensures that every detail, down to the last pixel and biodegradable confetti, converges to elevate each performance to unforgettable heights.
Midway through the 10-show residency, Production Director, Paul English, welcomed TPi backstage, alongside his trusty four-legged sidekick, Honey. Construction on the stadium and Adele World began in June. A testament to the attention to detail, parts of the freshly laid tarmac were cut to house cabling – invisible to the concertgoers – demonstrating the benefits of having a purpose-built space, designed by production professionals. “The first cables went down on 28 June, and we were show ready by the 21 July,” English recalled proudly.
Grandstands were constructed 14m high with seated areas on the floor 0.3m off the ground, and three FOH areas built in the breaks between the grandstands to prevent shadows on the seats. “This level of detail is carried throughout the design,” English remarked.
“Given the success of Weekends with Adele, we thought it would be a shame if one project would be the only outcome of collating these great minds,” added John Dalton, Tour Financial Director. “Everybody is aware of the magnitude
of this project, but we have collaborated among all departments to realise this vision.”
Multiple cabins were housed backstage with soft furnishings and further amenities implemented across site to ensure the monthlong residency felt like a home away from home for the crew. “The Weekends with Adele team were happy to keep going because we’ve created a nice working environment,” said Maya Gas, Tour Logistics Director. “Working collectively is key to ensure that morale is high, and we can take care of the 200 crew during shows and double that during load-in and -out.”
According to English, despite the scale of the project, each technical production element is proportional. “We never considered intentionally breaking a world record for the longest continual LED wall. It just transpired that to broadcast to 80,000 people in a stadium in an artistic manner, needed the biggest continuous LED wall ever built. All the production elements are scaled to meet the demands of the audience.”
To t his end, the team enlisted the expertise of Clair Global (audio, communications, radios and data services, sitewide production IT and Wi-Fi infrastructure), eps (seating), ffp (special effects and pyrotechnics), Florian Wieder (Adele World design), Freight Minds (freighting), Gennybasher Services (power crew), JEM FX (gatlin gun), LarMac LIVE (Adele World), Light Initiative (LED trim), Load Cell Rental, Method to the Madness (technical design), Momentum (structural engineering), Neg Earth Lights (lighting and rigging), Nüssli (bleachers and stadium walls), Popcorn Catering, STAGECO (black steel), Silent House (lighting design), Solotech (Video and LED), Stufish Entertainment Architects (stage design), TAIT (automation and staging), The Power Shop (generators), Transam Trucking, Treatment
Studio (video content), Twenty Three (video infrastructure), SpiderCam, SteadyCam and Vis-a-Vis (camera dollies and towers).
“T he support and collaboration of our vendors has been imperative,” English stated. “It’s paramount that we provide the best show possible, so we do a tech day with a full cue-tocue show rehearsal before every show day, to make every performance better than the last.”
Various components of the staging design of Weekends with Adele were transposed from Las Vegas to Munich, allowing Adele to connect with 80,000 people intimately. Despite an Aladdin’s Cave of technology at their disposal, the embryonic stages of the design started off with a conversation and paper.
“T he ability to sketch as Adele was speaking or take a piece of paper and turn it into a scroll were remarkably effective tools to realise her vision. We homed in on the idea of the shape of the screen representing the fluidity of paper, as it represents the starting point of her songwriting, so we replicated that by drawing the screens as a scroll,” reminisced Ray Winkler of Stufish Entertainment Architects.
“We don’t just refer to the staging design as the ‘embrace’ as a metaphor, but as a practical tool, which allowed Adele to physically embrace her audience. There is no escaping the scale of the production, however, the production underscores the prowess of Adele’s artistry and performance,” he continued. “Fundamentally, without collaboration across all departments, none of this would work.”
Winkler pointed out that 90% of the equipment used to build the production is rental stock and will be recycled on other projects. “Across the industry, there is a huge scope for improvements on the choice of
materials we use. However, this new generation of LED uses less power, and equipment is getting smaller and having one load-in and -out results in less trucking,” he said, citing incremental improvements the production made to offset the estimated 41% of the carbon emissions from audience travel.
“From a mental health perspective, the industry is phenomenally resilient but not immune to the growing demand of complex productions, so having one fixed location may also alleviate the additional logistical demands required of touring productions,” he stated.
Show Director, Kim Gavin, added: “My biggest challenge was ensuring that anyone who wanted to watch Adele with the naked eye could find her on stage. If every person in the crowd can see her clearly and can interpret her expressions and movement on stage – as well as the construction of the set design, which envelopes the crowd – it will feel like an intimate environment, regardless of the production value, which has not been economised in any area to deliver the best show possible.”
Reinterpreting existing ideas and songs from Weekends with Adele with a more “live and Munich” feel, elements of the setlist, including the incorporation of new songs, the team filmed fresh content for Strangers by Nature, Water Under the Bridge Oh My God Send My Love, and Set Fire to the Rain, among others.
Adele wanted to incorporate strings into multiple songs on the setlist with 21 musicians on each side, as an extension of the set. “By bringing them out on the passerelle via manual lifts, it adds dynamism to the show and immerses the audience in the action with instrumentalists on each side, regardless of where Adele is on stage,” Gavin explained.
With real-life rain bouncing down off the passerelle amid Set Fire to the Rain, as a punter, the lines between reality and fiction
were magically blurred during moments of the set. “The visual canvas is the biggest thing we can provide to support Adele’s performance. However, it’s about maintaining a connection with the audience,” Gavin underlined.
As well as the high-octane looks of Skyfall and Set Fire to the Rain, Gavin shared his love for the automated lighthouses and seaside content of Hold On. “It was the ‘water cooler’ moment that the crew would talk about during the production rehearsals,” he recalled. “Each department’s delivery is extensive, and it is testament to the team, who have developed an understanding of the level required to deliver a production of this scale.”
Technical Production Designer, Malcolm Birkett, collaborated with the creative team and production departments to develop site design drawings to support the build. His initial focus was on the auditorium area, collaborating with the venue design and promoter team on audience layouts and positions of seating stands. “This established the scale of the venue and informed the size of the staging,” he recalled. “Once Stufish’s stage design had been approved, the priority was to determine the size and geometry of the sweeping LED screen in collaboration with Solotech.”
This involved analysis of how tightly the team could curve the tiles on the scrolls without affecting the screen content. “The structures, rigging and wind bracing involved in securing the screen is a feat of engineering, which took an enormous amount of design time to achieve,” Birkett highlighted.
FOH areas were constructed swiftly, leaving room to add towers and structures in seating areas, so the seating manifest could be finalised and the show put on-sale. “The design for the B-stage required excavation
on site, which involved negotiation in terms of size and depth with the venue production team and detailed planning to get this construction factored into the groundworks,” Birkett noted. The staging was refined to accommodate stage-edge lighting, audio, SFX and pyro to ensure it was integrated with the staging neatly. “As the show content developed, new ideas were incorporated into the staging, such as the 42 orchestra lifts around the passerelle. This required the creation of an entrance between the stage-edge lighting shelves and a standby area for the musician and lift operator next to each lif, all under a 1.5m-high stage.”
Establishing the position of the stage and auditorium was vital. “There was a site power cabin that couldn’t be removed that would fall somewhere in the middle of the arena. The solution was to orientate the auditorium so this cabin sat behind the central FOH position, thereby sitting in an existing and necessary sightline shadow,” Birkett said. “This placed the stage close to the north side of the site, meaning we had a narrow area for backstage. However, we had the full length of the stageside wall, so we’re not too short of space.”
Once the position was established, dealing with the ground levels was a challenge. “There is a height difference of around 0.6m from one side of the stage to the other. The main stage had to be exactly level. The passerelle and thrust however followed the ground. This meant it was hugely time-consuming during the installation for the carps to adjust the level of the decking, so it followed the ground in a smooth, but not horizontal, line,” he explained.
“It’s satisfying to see a project through from inception to the end, be fully involved in the creative process and reunite with the Weekends with Adele team,” he reflected.
Around 50 trucks worth of STAGECO steel were deployed with six cranes on site during
the opening 10 days of the build, with three locations of the production infrastructure built in tandem. According to Site Coordinator, Hayo den Boeft, this type of production would be unimaginable in a typical stadium environment. “It could be done in another location provided you had enough real estate, and a large, flat piece of ground, but the beauty of this space having been built by touring professionals means we are accommodated with enough room to load-in and -out truckloads of equipment with relative ease,” he said.
“This was an exciting and daunting challenge, given the scale on the project,” admitted Head Rigger, Colin Raby. “We’ve put up 1.2km of wind bracing truss across the site in partnership with structural engineers, Momentum.”
The total show weight hanging, including the motors, was a staggering 293,792kg (645,072lbs) with 392 hanging points and 142 two-tonne motors. “We’ve got 96 motors on FOH alone,” Raby remarked.
Load Cell Rental provided 140 load cells, which Raby declared as “integral” on a show of this scale. “Safety is of paramount importance,” he said, singing the praises of the team. “Every department brings a huge amount of equipment and expertise to this project. I often stand back and think ‘wow, me and a load of mates turned up and have created something 80,000 people are going to come and see for 10 nights in what was an empty field in Munich’.”
When Solotech was enlisted for this project, it had a pre-existing goal to invest in a significant amount of single batch LED over a multi-year period. That was soon accelerated to three
months to meet the demands of Adele in Munich. Despite global shipping challenges, Solotech managed to procure over 5,000 sq m of newly purchased ROE Visual LED screens to Solotech’s European facility to be ‘framed up’ before arriving in Munich.
“Not only was it a challenge for us and production, but it was equally a manufacturing challenge, and this was compounded by the worries with global shipping. However, we had every faith in the brains behind this operation,” recalled Ian ‘Woody’ Woodall, Solotech’s Director of Global Touring and Special Projects, citing the support of ROE Visual, Twenty Three, Brompton Technology, Disguise and AV Stumpfl. “Our partnership among manufacturers and our international locations has been integral to the success of this operation.”
Working with Twenty Three, Solotech utilised its extensive stock of touring frames and associated hardware to develop the header and customised LED infrastructure, considered the ‘largest hanging bracket’ ever made to hold approximately 250 tonnes of equipment and achieve the curvature of the screen.
A special bracket had to be developed to hide STAGECO’s structural elements. The goal was to see no rigging for the LED screen to create an ‘infinity’ look. “Given the weight of the 250-tonne LED display, not factoring the integration of additional lighting and rigging materials, as well as the curved concave and convex design, we were developing more than a simple bracket,” reported Twenty Three CEO, Kristof Soreyn. For each surface the buildup methods and additional curving parts of the LED had to be designed to ensure there were no gaps and slotted together smoothly. “This required cooperation between all partners involved with every detail having to fit the overall design,”
John Dalton, Honey the dog with Paul English, Maya Gas and Judit Matyasy; Colin Raby (centre) and his team of riggers; Matt Askem, Solotech’s Ian ‘Woody’ Woodall, Paul ‘Macca’ MacCauley and Dany Lambert with Treatment Studio’s Brandon Kraemer; Paul English,Julian Bentley and Hayo den Boeft; Matt Murphy and the power crew; LarMac’s Sula Levitt and Jo MacKay.
Soreyn acknowledged. Once the vast video infrastructure was created, Twenty Three provided detailed Bill of Material lists to the Solotech team to build as per the 3D model.
“It was important during design process those 3D models were of course discussed and integrated with the STAGECO team and with overall production drawings to make sure all rigging points and weight assumptions were planned carefully. This resulted in the build being identical to the 3D model with millimetre precision,” Soreyn stated.
McCauley added: “One of the challenges was finding a way to build it. We’ve got a good team and a pool of resources at Solotech with experts in their field, so this was a team effort with which we were able to invest in and centralise equipment throughout the group. We also implemented more LED screens over the course of the build to the main stage and B-stage riser.”
However, within days of arriving on site, the production team had to evacuate the site amid extreme weather. “We’ve had four evacuations over the course of the residency, and yet the video wall has stood tall; we’re pleased with how robust it has been,” reported Solotech’s Paul ‘Macca’ McCauley, referencing the importance of Solotech’s resident LED expert, ‘Steve-O’ Grinceri, in specifying the system.
“He visited ROE Visual’s HQ in China to ensure that Solotech’s specific requirements were implemented into the final product. As a global touring specialist company, we are very focussed on safety and speed of build, so making sure that no hand tools are needed when climbing the back of the screen was vital. There’s been a lot of development implemented by ROE Visual to improve the reliability of the screen massively,” he recalled.
In addition to building the 18m tall main screen, Solotech provided two tiers of 2.4m each curved CB5 LED screen to emphasise the scroll design. From each scroll, two automated lighthouses rose above the LED.
On t he back end, 26 Brompton Technology Tessera SX40 processors powered the screen, with many distribution and Tessera XD boxes housed in 12 custom barges across the 220m stretch across the back of the screen providing power to each of the primary video sections.
“The attention to detail doesn’t stop once the screen is built. We strive to make it as good as it can be,” Macca said, recounting the 32 trucks worth of equipment sourced from Solotech’s UK, Belgium, and Las Vegas warehouses.
To c apture the action, Solotech’s Alex Mulrenan oversaw the camera package, which featured 4K Grass Valley cameras –shot in S-Log, with custom LUTs applied via AV Stumpfl PIXERA FOUR media servers to achieve the best possible grading – additional compact cameras were provided for spidercam, two Agito dollies provided by Vis-àVis, as well as a steadicam. Two tower cameras with six Solotech-supplied long lenses were dotted around the stage, FOH and pit areas, with two further freestanding cameras across the passerelle, and lastly with an ultra-wide show for good effect.
“T his Munich residency is unlike anything that has ever been done before. There was no template, no comparison – only possibilities. What makes this show groundbreaking isn’t just the scale of the record-breaking LED screen, but the innovative thinking that made it possible. This production redefines how live entertainment can be experienced. Working alongside Adele’s visionary team and top-tier suppliers, we were able to push beyond the
Showcaller, Maddie Cupples with Floor Managers, Emily Burton, Sophie Zimmerman and Rob Allan; Head Carpenter, Jem Nicholson with the carpentry crew minus Lonnie Adams; Wardrobe’s Skylar Christensen, Lisa Bernson and Cameron Connerty; Renzo Cargnelutti, Matt Varley and ffp; Mike Simpson and the TAIT automation team.
limits of what anyone thought was possible,” Woody said, praising the influence of Dany Lambert and Solotech’s Las Vegas video team. “Bringing them to Munich has underlined this spirit of collaboration and innovation that made this Guinness World Record achievable.
I want to extend my congratulations to everyone involved and the crew who made this achievement a reality.”
No stranger to large-format screens, Treatment Studio’s challenge with creating visual content for this screen was the resolution and the nearly 10:1 aspect ratio. “We adapted the content to the designed canvas and came up with some clever creative ideas – the scrolls in particular – which integrate the video surfaces as one piece of canvas,” said Brandon Kraemer, Technical Director and Real-Time Colour Grading Integrator at Treatment Studio.
In collaboration with Creative and Screens Director, Matt Askem – a key member of Adele’s live shows since 2016 – Treatment Studio assembled an ever-growing team of designers, 3D artists, animators, illustrators, and technical managers to fulfil the creative brief.
“Working with such a large screen required us to develop a bespoke workflow from the outset. It was crucial to implement an efficient system and templates that allowed our design team to focus their energy on the design and animation process without getting bogged down with the technical side of rendering, pre-visualisation and delivery,” Treatment Studio Creative Director, Noah Campeau and Production Director,Lizzie Pocock explained.
Having a clear understanding of the setlist early on allowed Treatment to start piecing ideas together through mock up designs,
sketches and relevant points of reference.
“The design process was truly collaborative. It was imperative that every treatment had some conceptual weight while being visually aligned with the overall set design. It was important to maintain an open dialogue, allowing us to achieve a visually rich and varied show that worked at that scale,” the designers added.
Treatment adopted a novel approach to how the team processed and colour graded the IMAG feed by running a custom setup server upstream from their primary media server.
“We’re leaving our cameras in a log space, so we get more nuanced colour information for the IMAG, and by doing so, we have a lot more latitude to bring out skin tone and richness, which is not compromised by the weather and time of day. It also allows us to customise the look of the IMAG for a particular piece of content and do so in real time, based on other changing elements,” Kraemer explained.
The team harnessed AV Stumpfl PIXERA 4 media servers to process four MEs from the switcher desk, which was then fed into Disguise GX 3 media servers as multiple video inputs.
“We’re pre-processing everything upstream and I’m using a custom shader on the PIXERA FOUR that was developed by AV Stumpfl to function more like a colour grading tool, in addition to a custom Notch block, which I’ve set up to be a multi-LUT mixer and additionally, facilitate some edge aware blur with custom threshold adjustments.” Kraemer said, praising the support of AV Stumpfl, Disguise and Solotech. “They have offered their expertise and time to make sure we had the right equipment on site to deliver with redundancy, which is crucial in this environment.”
Kraemer cited the colour balance between lighting and the visual content amid Water
and Simeon Bate. Opposite: Paul English, Chris Taplin, Matt Kaye and Transam Lead Driver, Scott Cooper with Honey.
Under the Bridge as among his favourite looks. “Anything we do with creative is supportive of Adele and this show does that well.”
“Given the vast canvas I had to work from, I wanted to capture and accentuate the video, while simultaneously creating intimate moments for the entire audience,” said Lighting Designer, Cory FitzGerald of Silent House.
FitzGerald used Syncronorm Depence R3 software to create realistic looking renders to previsualise the show. “It was amazing to validate the design before hanging it in the real world. Due to the nature of outdoor shows, we continued to update the files to allow us to keep working in daylight or bad weather,” he added, noting the requirement for a comprehensive followspot system. “The amount of distance around the space and number of fixtures required to do simple ideas is enormous. For followspots, we chose Robe iFORTE LTX on a Zactrack PRO system to keep her illuminated over the hundreds of metres.”
The zactrack system included two PRO servers (a main and back-up); 25 PRO anchors around a 120m by 120m performance space and 12 PRO trackers. The throw distance from the 25 tracked Robe iForte LTXs and a Robe FORTE to stage was up to 128m, which demanded accuracy and precision. FitzGerald said: “We had amazing support from Zactrack and MA Lighting. I believe this is the largest footprint of a Zactrack system to date, providing us with a lot of flexibility across multiple fixtures.”
To compete with the outdoor elements, IP65-rated solutions were a must. “I like to keep things as uniform as possible and use the same lights in most locations to create stronger
looks,” FitzGerald noted. “We settled on Robe iFORTE LTX for our ground row of beam lights, and our audience tower lighting, so that we’d have uniformity in those connected worlds.”
Ay rton Dominos were chosen as ground and overhead fixtures. “We knew they’d pack the punch we need and give us the flexibly around the band. We also added Robe iFORTEs for the band’s key light as well as GLP JDC1s, situated upstage, under the video screen for punchy back light,” FitzGerald said. “Robe iBOLTs were a late addition. We had five per side on our scroll towers and added three upstage centre areas for some amazing central back light moments.”
The network and control system alone were a feat of engineering. “It took a village to make this show happen,” FitzGerald remarked. “Neg Earth Lights and the crew deserve a medal of honour. This was a monster to create and build and maintain, and they have done an amazing job; it was a pleasure to work with them and we couldn’t have done it without their teams.”
In addition to 2,200 lighting products, including atmospherics, Neg Earth Lights Crew Chief, Keith Johnson, supervised a team of 19 members of crew during the load-in and nine members across the course of the shows. “It’s not a difficult show, there is just an awful lot of it!” he exclaimed.
The lighting package comprised 200 ACME Lighting PIXEL LINE IPs rigged across the top of the video wall with 125 Ayrton Cobras situated around the passerelle on the ground. Overhead lighting came in the shape of Ayrton Dominos and Robe iFORTES, while GLP impression X5 Bars illuminated the circumference of the passerelle and B-stage alongside 92 iFORTE LTXs. Out front were 348 SGM P10s back lighting the audience and two mammoth Syncrolite units for the towers. The MA Lighting control package included four grandMA3
full-size and two light consoles, 14 grandMA3 processing unit Ls and unit Ms each overseeing 192,882 parameters. “Despite varying weather conditions, the lighting rig has held up remarkably well,” Johnson reported.
Dave Ridgway, Managing Director Neg Earth Lights, commented: “I am incredibly proud that Neg Earth is providing lighting and rigging for Adele’s show in Munich – what an epic event! The show design is the creation of a world-class team, and we’ve had the pleasure of delivering Cory FitzGerald’s lighting vision in the safe hands of Production Director, Paul English. It has been great to collaborate with all the suppliers involved and we’re delighted to support Adele.”
In addition to its robustness, FitzGerald highlighted the versatility of the rig: “The screen allows us to transform the landscape every song, and once the sun fully sets we get into some of the more immersive moments,” he said, refencing Hold On. “This production can only be described as a festival dedicated to a truly unique artist.”
Around 1.3km (20kW) of RGBW addressable LED tape driven, supplied by Light Initiative, spanned the circumference of almost every staging fascia and was driven directly via streaming ACN (sACN) from an MA Lighting grandMA3 console in 10cm sections, reaching close to 50,000 parameters and around 75K pixels. Automated lighthouses were also dressed in LED tape to make the manoeuvres read well to the eye as they rose above the monolithic video scrolls.
“T his is a new pixel-for-pixel solution, created specifically for this project,” said Light Initiative’s James Phillips. “The cabling is the same as prior systems, but the drivers are new, so we spent a lot of time during production rehearsals tweaking and refining, the team has done a
fantastic job. It’s a privilege to be involved in the large-scale delivery of new solutions to meet creative-led challenges in the live sector.”
Around 18 members of TAIT were on site for the load-in and production rehearsals, priming the stage and automation elements. Automation Operator and Programmer, Todd Bleiman, was among the six members on site during show days, overseeing the inspection and operation of a 6.9m diameter B-stage scissor lift –comprising three scissors with a -2.1m below stage and +2.25m above stage range of motion – a main stage toaster lift with a little 35.5cm lift platform for a microphone stand, and a 3m square Modular lift with -2m travel.
“T he band risers are seven Mobilator knifetracking platforms and have 10.7m of travel up and down stage. They move around for 15 different configurations during the show. In addition, we have two automated 2m-diameter, 5m-tall, and 1,100kg Lighthouses that protrude from the top of the about 26m tall scroll towers, controlled by four Nav Hoists each,” he said.
“T he Lighthouses have two Syncrolight beacon light fixtures each for a really stunning look during Hold On. I’m operating the show from a TAIT Kinetic console; it’s one of the many consoles that can run TAIT Navigator software and is very intuitive. It allows me to easily run overlapping cues while maintaining independent control of each element.”
Bleiman referenced the opening of the show with Adele’s entrance, the performance and pyro of Skyfall and Set Fire to the Rain on the B-stage lift, as well as the band’s ‘V look’ amid Rolling in the Deep as the ‘standout’ automation looks of the show. “The finale of the show entails an impressive, and loud, fireworks display while there are multiple overlapping cues. The whole
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band is moving on six of the Mobilators, both lighthouses are moving, and the Modular lift is moving for Adele’s exit. I’m extremely proud to play a small role in creating this spectacle.”
From low smoke and CO2 through to confetti, fireworks and flames, all the pyrotechnics and special effects were custom made or enhanced by ffp – including polaroid confetti during When We Were Young and the burst of standard confetti during Rolling in the Deep. “All 110 confetti machines must be fully reloaded between one song in around five minutes. From polaroids to standard confetti, meaning if there is differing confetti left over, it must be scooped out by hand, and reloaded with a new barrel and re-pressurise the unit,” ffp’s Matt Varley explained. “We have developed an automated system to re-pressurise the system, but all the barrels still must be manually swapped and secured in to place by hand.”
All ffp’s confetti is biodegradable and flame certified. “We deploy four of our newest flame heads, which doubles the height of our existing large flame systems, during Set Fire to the Rain with each flame reaching around 35m,” he said.
In addition to the flames, ffp deployed a new CO2 jet system, built by Club Cannon, which could reach four different configurable heights, allowing the team to achieve a multitude of looks. “You think you’ve seen CO2 before but when you fire 40 jets, which are four times larger than you’re used to, individually, it’s an impactful moment, that even we, who have seen everything, were blown away by!” Varley declared proudly.
JEM FX’s huge Gatlin-style T-shirt guns, built for Weekends with Adele, made their Munich debut. Further ambient effects by ffp were triggered during the thunderstorm visuals of Set Fire to the Rain, which immersed the audience, closing the gap between reality and the video wall. “Our final flame cue is when the
stage goes dark amid Set Fire to the Rain, and we get to trigger the 35m flames into the night sky. From an environmental perspective, we’re not using any propane for our flame systems. We use a much cleaner, naturally occurring fuel in our system,” Varley stated.
The thrust and pit were covered by 27 spotters. Pyrotechnics were triggered by the GALAXIS firing system with an MA Lighting dot2 selected for DMX control to trigger flames and CO2 with a mixture of timecoded and manual cues. In a feat of engineering, 540 jets were shot across three seconds amid the finale. “An enormous stage like this requires many machines to achieve a seamless look,” ffp Crew Chief, Renzo Cargnelutti added. “While it is a huge stadium, there is not acres of space behind the stage, so we needed a product which requires less of a safety distance without sacrificing the visual look, which was quite challenging to create.”
ffp deployed 30 staff along with 10 local hands for the duration of the show. To put that in perspective, a traditional touring special effects and pyrotechnics team is between six to 12. “We have our own day-sheet because there is so much information to process internally,” Cargnelutti noted, reflecting on the project. “It’s fulfilling to see the result at the end with 80,000 people smiling.”
FOH Engineer, David Bracey was tasked with mixing the singer alongside backing vocalists, the band and 42 strings with Monitor Engineer, Joe Campbell handling the stage mix. “You can’t go into autopilot with this show, that’s for sure,” Bracey said, citing One and Only and I’ll Be Waiting as among his favourite songs on the setlist to mix. “She’s an extraordinary live singer with a great band. It’s a pleasure to mix.”
His desk of choice was the DiGiCo SD7 Quantum – a surface he’s used since the release of the original SD7 in 2007. “It
works exactly the way I think a desk should, particularly the programmability and flexibility.”
Adele performed using a Wisycom wireless transmitter with a Neumann KK 205 capsule. “It’s something we’ve upgraded over time,” Bracey detailed. “One of the good things about being stationary on Weekends with Adele is the fact that you can make incremental changes and appreciate the difference because you’re not suddenly moving on to a new venue.”
With no plug-ins in sight, Bracey’s outboard rack comprised the usual suspects – four Bricasti M7s and a Waves MaxxBCL, with a Neve 5045, Empirical Labs Distressor and Neve Shelford channel strip housed in the drive rack. “It’s the first time I’ve used the Neve 5045; it allows us to have more control over her vocals when she is performing 90m in front of the PA system,” he explained.
Like his preference for DiGiCo, Bracey exclusively uses L-Acoustics loudspeakers, usually arranged by Systems Engineer and Audio Crew Chief, Johnny Keirle. “He is relentless in his preparation, so the results were immediately obvious. Johnny leaves no stone unturned – it’s all in the planning, which I’m very grateful for,” Bracey said, praising Keirle’s design of the comprehensive sound system. “One of the biggest challenges I had was maintaining a clear aspect, and with a very high video wall, this meant designing the main system with an extremely high trim,” the engineer explained.
The L-Acoustics PA system featured four hangs of K1SB and K1 across the main and side hangs, each with adjacent K2 hangs ‘down firing’ on a separate hang and flown KS28s behind the main hang to provide subwoofer coverage. For outer hangs, K1SBs and K2s were flown with additional KS28s behind. On the ground, 12 positions of KARA II were selected for front fill, with 12 additional positions of KS28 ground subwoofers – two per position in a physical-arc cardioid deployment
to fill the pit area. Further outside the video wall, additional outer hangs of K1SB and K2 were supplemented with KS28s to cover the full width of the audience.
A total of 14 delay towers were specified: six “lamppost towers” each boasted hangs of L2 and L2D, and eight traditional delay towers showcasing further hangs of L2 and L2D loudspeakers with flown KS21 subwoofers behind – making for a total of 36 hangs of PA over 20 positions. “The distance to the far seats in astonishing but the system is performing incredibly well,” Keirle remarked.
A further 12 positions of KARA II performed front fill duties around the passerelle, with four positions of L-Acoustics A10s specified for B-stage reinforcement.
“T he biggest challenge for us, and for Adele from a performance perspective, is the time of flight from the PA system to the B-stage. We’re relying heavily on the main system covering this area and the front of the seating beyond the passerelle – which means when she’s singing into the microphone, she can hear herself 280 milliseconds after she’s sung, which is challenging, but it’s physics,” Keirle noted. “Dave and I work continually on minimising PA infiltration of her microphone.”
Logistically, this was also a demanding project, which requires a lot of equipment and expertise. “Clair Global have been a huge help,” Keirle commented.
“A ll the 14 positions of L2 were essentially purchased for this show, and they kindly facilitated all aspects of the sound design. Everything else from a preparation perspective has been fantastic. We’ve been dealing with the same operations and account handling teams for almost three years, so the communication lines are strong.”
Like the video wall, the PA was wind braced for safety, surviving all manner of seasons on site. “The engineering team at Clair Global did a stellar job; It’s been a lot of fun albeit challenging to execute. It’s exciting to find solutions to problems which have always existed, but problems we’ve never had the time or necessity to overcome in a typical touring scenario,” Keirle reported.
In addition to audio, Clair Global provided site wide production IT and Wi-Fi infrastructure managed by Kevin LehMann, and a comprehensive communications network. “Production wanted a solid system that could facilitate site wide communications and Riedel is a trusted system,” Communications Systems Designer, Patrick Taghavi, said.
The mainframe featured a Riedel Communications ARTIST 1024 frame on AES67 linked with Dante and MADI elements. The latter shared between the audio team, while Dante capabilities allowed the team to incorporate an RTS intercom system with network wired packs for the 42-strong orchestra to communicate with Showcaller, Maddie Cupples and synchronise the manual lifts to the stage. “Communications for this scale of show is integral, not only for consistent communication between departments, but for vital safety reasons,” Taghavi noted.
To facilitate the 42 lifts around the passerelle, every member of the strings had a compact and were guided by a bespoke cue light, built, designed and developed by Clair Global’s engineering department to prompt and time the manual lifts at the same time, ensuring safety and consistency in addition to redundancy if the communications system was to fail. “Redundancy is key to the success of a show like this,” Taghavi added.
From air to sea, Freight Minds collated and centralised the arrival of technical equipment from all corners of the world. “Collaboration among vendors is crucial on a production of this scale; not only does it help economically, but equally environmentally,” Freight Minds’ Matt Wright said. “Communication is also key.”
One memorable curveball that the team faced on this project was when a vessel changed its rotation from the US to Europe, which effectively meant it changed the order in which it calls at the ports.
Having faced this before, Freight Minds initiated a plan B, and the containers arrived into Europe without any delays. “To be
involved with this show has been an honour,” commented Wright.
Transam Trucking provided 44 artics – 28 from Europe and 16 from the UK – covering 80 loads of equipment. “Understanding workflows was key. We were warned about the scale of this project and how many trucks would be required. We were willing to provide anything the production needed, regardless of the scale,” said Transam Trucking’s Natasha Highcroft, citing the support of Sharon Cooper in the office and Lead Driver, Scott Cooper in Munich. “It’s an honour to be involved.”
St age Manager, Matthew Kaye was the first member of crew on site, arriving four days before the 38-day build, supported by Senior Stage Manager, Chris Taplin. In addition to 80 trucks and 30 sea containers worth of equipment, the stage management team had to contend with logistics of simultaneous building of the grandstands and STAGECO infrastructure. “The load-in was a very physical process with loads of trucks. There is so much equipment on site, there is no room for storage, so we have part of a very large Messe hall where our empties are corralled, ready to cross load back to site for load-out,” Taplin noted.
An additional stage management team handled the creative side of the production, looking after the orchestra and Adele on stage. “They are essential to the success of this operation; the site is so vast, redundancy in this role is essential,” Taplin said. “Paul English has put a fantastic team together as well as leading from the front – he’s brought together the best of the best. We rely on strong department heads and proficient teams to get things done in the limited time available.”
Project Lead, James Maggiore oversaw a team of 14 caterers, feeding between 200 to 320 mouths per meal, twice a day. “On the first month of the build, there were 250 meals a day for breakfast, lunch and dinner, equating to 750 meals a day. We estimated there was a meal served every 15 seconds in the first hour,” he reported. “The entire production team are a dream to work with and feed.”
For ticketholders, the Adele experience didn’t start with the show. Beforehand, attendees could scan a QR code to add and share messages on the monolithic video wall and use AI technology to Adele-ify themselves, thanks to The Famous Group.
Additionally, all entrances and exits were smart black portals with ‘ADELE’ lettering, welcoming visitors into Adele World. Designed by Florian Wieder – with production driven by Matthias Krüger and supported by LarMac on the ground – the area featured a beachinspired spritz bar, an aptly titled ‘I Drink Wine’ bar, a replica Duke of Wellington pub and additional bars resplendent with faux brickwork and themed lighting for a high-end F&B experience. “Everything has a treatment, whether that’s Adele-inspired or simply black, to ensure a smart, elegant finish,” LarMac’s Siobhan Shaw explained, and “an in-house gardening team maintain the decorative foliage every day during the residency.”
With swooping gestures to Britain and Germany across the site, several food markets and independent traders served a range of cuisines to the backdrop of giant mirrored ‘A’s, red telephone boxes with recorded messages from Adele, and a mural of the singer created by local street artists. A secondary stage featured DJ sets, karaoke with a drag queen compère, and a Spice Girls tribute band, which came to life after the show. Biergartens, pretzel stands, fairground rides and an oompah band provided an authentic Bavarian experience. If that wasn’t enough, a merchandise village was constructed with an exhibition of iconic Adele outfits in showcases. “I’ve never seen a reception like it,” LarMac’s Sula Levitt said.
Under LarMac’s direction, the Live Nation crew built Adele World, mostly supplied by Unbranded. “Having nice seating and areas for general admission and guests to immerse
themselves before the show elevates the visitor experience,” Shaw stated.
With this being the biggest production based around one artist in 2024, the question remains; what does this mean for the future of touring? Will this ‘build it and they will come’ model become commonplace as productions become more elaborate and artists explore other ways to present their artistry?
“T his could be a model of the future, required that you have a site like this available,” mused English. “Amid the busy summer, with the Euros and Olympic Games, there weren’t any existing venues available, so this was ideal. However, it’s got to be the right city – Munich is set up to accommodate an influx of people.”
Gavin, who was the Creative Director of the 2012 Summer Olympics and Paralympics closing ceremonies, echoed these sentiments: “Adele has embraced the offer of these 10 shows. It feels like the closest thing to an Olympics ceremony, yet the scale of the show didn’t run away with itself and underscores her performance. As technology progresses and allows us to create spectacles, it’s important that the artist remains the focal point.”
Ad ele in Munich will certainly contribute to the debate around touring versus residencies. From a technical and staging point of view, ambitious productions are simpler to construct in a purpose-built space, unconstrained by venue limitations.
As far as the sustainability of such events, a residency reduces the impact of transport and crew travel, however, audience movement has the greatest environmental impact. “For the right artist, I am sure this enterprise will be quite enticing. Perhaps, once you have gone to the effort of creating the auditorium and FOH facilities, several consecutive residencies by different artists could work well,” Birkett
speculated. “Finding the right location will always be the trickiest part – a huge and mostly flat area with excellent transport links and lots of hotel rooms nearby. In this regard, Munich worked well.”
Winkler believes it’s all predicated on the business model and the calibre of artist. “As long as that catalyst for the market is there, it will happen,” he theorised. “The most important thing is telling the story of the artist. Nothing that you see on this show is by chance. Everything is all by design, backed by enthusiastic and clever minds, from Adele downwards, which makes this the success that it is.” Sometimes, it appears, ‘the road less travelled, is a road best left behind ’… www.adele.com www.clairglobal.com www.eps.net www.ffp-fx.net www.freightminds.com www.gennybasherpowerservices.com www.jemfx.com www.kimgavin.com www.larmaclive.com www.lightinitiative.com www.loadcellrental.com www.mattaskem.com www.momentumengineering.com www.negearth.co.uk www.nussli.com www.popcorncatering.com www.thepowershop.eu www.silent-house.com www.solotech.com www.stageco.com www.stufish.com www.taittowers.com www.thefamousgroup.com www.transamtrucking.com www.treatmentstudio.com www.twentythree.be www.visavis.video
As the demand for Glastonbury Festival grows exponentially, TPi meets with the hardworking crew behind the Pyramid Stage to find out how they tackle going bigger and better year after year…
Returning to Worthy Farm in June for its 52nd edition, Glastonbury Festival witnessed Coldplay embark on their fifth headline slot, British artist Dua Lipa fulfil her dream of headlining the Pyramid, and neo-soul artist SZA bring a sci-fi-inspired mesmerising stage design for a historic year on the farm that saw two women take headliner slots for the first time since its inception in 1970.
Af ter disclosing that Glastonbury was on my bucket list in the office, I was sent down to Somerset to draw a close on my first year at TPi Magazine. Arriving at the farm on the Thursday after one bus, two trains and a shuttle bus, to participate in the festival’s green pledge, I walked through the gates of my first-ever festival, getting a first-hand look into where much of the industry finds itself for one weekend of the year.
Af ter increasing the capacity in 2022 [see TPi #271], the festival has since extended the viewing fields surrounding the Pyramid this year, ensuring no disappointment for those who wanted to get a view of the headline acts gracing the famed Pyramid.
Co-owner of Library Productions, Emma Reynolds-Taylor, celebrated her fourth year as Head of Production for the Pyramid, Other and Interstage areas and 10th year overall as Production Manager of the Pyramid and Other stage. TPi caught up with her post-festival to gain insight into the powerhouse that goes into staging Glastonbury.
“We couldn’t do it alone; I don’t do this alone – I have the most amazing suppliers and my right-hand-man Jon Taylor beside me at the helm as well as our hand-picked army of
production crew,” Reynolds-Taylor began. “I am a big advocate for positivity in the workforce and this year, every team member brought such positive vibes with them across the three stages I look after, which was appreciated as the past two years of the show have been amazing but equally a real challenge for different reasons, so having a majorly positive experience this year made all the difference.”
As discussed at length in TPi and among crews, the COVID-19 pandemic meant that many experienced personnel left the industry and never returned, and the two-year pause of Glastonbury felt the impact of this exodus. “The industry has lost so many great people, so it has been tough to ‘get the band back together’ but for everyone we’ve lost, we’ve gained a lot more and we’re now stronger than ever,” she enthused. “Nothing is ever easy in the world of live events!”
Library Productions now has the capacity to book an entire production team for the Pyramid. “Each person we have handpicked has been such an asset to the team and knowing everyone in the team has your back is the dream,” Reynolds-Taylor commented.
Ot her notable changes include the addition of the switch to a client lead of Neg Earth Lights now being a woman, Lindsey Markham, and the Crew Boss also being female, Bianca Mastroianni. The festival also had a new site team, who “really stepped up to the plate,” according to Reynolds-Taylor. “We feel really lucky with the overall team this year and hope we can carry them forward for the foreseeable,” she commented.
Suppliers included RG Jones, Neg Earth Lights, Creative Technology, Vertical 8 Rigging Solutions, Showforce, Serious Stages and
Aggreko. “We were super happy to keep the core suppliers rolling again,” Reynolds-Taylor remarked. “It was great to work with Ben Milton and the RG Jones team as well as Gerry Francke and the team at Creative Technology again, with a huge notable shout out going to Lindsey and the team at Neg Earth Lights; Pondy at Vertical 8 Rigging Solutions; Becky and Harry at Showforce crewing; Dave and the team at Aggreko Power, and not forgetting, Simon, Abbey and Abbie from Serious Stages and Momentum Engineering.”
Reynolds-Taylor praised the teams for “rolling with the punches”. She elaborated: “All of them met every single production challenge with us head on and with a smile as well as solution,” Reynolds-Taylor reported. “A big thank you goes to all our suppliers and our core production team who made these shows not just possible, but enjoyable to deliver.”
As women begin to become more prevalent in the industry, Reynolds-Taylor is flying the flag in a senior role at the festival – a responsibility that can be quite daunting at times. “I think anyone of any gender would feel the weight of the responsibility,” she said. “You get added pressure being in a minority but hopefully my role inspires other women to get into more male-dominated roles in the live industry as it needs that.”
Reynolds-Taylor focusses on “trying to be the best production person I can be and do the best job I can” and “trying to enjoy the process as well as the result”. She added: “I’ve never let being in the minority bother me. I worked in the skateboard industry before technical production and that set me up nicely for normalising being able to hold my own and stand my ground in a very male-dominated
industry. I also think of the uniqueness of being female in a male-dominated industry [as an asset]; it is a great opportunity to stand out from the crowd and get your voice heard above the noise.”
Sounding out the Pyramid arena was RG Jones, who began its relationship with the festival in 2007 – providing monitors and an FOH control package before moving to providing the PA on the Pyramid a year later. “We’ve been doing it ever since,” commented Andy Williamson, CoOwner and Director at RG Jones. “We’ve had Martin Audio with us along the way.”
Featuring an impressive 11 delay towers, the Pyramid Stage arena saw a whopping 184 Martin Audio MLA line array speakers, as well as 42 MLA Compacts and 32 MLXs in a castellated broadside array along with four MLD downfills. RG Jones also provided a DiGiCo Quantum 852 and Outline Newton solutions for audio processing. “We have used Outline’s Newton product on every single large event across our summer and they are a must for us now,” Sarah Gellas, Communications Director at RG Jones, commented.
“I started with RG Jones in 2010, and I’ve been working my way up to be a part of it. I knew there were different roles at the Pyramid Stage and I just wanted to be involved,” commented Jack Bowcher, Senior Project Manager at RG Jones. “It is exciting to see where the festival is now, compared to when I started. Such a big part of what we do here is focussed on the best customer and audio experience. You can be wherever you’d like to get a good sound
experience, there will always be a delay tower waiting for you.”
With the Pyramid arena extension and extra delay towers to go with it, Bowcher’s statement rang true as the crowds grow each year. “There are many challenges that come with the constant expansion,” he added. “We’ve been working with noise consultant, Vanguardia, closely to make sure the additional PA further afield doesn’t breach offsite noise limits.”
Following Elton John’s final UK performance in 2023, which attracted an estimated 120,000 festivalgoers, demand for the area surrounding the stage increased. “Elton John was the biggest audience we’ve had so far,” Ben Milton, freelancer for the Head of Audio of the Pyramid, commented. “We constantly have to adapt and work with Emma from the festival production to see how we can improve it year on year.”
With such a prestigious festival comes great responsibility and Milton knows this all too well, having been in his position for 11 years. “It grows every year. You think it can’t get any bigger, but it does,” Milton noted. “I have my best chums around me, and they are at the top of their game. We’ve had the same team for many years; it’s a hard concert to deploy, but we do it because we love it”
Gellas added: “Something I’ve noticed about the site is the teams we have. We’ve been working with them for decades and it has been so wonderful to see such legendary engineers making Glastonbury what it is.”
Bowcher also gave kudos to the RG Jones team involved in the festival: “Everyone made it such a smooth operation and it was wonderful to see the outcome after all the hard work.”
Neg Earth Lights shares a storied history with the festival which began over 30 years ago. “We have had a very successful year,” began Lindsey Markham, Project Manager at Neg Earth Lights.
“We’ve always had follow spots and basic lighting out front, but Dua Lipa and Coldplay wanted to make a feature of lighting the whole arena, to make the audience feel part of the show. They both went the whole nine yards with additional lighting, and it brought a unique element to the field that I hadn’t seen before.”
Gavin Maze, Project Manager at Neg Earth Lights, commented: “The additional lighting on the delay towers was a new element for everyone this year. It involved a huge amount of collaboration between every supplier, headed by Emma the festival Head of Production for the Pyramid, who formed a practical plan on how this new element would be implemented. Emma wanted our dedicated Delay Lighting crew team to arrive on site a few days earlier than the traditional Pyramid lighting build to account for over 200 extra lighting fixtures on the delay towers. One of my favourite things about working on Glastonbury is that everyone involved is up for a challenge, there is a drive to make something special happen for everyone.”
The house rig included a plethora of Ayrton fixtures, including Boras, Cobras and Perseos, while Robe iFortes and iForte LTX fixtures were also deployed with RoboSpot Systems. “Every artist that plays on the Pyramid is important, therefore, a good house rig is important to the festival and deserves the high-end system,” Markham commented. Neg Earth Lights
provided an MA Lighting MA3 house control system comprising of two grandMA3 full size consoles, and three grandMA3 processing units, as well as Luminex Gigacore switches in different variants, LumiNode 12 and Optical Splitters.
With an eclectic line-up on the Pyramid every year – from powerhouse rapper Little Simz, psych-pop artist Dua Lipa creating a club atmosphere and pop-rock icons Coldplay turning the fields colourful with an array of PixMob wristbands [more on that later…] through to neo-soul artist SZA transporting festivalgoers into a sci-fi utopia, each artist makes the stage their own.
“It’s fascinating for me to see the same stage made totally different by each artist; due to the dedication of the festival production,they get to make it theirs and I think that is what is special,” Markham remarked.
The team at Neg Earth brought 18 crew along to aid throughout the weekend. “The magic of Glastonbury really permeates through the whole team. It is a different feel to any other festival,” Markham enthused.
Another crucial member of the team was Gerry Francke, Senior Project Manager of Creative Technology. He picked up the story: “This is my ninth year on the Pyramid and CT’s fourth year doing a great deal to do with video on the Pyramid.”
The company delivered two IMAG screens made up of ROE Visual BQ4 LED panels which
dominated the visuals, as well as an upstage centre screen with the additional wings, forming Coldplay’s headline set with a “moonrise” screen. Disguise VX 2 media servers supported playout, with three house Panasonic UC4000 cameras and five additional cameras added for Coldplay – which were mixed with a Ross Carbonite 2ME PPU in CT’s OB1, to create a controlled environment for our house and guest vision mixers. Barco E2s managed multiple HD and UHD feeds from CT’s video underworld, stage right and FOH, with 12G matrixing and split outputs for redundancy.
To support the stage production, the team also provided stage-wide communications using RTS ODIN and Riedel Communications Bolero systems. They also deployed monitoring and multi-viewers across the Pyramid and Interstage areas with fibre connectivity between FOH, the main stage, and auxiliary stages which enabled communication and signal flow, with added support for artists including prompt monitors and PTZ cameras. Creative Technology brought along an impressive crew list of 26, which fluctuated over the weekend for productions that required more manpower.
“T he Pyramid seems to grow year on year with more and more unusual requests and it’s great to see because the technology is out there,” Francke commented. “I’m very privileged to be a part of it, it’s a family of people that become second nature to you and you want to help each
other out and get the best out of the festival and best for the festival, it’s very special.”
Making her Pyramid Stage debut and closing out Friday night on the main stage was Dua Lipa, who brought a club-like atmosphere to the Pyramid stage. “Headlining Glastonbury, specifically Friday night, has been Dua’s dream forever,” Pete Abbott, Creative Director, commented. “As a creative team, we wanted to conjure a show that did that ambition justice. We aimed to be as inclusive, joyful and irreverent as the festival, to embrace the sheer scale of the audience, and to give everyone watching at home a ‘next best thing to being there’ TV experience.”
The team’s design process embraced the Pyramid’s shape. “We wanted to use the Pyramid’s unique foibles as inspiration,” Abbott continued. “We were also determined to escape the confines of the stage, to see the Pyramid as a backdrop and to put lights and lasers throughout the audience, and to get Dua out onto a B stage.”
Additional suppliers for Dua Lipa’s slot included Britannia Row for audio control, LCR providing lighting control, floor and integrated lighting, while ER Productions supplied additional special effects which included mapping the Pyramid. Other suppliers included Cucumber Productions for integrated LED lighting with TAIT, Stage One and OX Events
each providing set and staging elements that helped the team create the ‘nightclub’ aesthetic. Creative Technology provided additional screens, including two screens boasting ROE Vanish 8T LED panels, as well as a Ross Carbonite Ultra, four new Disguise GX 3 media servers, four Panasonic PLV-100 and three Sony FR7 PTZ cameras.
“Our suppliers were wonderful to work with in addition to the festival’s suppliers who went above and beyond to support our ambition to make the show happen,” Abbott noted.
Drawing an estimated crowd of 110,000 to the Pyramid meant that the Festival Production and festival operations had to meticulously plan how they were going to get Dua across to the specially fashioned B stage in the middle of the crowd. “After working closely with the Glastonbury team for months, the festival were able to find a really great solution and, for the first time, put an artist out in the crowd during a headline show,” Abbott added.
This was no small feat, and took “incredible work” from the Glastonbury team, led by Emma Reynolds-Taylor. Abbott elaborated: “Emma leads a fantastic production team, Mark Sinton and his backstage team create an incredibly welcoming backstage area and it was a lovely moment seeing Josh Rosen stage managing.”
The transition to and from the B stage, which involved Dua Lipa, her dancers, a steadicam and numerous other team members crossing the audience area, performing quick
changes and hitting numerous marks, was described by Abbott as “undoubtedly the most ambitious moment in the show, and a sublime testament to many hours spent with an odometer, stopwatch and an obstacle course of cones in a carpark.”
A crew of 175 spectacular working personnel supported the Dua Lipa show on the Friday night. As well as the touring and festival crew, Abbott gave special mention to Alison Howe, Janet Fraser Crooke, Andy Rogers and the entire BBC team. “They were an absolute pleasure to work with from start to finish, and were an integral part of the success of the show,” Abbott enthused. “Many people first hear of, or experience Glastonbury on the BBC and, just as the onsite production team are custodians of magic, the BBC team are its evangelists, spreading the word and helping the festival to keep evolving.”
Reflecting on the 2024 edition, and being at the helm of the Friday night headliner, Abbott looks back on his time at the festival and being involved in Dua Lipa’s growth from the start of her career, to now: “My first job related to music was at Glastonbury in 1999, when a band called Coldplay were very nearly late for their first Glastonbury show,” he laughed.
“25 years later, to see an incredible artist you’ve worked with since her very first shows, supported by a team of equally incredible human beings, headline the night before Coldplay, is a personal milestone I’m very happy to have reached.”
A SKY FULL OF STARS
Returning to the fields for their seventh appearance at the festival and their history-
making fifth headline slot, Coldplay had to go bigger than ever before and their headline slot did not disappoint. “There were a few goals to the approach of our Glastonbury performance,” began Chris Kansy, Production Manager for Coldplay. “We wanted it to be unique to the stadium show we’re currently touring while still keeping the Music Of The Spheres aesthetic intact. We wanted to expand on Coldplay’s past experiences by taking ideas like projecting onto the Pyramid brighter and bigger than ever.”
The band’s third slot in 2011 saw projection mapping brought to the Pyramid Stage for the first time and 2024 was no different, with 4Wall Entertainment taking on the challenge of mapping the whole structure, beginning the planning in February. “We were given our brief around the TPi Awards that the Coldplay team wanted to project onto the Pyramid as brightly as possible,” noted Graham Miller, Director of Live Events at 4Wall Entertainment.
St aging a festival in a repurposed dairy farm for one weekend a year comes with its obvious challenges – one of which was a protected oak tree that sits behind the Pyramid. With a brief that entailed projecting on all four sides of the Pyramid, the team came up with a solution to ensure that the projection could be achieved while ensuring the tree was protected.
“We came to the conclusion from working very closely with the festival production team and using a detailed 3D model of the arena drawn up by Emma’s team that we needed different towers at different angles so that we could bend the light around the tree,” recalled 4Wall Entertainment Senior Project Manager, Jim Liddiard. Importantly, Reynolds-Taylor had to work out the location of these towers
so that she could ensure that no sight lines or walk-ways were blocked. It was important to the festival production that the team worked out how to project onto the front face of the Pyramid without a tower going into the arena, like when when the Pyramid was first mapped in 2011. “Jim did the calculations to work out how we could fill the stage while leaving the tree intact,” added Miller. “We ended up with five towers to do the four-sided stage. We had done the recce when the trees were bare and by the time of the festival the trees looked different.”
4Wall Entertainment provided Panasonic PT-RQ35k projectors, Disguise GX 3 media servers, and an NDI CCTV system at each tower so the projectors could be controlled from a cabin backstage and a full network from each tower. “The system was built in line with Coldplay’s existing system, so we were able to join their session to make the show run,” Liddiard said. “We worked with their design engineers to get their showfiles working on our system and vice versa.”
Screens Director, Josh Koffman oversaw how the show worked visually regarding video. “He’s the one driving the show, so we were able to slot into his system and line everything up so that when they came in from the previous tour dates we could plug in and go,” Miller explained.
Meeting with Miller and Liddiard before Coldplay took the stage, I asked them about their involvement in one of the festival’s most anticipated shows of the weekend. “It’s exciting; it has been so long in the running that when I was tipping trucks, I was excited it was finally here,” Liddiard enthused.
Glastonbury’s extensive list of suppliers came into play for the Saturday headline show.
“We augmented our normal touring system by taking advantage of as many vendors that were onsite already so it made sense logistically,” Kansy elaborated. “We needed to use a significant amount of local supply as we were on tour using a great deal of kit that would require early installation before we arrived.”
To adapt from the previous shows at the festival, and in true Coldplay fashion, the band wanted to be closer to punters, with a B stage in the middle of the arena coming from TAIT’s Wakefield warehouse.
Serious Stages oversaw the installation of the extended stage in between nights, with the three headliners wanting different variations.
Simon Fursman, Senior Project and Sales Manager at Serious Stages, was also on site. “We did a changeover just before Coldplay came on so in between Little Simz and Coldplay we had to build an extension of the forestage upfront. There’s the Pyramid deck, some stairs that come out and then the forestage, which is an extension 3.6m forward of that as a thrust,” Fursman explained. “Then we built a ramp heading out from the stage through the camera platform onto the forestager.”
A level subdeck was built and Coldplay’s team added the scissor lift stage from the tour. “It really came together,” Fursman continued. “The amount of infrastructure that goes into it is immense. It was lovely to be involved and we’ve had good reviews from the production teams. It has been excellent.”
Pr ior to the show, Glastonbury’s crew worked hard to distribute over 100,000 custom compostable wristbands from PixMob. “It was incredible to light up over 100k Coldplay fans at Glastonbury. We brought the same immersive
crowd-lighting experience that Coldplay gives all its fans across their world tours, igniting collective joy with our custom compostable LED wristband that turns the crowd into a beautiful canvas of visual effects,” commented J-O Dalphond, Partner and Chief Commercial Officer at PixMob. “It was simply awesome to see that same vibrant show presentation and fan experience at the iconic Glastonbury Festival.”
Getting the wristbands to work cohesively proved to be a challenge, as Kansy elaborated: “Getting the proper infrared coverage for the fixtures took a lot of time as sending a signal to over 100,000 wristbands in such an expansive space took a great deal of calculation.”
Looking back on the festival, Kansy reflected on the hard work of the Glastonbury team. “They were incredible. We threw a lot at them, but they were communicative, responsive and so very helpful at every turn, no matter how absurd our ideas were,” he noted. “We wouldn’t have been the success we were without Emma ReynoldsTaylor. I cannot say enough good things about her – she was our star. Both Stage Managers, Cookie and Josh Rosen, were so helpful getting us loaded in. Luke Howell also played a huge role in making sure the wristbands were distributed to over 100,000 fans,” he concluded. “It was a whirlwind 24 hours from loading in at 3am to finishing loading out 24 hours later, so we put our heads down and did our job. It wasn’t until we started reading reviews and hearing from our peers that we learned it was a huge success.”
Hot on the heels of her sold-out Hyde Park show, SZA took to the stage at Glastonbury the day after to close out the festival. TPi caught up with Creative Director and Designer, Dan Norman to get an insight into the trials and
tribulations of designing a show of this calibre: “We had to make sure the stage and concept was versatile and make sure that we could scale it up or down as needed,” he explained. “We used the Pyramid as the reference for scale and dimensions, which presented a challenge because of its unusual shape. The props needed to be small enough to fit the Glastonbury stage while still being large enough for the other main stages in SZA’s extensive 2024 festival roster.”
Beginning the design process in April, Norman worked closely with SZA to realise her intended vision of a natural cave. “The design uses video content to transport the audience through different parts of the cave and surrounding areas,” he stated.
His t heatrical background aided his process, utilising a strong design to accompany her music. “I wanted to ensure we had a visually compelling and strong anchor for the scenic design that grounded us while allowing flexibility to showcase different environments,” he elaborated. “We avoided big set changes by incorporating enough props to make each section of the show interesting.”
Creating this ambitious design meant that Norman and the wider SZA team had to enlist help from other suppliers for different scenic elements. “We collaborated with several additional suppliers including John Perry Scenic, who built the tree, custom mic stand and some of the mini stalagmites, and Cool Shit who created the inflatable set pieces,” he explained. “Bay Productions supplied the band riser cave facia and Global Production Partners supplied the server and lasers.”
Collaborating with Neg Earth on the preexisting house rig, the camp also brought in additional lighting and video gear that was supplied by Fuse Technical Group. Additional
lighting on the rig included CHAUVET Professional Strike M PXL Curve, Robe FORTE, ACME Lighting Lyra, Chroma Q Color Force II 12, GLP X4 Bar 20, and MDG Fog theONE hazer solutions with an MA Lighting grandMA3 for control and with Disguise media servers also utilised. “Luckily, we had access to documentation of the Pyramid well in advance of the design phase,” Norman enthused.
“T his meant we could understand the necessary parameters and plan accordingly to succeed.We collaborated closely with SZA and her team to bring her vision to life, and focussed on providing the right tools, equipment and personnel to support the production. SZA’s talent and intelligence made this process so enjoyable and successful.”
As t he gates close on Worthy Farm for yet another year, and I leave with a step count of over 80,000 and a 10-hour trip back home, the farm takes its time to breathe while punters wait eagerly to see if they’ll get their hands on tickets for next year’s edition. However, there is one group of people guaranteed to be at the festival next June, and that is the hardworking crews that find themselves down in sunny Somerset year after year working tirelessly to make Glastonbury, Glastonbury www.glastonburyfestivals.co.uk www.libraryproductions.com www.rgjones.co.uk www.negearth.co.uk www.stages.co.uk www.ct-group.com www.showforce.com www.pixmob.com www.europe.4wall.com www.aggreko.com www.fuse-tg.com www.silent-house.com
Arcadia Spectacular takes on a completely new form at Glastonbury, treating festivalgoers to a symbol of change and demonstrating the potential for more environmentally friendly live events without compromising on the spectacle…
After 15 years of Arcadia Spectacular’s iconic spider providing a space for Glastonbury’s late-night punters to dance until the early morning, the performance art collective has returned to the fields with a completely new structure that metamorphosed an ex-military Royal Navy helicopter into a dragonfly.
Coming in at 30m long and 8.5m high, the installation stood tall overlooking much of Glastonbury, watching festivalgoers wandering from stage to stage during the day, but as the sun set, it welcomed world-renowned DJs as well as audience members to dive into a 360° immersive experience.
The Dragonfly began its journey over a year ago, as was explained by Katie Davies, Technical Production Manager at Arcadia Spectacular: “I was onsite last year when Pip [Rush, Creative Director] and Bert [Cole, Technical Director] showed us a model box that had tea strainers for eyes to make up The Dragonfly,” she commented. “ They had t he idea for a w hile, but t hat was t he first t ime I s aw any photos of w hat it would be.”
Taking TPi into the head of the stage on the penultimate day of the festival, we got to see that the inside maintained much of its original form of a helicopter, but this time not utilised as a weapon of war. “Arcadia’s MO is to recycle old military scrap, things that have been used for destruction and give it a new life and to use it as a point of reconnection and celebration,”
Davies continued. “If it stands for anything, it’s a symbol of hope.” T his message was very important for Jacob Kuenzler-Byrt, Stage Manager and Deputy Technical Production Manager at Arcadia. He elaborated: “It is very much part of the narrative of repurposing, the place of connection is so important and is at the heart of w hat we’re t rying to do at A rcadia.”
Arcadia completely rejigged its technical elements as well as its design for T he Dragonfly and once again enlisted aid f rom different corners of the industry. “There is a huge collaboration between all different k inds of tech,” s aid Davies. “ It’s t he level of detail t hat goes into drawing all of t he different technical elements into one cohesive vision that enables it to be more t han t he sum of its parts.”
A cr ucial element of the technical collaboration was the onboarding of Lighting Designer, Dave Cohen of MIRRAD, who led the design that was operated by Sam Werrett on an Avolites D9-330 and a D9-215. James Bunning was Head of Lighting, with Jake ‘Sharky’ Cawkwell taking the Crew Chief role.
“Being involved in the new structure after the spider has been an incredibly transformative experience,” Cohen enthused.
“T he new structure facilitated more effective communication and streamlined processes. It’s been a privilege to be part of such a dynamic
environment, and I’m excited to see how this continues to evolve and drive our success.”
Operated from an Avolites D9 console, the structure boasted more t han 200 fi xtures, including over 100 Martin Professional VDO Sceptron 10s and 16 MAC Aura XIPs placed around T he Dragonfly.
Also a part of the arena lighting package were six Robe iBOLTs and 12 iPointes, which accompanied the 36 LightSky AquaBeams and 22 CHAUVET Professional Color STRIKE Ms. With an impressive lineup of the likes of Fatboy Slim, Andy C, Eric Prydz, and Amelie Lens, A rcadia did not just welcome t he biggest names in the dance scene but also showcased the Wadjuk Noongar Nation f rom Australia.
Working with Arcadia Spectacular since 2016, T he Dragonfly show told t he Wadjuk Noongar’s story of Warraloo t hat speaks of how the first sighting of a dragonfly is a sign of t he changing seasons. “We do a timecoded show for t his as it gets d ark,” Davies explained. “ It’s when T he Dragonfly really comes to life.” T he projection mapping on t he renewed helicopter structure was crucial to Arcadia’s collaboration and was taken on by Joe Crossley of Astral Projekt, w ho designed content and led the VJing for all the shows.
The Dragonfly was mapped w ith realistic insect patterns, which were realised using Barco projectors supplied by CPL. T he Dragonfly’s body was projection-mapped
by fourieraudio
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using four Barco UDX-4K32 3 Chip DLP Laser Projectors, which were double stacked in two pairs on either side of the structure, powered by an Avolites Ai Qgen media server, with another as a tracking backing-up, operated by Arran Rothwell-Eyre.
Supporting Arcadia and facilitating new careers in the industry was Robe’s NRG scheme, which saw Tyler Haines take on responsibility as a Lighting Intern: “As a first-year student studying Sound, Lighting and Live Events (BSc), this experience with Robe NRG and Arcadia was incredible,” Haines commented. “I spent two weeks onsite and within that time I helped prepare, rig, programme and de-rig a multitude of lighting fixtures on The Dragonfly. It was an invaluable experience, and I would recommend it to any student aspiring to be a part of this amazing industry.”
BABY, WE’RE ASCENDING
Paired with the lighting was an ambitious video design that created the head of The Dragonfly. Featuring 200 custom transparent hexagonal and pentagonal LED tiles created by Cucumber Productions in collaboration with Video Illusions, The Dragonfly was a feat of engineering. “The video screen is incredibly bright, which really pops in the day and looks awesome,” Davies said.
Ben Rushton-Vaughan of Cucumber Productions helmed the video advancing, system design and worked on the video panel manufacturing. This included creating a completely new design that was installed using a custom hexagonal frame for the panels to
sit on. “I’ve known Dave from Video Illusions for years,” Rushton-Vaughan reported. “When Arcadia approached him to realise their design of the two, semi-transparent, curved eyes, he got in touch with me and we started brainstorming. We designed, engineered and manufactured the 200 custom LED panels with transparency in mind throughout and the result was better than anything we expected.”
With the internal DJ booth illuminated and Crossley’s generative content, ravers were treated to a truly otherworldly experience. “Everyone was baffled as to what they were looking at. No-one had seen a video product like it before,” he remarked.
The crew also installed hydraulics that allowed the DJ booth in The Dragonfly’s head to pan left to right, covering more audience area.
Accompanying the lighting and video content was a range of special effects with 22 lasers provided by ER Productions. Ben Couch, Project Manager at ER Productions, deployed AT-30 Lasers that were double stacked in four layers to create laser wings for The Dragonfly An additional layer of eight lasers was used to create a 360° rotary blade effect, extending out into Arcadia’s arena. ER also utilised 10 Look Solutions Viper deLuxe in the PA towers surrounding the structure.
“It was great to be involved with the new design, which definitely caught a lot of people’s eyes – especially since the Spider was so iconic at Glastonbury – so to be a major part of this new stage design was great,” said Couch. “The whole team were great to work with and realise their creative ideas.” The Arcadia team was also
The team of Pip Rush, Bertie Cole, Ceri Wade, Michelle England, Katie Davies, Jacob KuenzlerByrt, Tim Steer, Jamie Jon Fowler, Harry Brown, Joe Paxton, Dave Cohen, Sam Werrett, James Bunning, Jake ‘Sharky’ Cawkwell, Stu Barr, Nat Archer, Charlie Knight, Rupert De RenzyMartin, Jack Coffin, Greg Haynes, Ben Couch, Ivan Dokmanovic, Daffyd Poole, Becky Winrow, Sinead Brooker, Tyler Haines, George DaviesCoward, Alan Trott, Lucas White, Kyle Anderson, Ben Rushton-Vaughan, Joe Crossley, Peter Walker, Brad Hammond, Arran Rothwell-Eyre, Dave Whiteoak, Paul Whiteoak, Phil Royle, Ryan Bridgen, Rupert Dean, Paul Rose, Bryan Mclean, Sergey Zytnikov and Jake Garland.
eager to run the show completely sustainably using plant-based bioethanol and batteries for the SFX flames.
Aardvark FX supplied an L-Flame Galaxis system consisting of four pumps and 12 flame heads that were positioned all over the arena to create The Dragonfly’s habitat.
“Our system was entirely wireless featuring a bespoke automated refuelling mechanism developed exclusively by Aardvark FX in collaboration with Galaxis, for whom we are distributors,” stated George Davies-Coward, Director of Sales and Operations.
“T his innovation ensured continuous operation throughout, enhancing both efficiency and safety. By harnessing sustainable energy sources and advanced engineering, we significantly reduced the environmental impact without compromising on performance.”
In addition to sustainable special effects and pyrotechnics, the entire Arcadia arena was powered by batteries. “We’ve been working towards this for a couple of years with Dale Vince and Claire O’Neil from Grid Faeries and it felt like a real milestone,” commented Cyrus Bozorgmehr, Head of Creative Communications at Arcadia Spectacular.
“Proof that the new generation of renewable batteries can reliably power heavyweight productions like this.”
The hard work on sustainability showcased by Arcadia demonstrates the potential for greener live events, without compromising on a spectacle. “Aardvark FX is proud to lead this revolution,” Davies-Coward continued.
“T he success of our battery-powered flame system is a testament to our dedication to
innovation and environmental responsibility, marking a significant milestone in the future of festival production.” Highlighting Arcadia’s innovative nature and adding to the overall sensory experience of The Dragonfly was the pumping of a sage scent into the arena. “We light the herbs with a blowtorch in an old gas bottle and they get pushed out by an industrial fan that then runs the scent underground and into the arena,” said Tim Steer, FOH Manager.
Kuenzler-Byrt advanced the show’s sound production with Bryan Mclean leading the sound design; he installed a 360° sound field comprising an outer ring of six PA towers and an inner ring of four.
The PA was an L-Acoustics L2 system supplied by AF Live, with an outer ring consisting of six hangs of L2 with L2D downfill, each with four KS28. The inner ring contained four positions, each with four KARA II and three KS21. Extra L2 was used as outfills and then KIVA II and 12XT were used as additional fills. The DJ monitors consisted of four Kara, four SB15, and two X8.
Due to Glastonbury’s location in a rural area, the pressure to minimise offsite sound increases year on year. “After the show last year, we engaged with Vanguardia, Glastonbury Festival’s noise consultants, to try to further reduce our offsite audio footprint,” Bryan Mclean, Director of Dirt Sounds, commented.
He added: “We modelled multiple system designs over a 4km radius, allowing us to choose on the optimal physical structure and system position that would cause the least disturbance to the surrounding residents, while
allowing the audience to get the best sounding experience possible. The culmination of the overall system, modelling and the audio team allowed us to create something beautiful. I’m incredibly proud and humbled to have been part of the Arcadia team that brought The Dragonfly to life.”
“M y favourite part is the sound,” KuenzlerByrt commented. “We have improved the DJ monitoring and we’ve managed to get a lot more speakers and get it closer to a conventional DJ setup, which has always been difficult in previous years. I think it contributed to the DJs having a good time.”
In a look to the future, the team behind Arcadia explained how it was setting up an arm of the collective to focus on the design, build and delivery of stages to a wider range of clients under the new name ‘Arcadia Studios’. With the new venture, Arcadia Studios will meet environmental standards while delivering projects that assess the life cycle of materials, power sources and touring logistics to ensure the Arcadia narrative remains true while creating innovative architecture.
Aiming to revolutionise Arcadia into an ever-evolving installation, the team is already anticipating its next year… www.arcadiaspectacular.com www.aardvarkfx.com www.aflive.co.uk www.astralprojekt.com www.avolites.com www.cucumberproductions.com dirtsounds.godaddysites.com www.er-productions.com www.mirrad.com www.videoillusions.net
Lifting the lid on the extensive planning and execution of the production team and technology responsible for recreating one of the 1990s’ most iconic albums live, three decades on…
Celebrating three decades since the release of Oasis’ debut album, Liam Gallagher, a band of 12 talented musicians, and a robust team of touring personnel bring Michael Spencer Jones’ iconic album cover shot for Definitely Maybe to life on-stage, backed by stellar production values.
“The past fi ve years have been quite a r ide,” Production Manager, David Davey’ Murphy said, citing t he support of Tour Manager, Neil Mather, Tour Assistant, A my W illiams; Production Coordinator, A manda Davies and Tour Rigger, Sean Pagel. “ It’s great having a st rong team to support you on t he road.”
The supplier roster comprised 4Wall Entertainment (video), A ll Access Staging UK (staging), Beat t he Street (buses), Skan PA Hire – a Clair G lobal company (audio), CSE Crosscom (radios), G low Inflatables (inflatable globe), Hangman ( props), Neg E arth Lights (lighting and r igging), TAIT (scenic set pieces), The Pantry Maid (catering), and Transam Tr ucking (logistics).
Before hitting t he road, t he team spent t ime at LH2 Studios, w hich Davey described as “invaluable”. He elaborated: “ It’s a great facility and t he location is perfect for production rehearsals. Prior to t hat, we spent t wo weeks at FOMO London for band rehearsals – it’s become a new home f rom home w ith Matteo Cifelli and Nicolo Romanini looking after us since 2021.”
The team liaised w ith v isiting production crews in advance to make t he load-in and -out at Co-op Live as seamless as possible. “Co-op Live has, alongside S JM Concerts, been incredibly accommodating on t his r un,” Production Coordinator, A manda Davies
added. “As have all t he venues we’ve v isited… The reception has been amazing.”
‘RECREATING THE ALBUM COVER’
Stage Manager, Phil ‘ Tico’ R yder was among one of t he first members of t he team on-site and t he last to leave each show. “ We have t wo support bands on t his tour, so t here’s a lot of shepherding and t ime management – it’s nonstop,” he remarked.
All Access Staging was involved w ith loading in t he rolling stage and top set into production rehearsals in collaboration w ith Head Carpenter, Chris A ram and Carpenter, Connor Catterall, and t he team. All Access gear is always sturdy, reliable and consistent and t hey’ve gone t he extra mile to make it look like t he album artwork. Davey has put together a good team,” T ico enthused.
A ll Access Staging’s G uy Forrester took on the initial enquiry w ith Davey and as t he project moved on to t he “nuts and bolts” of putting it together t he details were overseen by Project Managers, Martyn Drew and Kay Ramnikkumar. “T he client was clear t hat t hey didn’t want to use any k ind of printed flooring to create t he effect, so we suggested employing scenic ar tists to paint t he staging decks t hemselves,” Forrester s aid. “ They agreed and we rented a space at Pinewood Studios for t he week and built a section of t he stage and topset of risers and brought in a few scenic artists more familiar to Star Wars and Harry Potter film sets but relished t he fact t hat t hey were working on Liam G allagher’s stage!”
TAIT was commissioned to create scenic elements akin to t he album artwork – namely, an inflatable globe w ith half of t he world’
pi voting an aluminium Wahlberg DMX Rotator, including a smaller version w hich c an be used outdoors. “ The clever people at TAIT have made it possible for us to be able to tour without compromising t he design between arena and festival stages,” Davey explained. “We k new t he f ull inflatable could rotate indoors, but t here were some concerns about how w ind would impact t he outdoor festival version. We c ame up w ith creating a hemisphere of t he globe w ith a custom aluminium f rame backing t hat t he inflatable would mount to, so t here was something solid to easily tether down to stop movement, providing t he s ame look as t he arena shows,” TAIT’s Adam ‘ Bullet’ Bettley explained. “ Having these long-standing relationships and f riendly faces around w hen creating a tour makes it a smooth and enjoyable process.”
Hangman provided additional props. A focal point of t he tour has been t he fibre glass flamingos – Felicity and Cecilia, w ho have developed a life of t heir own. “ I recreated the album cover w ith oversized elements within a screen arrangement t hat alluded to a room. T he pelicans c ause amusement for sure,” Normandale s aid, citing automation as a “moment of changed focus” given t he large-scale ROE V isual Vanish 8 LED screen.
“It’s hopefully an unexpected d ynamic cue or two, shifting floor lights to high lights and t he transition therein.”
Having toured w ith Liam G allagher ever since he went solo, Lighting Technician, Martin Golding oversaw t he inner workings of t he globe, corresponding light boxes and ancillary lighting elements of t he show. T he globe made by G low Inflatables was assembled by
TAIT, who created a custom frame fixed on a Wahlberg DMX spinner with RGB LEDs inside.
“The globe spins continuously during the show and has held together nicely. We also have some light boxes by Hangman, who also created the Rodney Marsh and Burt Bacharach artworks on stage,” Golding reported.
“W hen the album came out and I remember thinking ‘this is quite different’ and to be in the same room with somebody who was pivotal in the writing and production of some of those songs, and hear him sing them, is special,” Lighting Director, Graham Feast enthused. “Songs like Cigarettes & Alcohol are epic, particularly in the live environment.”
Feast spent a week with Normandale running Syncronorm Depence R3 previsualisation software, and a day at Neg Earth Lights experimenting with lighting fixtures ahead of production rehearsals.
“Graham and I have worked on numerous projects – he offers a positive, professional and diligent approach,” Normandale outlined.
“We’re running MA Lighting grandMA2 software on an MA3 console,” Feast explained.
“Key light is achieved by Robe FORTEs and Ayrton Perseos. The wider rig features GLP impression X5 Bars and JDC Line 1000s, TMB Solaris Flares and Ayrton Karif LTs – most of the fixtures are running their fully comprehensive mode because we wanted to get down to their pixel-to-pixel effects.” The team also employed two MDG Atmosphere ATMe hazers for the show with Martin Professional JEM AF-1 MKII fans to generate atmospherics.
Described by Davey as among his “favourite” vendors to work with, Neg Earth Lights extended its longstanding relationship
with the camp. “There’s nothing more thrilling than seeing it all come together after all the conversations and months of collaboration,” commented Neg Earth Project Manager, Gavin Maze. “I must give a shout out to our amazing warehouse teams who make miracles happen.”
‘TIMELESS BUT TIMELY’
“For the die-hard fans, this is the nostalgia trip they’ve all been waiting for,” Video Director, Jon Shrimpton said.
Animated as always, Shrimpton used a handful of analogue effects in addition to Notch to cut visuals. “Jon is a director who brings art and vision to any project,” enthused Normandale. “He’s musical and invested without the need for digital trickery rather utilising the ideal approach of modern vintage. However, my favourite look is 20,000 people jumping in the air… It’s timeless but timely.”
Shrimpton cut the cameras using a trusty Ross Video Carbonite video switcher, boasting a bespoke side panel and touchscreen – which like every piece of expensive machinery in FOH is protected from flying projectiles of liquid with plastic coverings.
“Being out the front for me is essential on a show like this which requires constant activity and reaction,” Shrimpton explained. “I use the side panel heavily during I Am the Walrus to trigger the psychedelia-inspired visuals with a few feedback keys and analogue effects. I’m a massive luddite so I quite like dials, levers, buttons and switches.
“T here are pools of light which the band step in or out of at times during the set which gives us lots of angles and looks to work with to represent a ‘club’ feel,” Shrimpton described.
“There is a moment amid I Am the Walrus where he stands with his chest puffed out and his head slightly raised, [akin to equally totemic Mancunian figure, Eric Cantona] where we play around with the psychedelic content surrounding his silhouette. On the adverse, Live Forever is as simple as cutting two clean cameras on either side.”
As well as the anthems you come to expect from a Liam Gallagher live show, there’s a lot of joy, whimsy and humour within this setlist with tracks like Digsy’s Dinner. “There are tracks like Up In The Sky, which I haven’t heard for years that stand up and the rough riff at the end of Cloudburst is fantastic – Bring It On Down is another corker! It’s my first time working with the team, and it’s been an absolute delight,” Shrimpton noted.
Having serviced the crew since 2019, 4Wall Entertainment crew slipped straight back into the flow of video supplier. “It’s great to have 4Wall onboard and Account Handler, Rhodri Shaw has been fantastic and invested in this show specifically, so I look forward to extending this lasting relationship,” Davey commented.
In addition to the upstage video walls of transparent LED panels with lighting fixtures behind, the globe and the lighting ladders, an LED television on stage was modelled on the original, Panasonic TV, broadcasting The Good, the Bad and the Ugly. “There is a lot of attention to detail,” 4Wall Entertainment Racks Engineer, Connor Camwell noted. “A lot of pre-production planning went into this tour.”
4Wall Entertainment built a new Ross Carbonite PPU and utilised new Sony F550 Super 35mm 4K CMOS cameras which added a ‘cinematic’ look to the shots. Everything was
then treated through a Disguise GX 3 media server rack with video content by Shop.
“It’s been great to bring Paul Normandale’s vision to life with little nods to the Definitely Maybe album artwork,” 4Wall Entertainment’s Rhodri Shaw stated. “The design utilising our ROE Visual Vanish 8 looked stunning and the video content along with the creative camera cut by Video Director, Jon Shrimpton looks amazing. His creative vision of using minicams and old CRT monitor technology for certain tracks provided a grainy feel at moments during the show. The result is fantastic.”
‘NOSTALGIA WITH A SPIN’
Shop’s Neil Harris, a self-confessed Oasis super fan, curated the visual content. As a result, there’s an abundance of easter eggs and deep cuts buried within the content. For example, during the track, Shakermaker, there’s a reference to ‘Mr. Sifter’, to which end, Harris tracked down and replicated the original Sifters logo from ’94. “It’s nice to be emotionally connected to the music,” Harris stated. “There are loads of little easter eggs, from incorporating a photo of Digsy into the design through to the vintage Benson & Hedges cigarette boxes at the start of Cigarettes & Alcohol.”
Normandale noted that Harris was “invaluable” to the project as his background of a fan ensured his “content captured the spirit” of the performances while also being factually
accurate. “We didn’t originally have Notch on the tour, but there was one camera look that Liam Gallagher wanted to achieve. He sent us this clip of The Yardbirds on The Old Grey Whistle Test which he wanted to recreate, so we used the Background Remover on Notch which lent itself to a much punkier look for Bring it on Down,” Harris enthused.
The countdown at the start of the show was an extension of the set design, a ‘90s-inspired flip clock cycled through the years before landing on to the year of the album’s release. “I really like doing walk in looks, and I was inspired by Paul’s two rectangular screens, so I wanted to create a visual that would take people back to that year,” Harris reported. “It’s an exercise in delayed gratification because when that final year ticks over you get a huge roar from the crowd which is super satisfying.”
Har ris collaborated with Liam Gallagher, Manager, Sam Eldridge and Shop’s Caspar Wain and Jos Taylor to repurpose archive material for the intro VT once the clock struck 1994. “Liam wanted us to make it more psychedelic, with more detail and energy which transports the crowd immediately into the time before he belts into Rock ’n’ Roll Star,” he said.
W ith I Am the Walrus, the team shot objects relevant to the surrealism of the lyrics on a 16mm Bolex camera. “We didn’t want to be too on the nose, and Liam liked the fact we hand shot a lot of that stuff in a way that could have
been done for The Beatles. There is an element of baby talk in the lyrics, so I was pleased to be able to manage to get my one-year-old in the content,” Harris said, citing the ‘swirling’ Union Jack emblem amid Columbia as additional visual progressions based on the artwork of the time. “Nostalgia with a spin on it,” he remarked.
“T he camera looks for Bring It on Down are fantastic, a combination of our content, Liam and the band’s delivery and Jon Shrimpton’s camera cutting and the lighting of Paul and Graham, makes it slightly different every night with an unpredictable yet considered and control energy,” Harris said. “The 18-year-old me was equally delighted to be bringing the flamingos to life, marching across the screen during Digsy’s Dinner.”
Using CG, Harris replicated the steps of New York’s Central Park, using them as the visual backdrop to the live camera feed for one of the tracks. “There’s an uncontrollability and experimentation with no timecode, and it’s a pleasure to see it come to life in front of a crowd,” he said, extolling the virtues of content creation software – AfterEffects, Cinema 4D, Unreal Engine and Notch.
“We used Unreal Engine for the track, Whatever. This was artwork I poured over as a youngster, so to create a moving version of that to one of my favourite tracks was an honour. Overall, it has been a dream come true to be involved in this project.”
‘AN OVERWHELMING RESPONSE’
“He’s enjoying the crowds and they’re giving him a lot of love,” FOH Engineer, Sam Parker said, referencing Liam Gallagher’s magnetic stage presence.
Parker’s setup featured a Yamaha RIVAGE PM7 console with an RPiO stage rack and a Chandler TG1 bus compressor. “I’m doing all the effects and dynamics on board; I prefer to do everything in the desk. I’ve used this console on three projects so far and it’s been great, the emulations and reverbs onboard are fantastic,” he said, praising the ‘analogue’ feel of the console and custom fader layers.
The team deployed varying microphones from all corners of the pro audio world, including AKG, Audio-Technica, Beyer Dynamic, Electro-Voice and Sony on the drums. Liam Gallagher’s vocal microphone came in the shape of a trusty Shure Beta 57A, while the backing vocalists harnessed sE Electronics vocal microphones – ideal for a loud stage with wedges. “It can get loud, so anything that is closer is beneficial. For guitars, we’re using microphones on cabinets in addition to Universal Audio OX Boxes for cab simulation. There’s another great plug-in on the Yamaha called Interphase which enables you to top line that stuff,” Parker explained.
“T he string section are using REMIC’s brilliant condenser microphones that act as like a contact mic, we wedge them at the end
of the tailboard, and they point at the bridge for excellent gain before feedback – they’re ideal for this live stage environment.”
The PA of choice was, as in Knebworth, an L-Acoustics K Series, with four hangs of eight K2 purposed as delays. “This PA system really lends itself to guitar music,” Parker said. Singing the praises of audio equipment and crew vendor, Skan PA Hire, he noted the breadth of inventory available for their tour, as overseen by Skan Director, Chris Fitch: “Clair Global has a labyrinth of equipment and can source gear from their vast network for any location while we’re on the road.”
‘THE PRODUCTION IS MEGA’
Monitor Engineer, Bertie Hunter joined the conversation: “Liam Gallagher is at the top of his game. The production is mega, and he likes this room because it’s what I call ‘zingy’ – he likes to hear a bit of reverberance and a bit of life in the room, albeit controlled.”
Hunter mixed on a DiGiCo Quantum 7. “I’ve been using this console for a long time. However, I’ve now supplemented it with an external Midas XL42 preamp that gets split into two channels on my board which goes to a dry signal and a compress parallel compression channel that travels through a distressor.”
Hunter harnessed the Quantum 7’s onboard Nodal Processing. “The drummer likes the sound open, not a lot of gaiting, while everyone else likes a nice gaited high drum sound, which we dialled in during the course of rehearsals,” he said, describing Liam Gallagher’s mix. “He’s on four wedges with two mixes as well as some side fills. Over the years, the volume has reduced significantly.”
A further 16 ways of Shure PSM 1000s covered 12 members of the band and backline
technicians. ‘Monitor world’ also boasted a Bricasti reverb. “It’s leagues above what I’ve ever had running through my board before, so I put a request into Skan PA Hire, through Clair Global, to use it for Liam’s reverb and it’s been amazing,” he enthused.
Four ambient microphones were placed across the stage that fed to the band and the record rigs. “The crowd are so unbelievably loud that I’ve reduced the feed down to two microphones,” Hunter remarked, going on to highlight some of his favourite moments of the set to mix. “Despite working with Liam for five years, I’ve never mixed Bring It on Down before this tour. Live Forever is pretty, as is his rendition of Half the World Away.”
Trebling as Audio Crew Chief, Monitor and RF Technician, Finlay Watt provided the comfort factor for the band as a familiar face on the tour sheet. Like Hunter, he pinpointed Bring It on Down as a highlight along with Columbia. “There’s just so many classic songs on the setlist. The reaction from the audience has also been overwhelming,” he added.
‘A HOME AWAY FROM HOME’
“I took care of a little bit of the rehearsals for the tour a couple of years ago, and I guess I made an impression on Davey,” said Graeme Leitch, Head Caterer. According to Leitch, one of the plus points about touring in the UK, particularly with a friendly schedule, is the ability to source local produce. From salt marsh lamb in Wales to square sausage and tatty scones in Scotland.
“We try and keep it regional and local, utilising local suppliers whenever possible. Our menu is based on crew feedback,” Leitch said. “It’s vital to create a home from home when we’re on the road. The crew are generous with their praise, and they tell us what they think.” As
in all sectors, sustainability is a focus point for the team. “Sustainability is challenging in this industry, but we are taking steps to improve that, so all our packaging of the ‘to go’ boxes are all compostable with wooden cutlery and we are trying to keep our produce ordering super tight. The industry is incredibly wasteful by default, so we’ve been focussed on hitting our numbers, with a little bit extra, to not leave anyone behind. We are also fortunate that anything left over can be gifted to our lovely local assistants,” Leitch concluded. “It’s been a joy; I’m genuinely gutted it’s only been 34 days. Shout out to Lucy at The Pantry Maid who keeps me busy – she’s the best!”
‘EXCEEDING EXPECTATIONS’
Marking the company’s first outing with the crew as a new vendor to the camp, Transam Trucking’s Sharon Cooper and Natasha Highcroft supported the tour from the office alongside Lead Driver, Martyn Ford and a team of skilled drivers on the road. “We spent time getting to know the team and their expectations so we could do our best to exceed these,” Highcroft noted.
The tour came at a busy time amid multiple stadium tours and festival season in full swing. “Davey had given us plenty of warning that the tour was happening, so we were able to keep the trucks held for him,” Highcroft said. “We believe in the importance of the drivers being an extension of the crew on the tour, so we made sure that the tour was able to keep the same drivers throughout, ensuring continuity and knowledge of the load-in and -outs.”
Co -op Live presented the drivers with particularly interesting challenge with several upright pillars to negotiate in the load-in and -out area. “Our lead drivers all communicate,
and we have had a number of tours in at Co-op Live, so we’re well equipped to traverse these challenges,” Highcroft continued. “This tour was an honour and a privilege to be a part of.” Reflecting on t he tour, Davey highlighted t he “special” nature of t he opening night. “ Everyone was up for it,” he reminisced, fondly. “ The room sounded fantastic; the crowd were loud and that’s w hat you expect f rom a hometown show in a new venue. There were even big plaudits from the boss, who said it was one of the best shows he’s ever done.” www.liamgallagher.com www.allaccessuk.com www.beatthestreet.net www.clairglobal.com www.csecrosscom.co.uk europe.4wall.com www.fomo.london www.glowinflatables.com www.negearth.co.uk www.skanpa.co.uk www.taittowers.com www.thepantrymaid.com www.transamtrucking.com
+1 629 702 3639
Following on from their acclaimed 2023 studio album, Volcano, British electronic music innovators Jungle hit the road on a long and varied run of shows that takes them all around the globe and back again. TPi catches up with the band and their close-knit crew at Manchester’s Castlefield Bowl to talk consistency, attention to detail, and the pursuit of production perfection.
The past few years have seen British group Jungle experience a stratospheric rise, both in terms of their global popularity and their well-earned reputation as a solid live act. With this increasing weight of expectation on their collective shoulders, the band and their crew of touring specialists have had to dig deep to ensure that they spend every day on tour at the top of their game.
“Josh, Tom and Lydia are persistently driven,” said Production Manager, Matt Greig. “They’re across all elements of the Jungle project, so they always expect nothing less than perfection. This has driven the crew and me to deliver on every single detail of the show and production. For a tour with so many moving parts, this has been tricky, but ultimately, extremely rewarding.”
LOVING IN STEREO
Antoine Richard first came into the fold as Jungle’s dual TM/FOH Engineer back in 2013, working on their first headline show at Manchester’s own Roadhouse (RIP). Now, focussed solely on mixing the show from FOH, he has the time and mental space to help the band translate their densely layered audio landscapes from the record to the stage.
“Jungle are an inspiring band to work for,” he said. “They’re outrageously talented and relentlessly hard-working producers who aren’t scared of thinking outside the box. Their approach to music, groove, and sonics is really interesting and has allowed me to expand my knowledge on sound. They’ve definitely pushed me to develop my mixing skills more
than any of the other bands I’ve worked for over the years.”
Due to the eclectic blend of genres, eras, and musical styles on each Jungle record, Richard has had to develop an exceptional ear for detail, with a variety of acoustic and electronic sources in play at all times.
“We spend a fair amount of time rehearsing, listening back, and discussing mix and creative decisions with the band,” he said. “We’ve spent countless hours meticulously remixing stems, levelling/EQing samples and instrument patches. A lot of our process is thanks to the endless patience of our playback, programming, and MIDI hero, Chris Purcell.”
Al though Jungle consists of three core members – Josh Lloyd-Watson, Tom McFarland, and Lydia Kitto – they choose to perform live as an eight-piece, regularly swapping instruments and working together to create the lush vocal arrangements that have become a staple of their sound.
“W hen I came into the crew in 2015, the band had their own playback sessions and they were running them from stage,” said Purcell. “I’ve had to work with them to build up trust, to the point where they’ll let me take some of that away from them. During that process they’ve flung a lot of ambitious stuff at me, but it’s all resulted in a much stronger, much more consistent show.”
The set is almost seamless, with tracks often running into each other and every song conforming to a preset click and automated patch changes. With this in mind, Purcell was tasked with making the stage setup as versatile
and consistent as possible. “I’ve tried to design it so that every musician’s station is like a satellite running back to my central position,” he said. “Because Josh and Tom move around the stage a bit more, they wanted to have the ability to do the same gig at any position. The way we have it set up; they can even play one instrument while they’re stood 10ft away at a different one.”
As almost every instrument signal is available as MIDI, Purcell is able to push the signals around the stage from station to station via Ableton, regardless of where each musician is stood. “They wanted the ability to have fun and creative freedom every night,” he said. “This way, they can throw in effects and samples as and when they’re feeling it and give songs a new lease of life on the fly. We went down to Pioneer for the day, and they were amazing in helping us to realise all the ambitious stuff that Tom and Josh wanted to do on stage.”
Since the team wanted to keep the setup as minimal as possible in terms of channel count, they decided to arrange all pads, samples, keyboard lines, and drum triggers according to the musician who plays / triggers them, rather than having distinct channels for each individual sound. With six singers, eight musicians, and a total of 26 songs, this is no mean feat.
“We’ve had to spend a fair amount of time learning very precisely who plays, triggers, or sings which parts,” said Richard. “I’m also using snapshots to programme which microphones and gates are open or closed on each song, as
well as using different pans and EQ on certain input channels. This allows me to keep the mix clean and quite dynamic throughout the show.”
Richard mixes the band’s live shows on an Avid S6L hooked to a Stage 64 rack and a pair of Waves Servers, which allows him to fully integrate Waves plug-ins into his vitally important snapshots. He also uses a laptop running MainStage for its vocal rotary effect, which was a signature sound on the band’s first two albums.
“I m ade the decision to stick to a fully in-thebox setup for the sake of consistency as we do a lot of fly shows,” Richard said. “Being able to travel to almost any country with just a couple of USB sticks – all without compromising the quality of the show – has been key for me.”
BCS Audio, now part of Solotech, has been Jungle’s audio supplier in the UK and Europe for over 10 years, providing the PA and control package for a wide variety of indoor and outdoor venues.
“T heir support, service, and understanding has always been fantastic,” Richard said. “From providing our very first monitor console and line system to supplying a full control package, PA, and crew for our arena shows, they’ve been a key part of our journey. We owe a big thank you in particular to David Shepherd, Luke Williams, and Jack Collins, as well as the rest of their team.”
When the band requires a touring PA, Richard’s first choice is the d&b audiotechnik SL Series, which gives him the precision and detail he needs for such a complex array of vocals and instrumentation. Aside
from his setup at FOH, the touring audio package is rounded out by a mix of dynamic and condenser microphones from Shure, Sennheiser, and DPA, with the Sennheiser e935 being the standout choice on all wired vocals.
“Josh and Tom are producers first and foremost, so they’ve very specific about what they want from me,” said Monitor Engineer, Martin Omond. “It basically needs to sound like a FOH mix, just with their own parts a bit louder. They even have the specific effects in their mixes so they can have the best idea of how it sounds out front.
“O bviously, distortion on the vocals brings the whole noise floor up, so it’s a case of managing the band’s expectations sometimes, as well as programming mutes and using Waves PSE. I also use Waves WNS, which is actually more for dialogue, but it works really well with zero latency. It’s great for taming room reflections and ambient noise in the arenas and larger venues we play.”
Omond creates his mixes using a DiGiCo SD12 with a supplementary SD rack, while all eight musicians are using stereo IEMs. There are also three subs under the stage – a d&b audiotechnik Y-SUB and two V-SUBs – to give specific band members the rumble they need during the sensory overload of a live show.
“For the first few years, it was just Antoine and I on the audio team, and it was incredibly hard work to handle everything alone,” said Omond. “This tour we’ve been joined by a new Audio Tech, Rob Cook, who’s been excellent from the word go. Having someone like him around has made my life infinitely better and
Production Manager, Matt Greig; Production Coordinator, Eden Myall; FOH Engineer, Antoine Richard; Playback Engineer, Chris Purcell.
the whole tour so far has been really enjoyable as a result.”
From the outset, Jungle have cultivated a strong and consistent visual identity that feeds directly into the look and feel of their live show. The majority of the set is backlit, cleverly referencing their initial plan to release music under a guise of semi-anonymity, while the video content is based on bold line patterns and shapes in orange and white to match the concept colours of their latest album, Volcano
The lighting and video, which was designed and programmed by Cassius Creative, was overseen on the road by Stijn Vanholzaets, who first joined the band midway through a festival run in 2022.
“We aren’t touring a full video wall on this short run of shows because of the logistical and staffing requirements, even though the video is a big part of the show,” he said. “However, that means it is difficult to come in every day and make the content fit, as we’re doing a variety of venues, so you have to put the work in.
“Ideally we want video behind the whole band, so if we turn up to a festival and there’s only a 10m screen, we’ll have to add our own panels to push it out a couple of metres per side. The content isn’t super detailed, so we’re essentially using it like a giant back light.”
The floor package, supplied by Colour Sound Experiment, is where a lot of the hard work is done in terms of creating the euphoric, timeless mood that so effectively complements Jungle’s feel-good set. There are a good number of workhorses on stage, such
as the two lines of Robe MegaPointe spots, as well as some more specialised fixtures, like TMB Solaris Flares and CHAUVET Professional STRIKE Array 2s.
“T hey’re my favourite fixture in this floor package,” said Vanholzaets of the latter. “It’s an LED mole blinder, but it’s the only one that comes close to a conventional, old-school molefay, in my opinion. Although it’s nice when we arrive at festivals and they have LED moles in the flown rig, I always know they’ll never be able to touch the STRIKE Array 2s. We’re so happy with them.”
Despite originally being music producers, the band are just as exacting when it comes to the visual side of the live show.
“It’s funny because Josh and Tom can identify brands of strobes, so they will see an old-school Atomic 3000 and be really pumped for the show,” said Vanholzaets. “That’s why we always ask for the top fixtures, like GLP JDC1s. We can only have the best, and even then there is always room for improvement.”
“If the colour in the side light is off because of lower quality local fixtures, the guys will come to me after the show to tell me about it. It’s great for me because it keeps me on my toes. Doing everything to timecode means the show isn’t the most difficult part of the day, so I make notes every night to make sure it’s always evolving. Even if it’s just something me and the band sees, those small things add up to make the show what it is.”
Although lighting and video are key to Jungle’s distinctive live show, the crew also tour their own haze and smoke machines to ensure that the quality and consistency of the atmospherics aren’t left up to chance.
“It’s tricky since Lydia has found that some types of hazers are really bad for her voice,” said Vanholzaets.
“We use four MDG hazers because they’re the best on the market. It’s a fine balance because Josh wants as much smoke as possible all the time, and Lydia would prefer to have none at all. I think we’ve found a good balance with the two smoke machines and four MDGs, because it looks great without completely overwhelming everyone on stage.”
All the band’s bespoke set pieces was crafted
by the specialist team at Ox Event House.
Aiding in the set construction was LED Creative that helped create a plug and play facia with integrated LED elements. “Our LED product means instead of boring facias or stage legs, any additional stage elements can become part of the lighting system and add shape and colour to an otherwise flat element,” stated LED Creative’s Tim Rees.
The product in question was LED Creative Sigma 60 LED with a Byte Control System that could be triggered via DMX. To give production
the flexibility to change the size of the stage, in collaboration with Ox Events House, Rees and the team provided separate driver racks configured for multiple stage widths.
From a logistical standpoint, scaling and routing have been the major challenges for this particular Jungle campaign, as Production Manager, Matt Greig explained. “One day we may be on an outdoor amphitheatre with three trucks and a full complement of crew, the next
we will be cramming a 49-piece fly pack into a charter and flying into a full stage of locally hired kit and an upstage wall that scales to our show during changeover.
“After that we might be moving the band only into a DJ set while the crew are on site somewhere else preparing to receive the fly package to build an arena show with flown lighting, PA, a 15m by 5m stage set and a 15m by 8m upstage video wall.”
This requires a lot of changes to the advance. Greig elaborated: “Luckily, we have a fantastic production team in place with our powerhouse Production Coordinator, Eden Myall, our amazing TM, Will Driscoll, best in class logistics partner Nick Goulding from Rock-it Cargo and support from the 24/7 Productions family.”
In terms of additional suppliers, Greig and his team chose Zeppelin Nightliners for bussing, Rock-it Cargo for freight, KB Event for trucking, and Rigging Co for rigging.
“We had two buses on Jungle over the summer and to keep up with the schedule, we double-manned the buses most of the time,” stated Christian Weidenholzer of Zeppelin Nightliners, that have looked after the band since 2014, although this was the team’s first
time working with 24/7 Productions. “Summer has always been the most challenging part of the year,” said Weidenholzer.
“Not just managing buses, but also coordinating sea and air travel to ensure everything happens on time. I have the utmost admiration for Will, Matt and Eden for making it all work. It’s a pleasure to collaborate with such a dedicated team.”
Af ter more festivals and an arena run in the UK, the Jungle crew are due to head back across the pond in September and October for a mix of headline arena, amphitheatre, and festival shows. The touring year then ends for them on 25 November in Mexico City for a oneoff festival.
Even after just a few hours backstage with the crew, it becomes incredibly clear how cohesive and collaborative the whole Jungle project is from top to bottom. Everyone knows their job and does it well, while remaining considerate of what they can do to make their road mates’ lives easier.
To close, Greig spoke effusively about the hard work of the team, giving a special mention to the efforts of Production Coordinator, Eden
Myall, citing her as a “huge part of the show”. He continued: “A lot of the crew on Jungle have been here a lot longer than I have – some of them from day one. My approach was to focus on keeping the processes and day-to-day procedural stuff as close to what they’d been in the past, while also optimising the gig as it scales. This was made somewhat easier by the fact that all the crew are fantastic at what they do, so scaling became more manageable.
“I also try to keep crew consistent across the globe whenever possible to harbour as much of that family vibe that’s so important to the Jungle project,” stated Greig. “It is really rare to walk away from a gig having made so many genuine friends and this feels very much like that.”
www.junglejunglejungle.com www.24-7productions.co.uk www.solotech.com/en-uk/bcs-audio www.cassiuscreative.co.uk www.coloursound.com www.oxevents.co.uk www.led-creative.co.uk www.kbevent.com www.zeppelinnightliners.com www.rockitcargo.com www.rigging.co
As Leeds pop-punk’s latest poster boys take to the stage at Millenium Square for their biggest show yet, TPi discovers the bells and whistles that come with staging a hometown show of this level…
Hot on the heels of their second album, Where’s My Utopia, and a triumphant UK tour, punk-funk rockers Yard Act returned to their hometown of Leeds on 3 August to partake in a victory lap after their UK and Europe tour in the spring. Named the most booked band of 2022, and much like their live scope, the band have also increased from a four- to a sevenpiece with a core crew of six following them along the way.
Taking place on a sunny Saturday in Leeds, Jacob Price, Tour Manager and Production Manager, alongside Dean Cross, Monitor Engineer, met TPi at the makeshift gates to the venue, welcoming us to the calm before the storm of the biggest show of the band’s career.
“I ’ve been working with Yard Act for nearly two years,” Price began. “It has been exciting. We’ve gone from using house rigs to bringing our own kit on the road; it’s been great to see how much it has grown.”
Pr ice employed help from Southby Productions for audio hire, and Siyan for lighting, while 3D Productions provided the house lighting rig at Millenium Square as well as the PA and custom riser packages. Special effects and pyrotechnics were provided by Leeds-based Axiom Events.
“M y job has completely changed since the COVID-19 pandemic, and now, I face challenges such as Brexit and carnets, but the suppliers have really helped with that,” Price explained. “They have had the kit ready to go, which has saved us so much time before the tour. We were able to take a day’s worth of work out of our schedule.”
While advancing the shows, Price discusses production ideas with the team: “We’re on the phone quite often,” Price laughed. “We have a long relationship with Dean Cross, so when he came to us with the Yard Act project, we knew
immediately that we wanted to be involved,” commented Henry Cook, Senior Project Manager at Southby Productions.
“W hen we heard they were lining up the Leeds hometown headline show, we wanted to do something a little special for them. The guys have been touring a very compact package by design this summer, but with such a momentous occasion in the middle of the run, we knew we needed to provide a little more of a luxurious setup to take this show to the next level,” Cook said.
“It’s been fantastic to be able to support such quality homegrown talent. We’ve seen the sizes of their shows grow exponentially since we began our relationship, and they deserve all the plaudits they are receiving.
“It’s been amazing working with engineers and Jacob on a dynamic package providing what’s required in the most efficient and compact method possible,” he added. “We were able to call upon our vast inventory of custom, modular panel work and bespoke hire equipment to help to support the show in what has been an exceptionally busy period for us.”
In true Yard Act fashion, the lighting was punchy, colourful and striking. Laure Noverraz took on the helm of the lighting design for the one-off show, having been with the camp since March. “The band have given me free rein to do whatever I want and that has been great,” Noverraz enthused. “They told me they’d let me know if they don’t like it and I haven’t had any complaints so far.”
Having joined the industry post-pandemic, Noverraz decided she wanted to delve further into her work. “I thought I should start taking my work seriously,” she explained. “I’m still quite fresh to the live events industry, so it’s been
exciting to work with a band that’s up-andcoming and it feels like I can grow with them.”
The house rig boasted Ayrton Rivale Profiles, Martin Professional MAC Auras and XIP Washes, SGM Q-8 LED strobes, Prolights LED 2 Cell Blinders and Smoke Factory atmospherics alongside a robust infrastructure of Netgear AV line switches, Luminex Nodes and a ProPlex GBX Selector.
“We designed the house lighting rig with industry standard, workhorse LED fixtures, to be both familiar and easy for touring lighting designers and operators to incorporate into their show,” commented Adam Wilks, Lighting Project Manager at 3D Productions.
“We’ve used good fixture positioning and simple network integration. Ayrton Rivales, in particular, are proving to be a great addition this summer. We wanted robust fixtures that would look good day and night to give the LDs a wide choice of looks.”
The Yard Act camp also brought along CHAUVET Professional STRIKE Array 2 and GLP JDC1 lighting fixtures. “Getting to work with Ayrton fixtures today has been amazing,” the LD said of the fixture choice. “They are clean and have lots of interesting GOBOs so today looks good even in the daylight.”
For control, Noverraz has stuck with Avolites her whole career, using a T3 console for this show. “I learned on Avolites, so I like to stick with Avolites,” she noted.
“T his tour took a while for me to create the design, because the first album compared to this one is so different and is more disco and dancey. It took around a month to get everything together,” Noverraz explained. “Once I had that show file on my desk, I was able to tour with that and fit into each venue.”
Si yan’s Karl Lawton commented on the company’s involvement on the tour: “We love
working with this team, Laure has a clear vision and has tweaked the design as the band grows, she knows what she wants to achieve.
“T he band have seen a tour, a headline Hammersmith show and a great gig on the ‘Woodsies stage’ at Glastonbury this year,” he added. “Jacob and the team have helped steer the ship with humour and good grace, we are very much look forward to helping them grow.”
For t he first t ime on t his tour, t he crew added a Showven Sparkular Fall, thanks to Axiom Events, whose SFX Technician, Rob Barr was onsite and utilised ForceFX Cryo Jet II CO2 for the effect. It was great to get asked to support Yard Act on this homecoming show after watching their success spiral over the last few years, its always good to see homegrown Leeds artists succeed,” commented Peter Shorten, Director at Axiom Events.
“We provided a package of four floor mounted CO2 Jets and a flown package of Showven Sparkular Fall. The CO2 added some extra punch to t he show and added a different dy namic. The Sparkular Fall is a great alternative to a traditional pyro waterfall as they have a cold fallout, they’re easy to rig and control and can be used over and over during rehearsals.”
POP-PUNK’S LATEST POSTER BOYS
Sounding out the city square in Leeds Civic Quarter was Sergio Maschetzko, Sound Engineer and Producer. “The more complicated
it is, the more fun it is for me,” the engineer laughed. Having joined the camp just over a year ago, Maschetzko has enjoyed developing with the band as their sound turns more disco-inspired, with a lot more elements than previously. “I’m not a techy person; I like to use my ears and hear what sounds good,” he said. “It’s more of a dynamic show now. It’s fun, fast and I enjoy every minute of the show.”
Showcasing the energetic and everchanging nature of the show is a Shure 520DX Green Bullet Microphone, which lead singer, James Smith, uses for the band’s between album single, The Trenchcoat Museum. The harmonica microphone is put through a distortion pedal that Smith can control the volume of from the stage. “He can be quite good at controlling the levels,” Maschetzko added. “The song has so many levels so I can add what I want and I’m on the faders constantly.”
With seven musicians on stage, t he different elements can be overwhelming if not managed correctly, but Maschetzko doesn’t have that problem: “It is so interesting to work with the seven of them; we even have cowbells dotted around and other elements t hat create different kinds of textures and that’s the beauty of it.”
Maschetzko uses a variety of different microphones. “I try not to use conventional microphones; as a standard, I t ry to use different textures and sounds,” he explained. “I mainly use Austrian Audio. I also use JZ Microphones and
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DPA Microphones, which are amazing and give us a great package.”
JP Cavaco, DPA Regional Sales Manager stated: “We are passionate about producing microphone systems that engineers can trust both in terms of accuracy and durability, and it’s been our pleasure to work with Sergio Maschetzko to help deliver consistently stunning audio for Yard Act.”
The engineer mixed on an Allen & Heath dLive C1500. “I’m mixing completely on the fly. The band like to change the setlist but it keeps it exciting, and I enjoy every minute.”
Considering the band is still in the early stage of their career, the crew often use a house PA system during their show. The Millenium Square Summer Series system, also provided by 3D Productions, is d&b audiotechnik XSL with SL SUBs and YP fills.
In addition there are M4 monitors on-stage with d&b audiotechnik V series side fills and drum subwoofers. The FOH system is controlled with an XTA and Lake drive system and carefully designed to deliver maximum energy into the audience arena and avoid spill into the surrounding residential homes and businesses.
“T he XSL punches far above its size; it’s a fantastic sounding box and the ArrayProcessing gives me a lot of control over the coverage. The SL Subs are brilliant and sit beneath it well. All the touring engineers visiting this year, including Sergio, have loved mixing on it,” commented Alex Chapman, Systems and FOH Technician.
“It sounds amazing out there already; I’m really excited about today,” added Maschetzko, reflecting on his time with the band. “I’ve
found joy in mixing Yard Act. Every song has something I can play with.”
DO YOU REMEMBER DEAN?
Monitor Engineer, Dean Cross, assisted Price with advancing the audio hire. “I met Jacob at the Mercury Awards and then at Primavera, so I got to know him well, and he brought me out on this,” Cross recalled. “I’ve been a fan of the band for years, so it has been nice to be a part of it as the production has increased.”
As t he band’s sound has developed through the release of their second studio album, so has the need for more tech on stage, and Cross spearheaded this with the introduction of IEMs. “I’ve enjoyed putting the band on ears. We did one rehearsal day in Leeds before the tour; I got them started straight onto ears and they’ve stuck with it,” Cross commented. “There was a conversation about sticking with wedges and Sam [Shipstone, Guitarist] has decided to stick with them, but everyone else is now on ears.”
Pr ice added: “We had a meeting before the second album’s touring cycle and everyone was keen to try it out. There are a lot more pitched vocals on the second record and it is more intricate with drum machines and samples, so it just makes sense.”
Cross’s IEMs of choice for the band are Shure SE535 Pro run through a PSM 1000 In-Ear Personal Monitoring System.
Southby Productions is an important partner for Cross, with the association dating back around four years. “When I went to university, they were the company that gave me a job straight away,” Cross commented. “So, when I
started touring, I wanted to use people I know. They worked with us amazingly.”
Having been with the band since March, but a fan beforehand, Cross gets a shoutout in the band’s song, Down by the Stream “Apart from The Trenchcoat Museum, I love when the band sing Do you remember Dean? and I can look around and I usually get a few acknowledgements, which is nice,” he remarked.
With the biggest show of their career so far under their belts, the band and crew looked back on their favourite show of the tour so far – and quite an unconventional one at that.
“T he show in Bordeaux,” Price commented. “The wheel of the tour bus lost nine out of 10 of its bolts, but we got to the show by the skin of our teeth as thankfully there was a bus leaving Paris that was empty.”
Cross added: “It was one of those shows where everyone felt very relieved that it could actually happen and proud of what we could do in the time.”
Two albums into their career and with a touring schedule running until November, Yard Act aren’t slowing down anytime soon, claiming critical acclaim along the way. “I’m so happy for them. They’ve put the effort in – and they help with load-ins and load-outs,” Cross concluded. “It’s nice for those guys to reap the rewards.” www.yardactors.com www.southby-productions.co.uk www.3dproductions.co.uk www.siyan.co.uk www.axiomevents.co.uk
A mainstay in the world of pro audio, Cadac Consoles is making waves with major announcements, from a new console range to shifting all manufacturing to the UK. TPi catches up with Director of Marketing and Business Operations, James Godbehear, to learn more.
Words: Stew Hume
When a manufacturer looks at creating the next generation of products, rarely does a company take the drastic decision to start from scratch and build something completely new. However, that is just how James Godbehear describes the past four years at Cadac Consoles.
“Prior to the COVID-19 pandemic and subsequent lockdowns, internally, we had decided to re-engineer our desks,” began Godbehear. Despite the obvious downsides to the lockdown, including Cadac’s team having to shrink, Godbehear shared the one silver lining – time to tackle the re-engineering project, without the distraction of sales and support allowing the team, within a relatively short space of time, the opportunity to begin creating an entirely new product line.
The company effectively paused commercial activity at the outset of the COVID-19 emergency, retiring its previous CDC series,
while creating its new product range – the CMSeries. The new digital console infrastructure comprises of t he fl agship CM-J50 console and CM -SR remote stage racks.
“We were really starting afresh with the CMSeries,” reflected Godbehear. We designed it around our core values – phenomenal sound and ease of use.” Building on the legacy of the brand, Godbehear seems confident t hat w hen it comes to audio delivery, the CM-Series lives up to the company’s heritage.
Godbehear also considers the ‘ease-of-use’ to be a major selling point of the CM-Series, and this was thoroughly tested during its development phase.
“During testing, we put the desk in front of several engineers without any instructions or guidance and after a short time were able to get audio out of the desk. You don’t need extensive training to operate it. That’s not to say the desk is basic, far from it, but it allows you to navigate
and delve into the system without getting tied into knots,” he said.
He continued by explaining that due to the audio quality, there was no need to overload the CM-Series workflow with parameters. “I’ve had people comment that that if you want an ‘audio’ console, this is the desk you need. If you want to ‘administrate audio’ then there are other choices out there.”
The new release has already had interest from numerous markets such as the House of Worship and multi-purpose venues. That said, due to its lightweight, compact form factor, Godbehear sees it as a good fit for the touring world. “The SR stage boxes range from 7.1kg to 10.2kg, and out of the flight case the desk is 39kg.” Although admittedly not currently on touring riders according to Godbehear, the new range has already received interest from engineers focused on none rider driven audio centric applications. “We’ve also been very popular with monitor engineers,” mused Godbehear. He put this down to several reasons, from the ultra-low latency of less the 0.4 milliseconds from stage rack input, through the console and back out again to the rack, to the console’s dedicated Monitor Mode.
“It has received praise on stage from both orchestras and bands for its exceptionally clean sound. Even when handling multiple complex mixes, engineers have been able to achieve the optimal mix for all performers extremely quickly”.
As well as big changes to its line-up, this year Cadac Consoles has announced that all manufacturing will now take place within the UK. This change marks a significant transition
from its previous China production base under the Soundking Group. In fact, the entire Cadac brand has now been divided into two distinct, independent business units, reflecting the current evolution of its product development activities; namely Cadac Consoles and Cadac Immersive. Headquartered at its Beijing R&D facility, Cadac Immersive will focus on marketing its range of proprietary standalone immersive audio products for theatres, fixed installations and cinema applications.
Meanwhile, Cadac Consoles will operate separately out of the UK. “Our decision to move production to the UK was driven by our strategic plan to unlock the brand’s full potential. Manufacturing a low-volume, high-value product 6,000 miles away from our engineering and product management teams posed several logistical challenges. By relocating to the UK, it will allow us to provide a more agile response to market dynamics and demands,” he stated.
“We’ve found a third-party manufacturer based 45 minutes from our Luton base. They can also handle purchasing, stock management as well as shipping, meaning we’ve been able to keep our staff streamlined.” Although there are still some elements of the workflow that are still being established, Cadac Consoles predicts that it will be producing consoles out of the UK by the end of the year.
Although realistic about the busy road ahead, Godbehear expressed his optimism for the future which he predicts will see the internal team grow soon along with more software and hardware releases in the coming year.
www.cadac-consoles.com
Brompton Technology’s Rob Fowler explores trends within the world of LED from the perspective of video processing.
Words: Stew Hume
Photos: Ralph Larmann
It seems apt that in the same issue where we’re featuring a show that has claimed the Guinness World Record for the largest LED screen [all praise Adele and her creative team, p28], we’re also exploring the topic of video processing – with Rob Fowler, Director of Business Development at Brompton Technology, discussing the history of the field and speculating on what the future might hold for LED in the live events space.
Established in 2012, Brompton has become one of the dominant names within video processing, with the company’s technology being deployed on a wide range of significant projects, from high-end Hollywood films to music videos, showcasing how much LED has been embraced by these worlds. For TPi readers, however, the name Brompton will be synonymous with powering the LED screens on some of the largest productions in the live events space.
“We’ve had a grandstand seat to the progression of LED within live events,” began Fowler, musing on how we’ve seen a dramatic increase in the pixel density of LED used in live events. “When we started, you’d see a pixel pitch of somewhere between 7mm to 15mm
for live events. Now we’re at a stage where acts like Ed Sheeran are using 5mm products for stadium shows,” he commented, also referencing Adele in Munich, which featured 28 Brompton processors to power the LED wall.
“We are seeing bigger and bigger fine pitch LED walls on tours and shows, and with more pixels, comes a need for bigger canvases, which puts the onus on both media server manufacturers and LED processor manufacturers like Brompton to come up with elegant solutions.”
One talked about solution to the increased pixel counts of big screens is video over IP solutions like SMPTE 2110 for the distribution of those high bandwidth video signals.
Dealing with massive walls is one of the main drivers for the creation of Brompton’s upcoming SQ200 processor, which can deliver 100 Gbps Ethernet connectivity to support 8K at 60fps (and above) and 12bpc over a single cable. There is also a second 100 Gbps Ethernet input for a fully redundant video-over-IP network, meeting the requirements of Brompton’s most demanding customers.
At t he time of announcement of the SQ200 at ISE, Chris Deighton, CTO and co-founder of
Brompton Technology noted that the company “always seeks to do more than just check boxes – our aim is to deliver products that address the needs of the real world and that are futureproof to ensure great return-on-investment for our customers,” he added. “SMPTE 2110 is one way of driving very large screens.”
However, at time of writing, it’s not a very plug and play solution. “For this reason, we will continue to support the new 8K variants of baseband standards like HDMI and Displayport which are well understood and well suited to live events,” he stated.
“We are also cautiously optimistic about the new IPMX video over IP standard which it’s hoped will combine some of the plug and play ease of use of standards like HDMI, with the advantages of ethernet cabling that benefit SMPTE 2110. IPMX, which is being developed by AIMS, an alliance of manufacturers looking to produce an open standard protocol, could be the missing link to allow widespread adoption of video over IP in live events.”
This topic of collaboration continued with Fowler explaining the importance of having good relationships with all the other parts of the video ecosystem. This includes not only all the leading media server and video switching manufacturers but, more importantly,
the manufacturers of the LED panels. “For Brompton to be compatible with an LED panel, it must have a Brompton card built into it, so in many ways, the LED manufacturers are both our customers and partners,” he explained.
“T his is why we have an office in Shenzhen where many of the most well known LED manufacturers are based and our engineers often visit the likes of ROE Visual, INFiLED, Absen and our many other partners in the region. We have been fostering even closer links with these partners as we see it as essential to delivering the products our mutual clients will demand in the next few years,” Fowler said, explaining that in recent years the company has had more of an ongoing dialogue with content creators.
“Many creators have crossed over from live events into the virtual production space and they have been particularly interested in the Brompton colour management options, which become highly valuable when using LED on camera. Our ability to forensically control colour really sets Brompton apart from other off-the-shelf processer options,” he enthused.
This increased importance of things like colour management and artefact prevention via the suite of camera syncing tools are also being considered more in the live events
space – especially with more cameras on the LED screens on stage. This can be for IMAG, streaming services, cinematic versions of shows like we saw recently with Taylor Swift’s The Eras Tour or people in the crowd creating and sharing their own records of performances.
Looking to the future, Fowler introduced a new term to us called “digital scenography”. He elaborated: “It’s a term I first heard used by Nick Hunt from Rose Bruford College back in the early Noughties to describe the used of LED and video as backdrops,” he added, explaining how inspiration was taken from theatre.
“I t hink it neatly sums up the immersive way that designers are now creating entire environments on stages and with that comes an increasing need for really accurate control of all the parameters of the imagery that is placed on those screens, because in many ways that now is the show.
“As well as creating environments, we are also seeing this new type of show where LED is at the forefront,” concluded Fowler, citing ABBA Voyage as a prime example.
Video processing is an element of the live events landscape that will take the medium of LED in a new direction and, in turn, contribute to bringing productions into a new era. www.bromptontech.com
Philippe Depallens provides an insight into Ultimate Ears’ approach to ear health and accessible in-ear monitors.
Words:
Alicia Pollitt
Photo: Ultimate Ears
This year, Ultimate Ears Pro - part of the Logitech Family - announced its latest innovation, the UE 150, UE 250 and UE350 – a line of universal fit in-ear monitors (IEMs) designed for up-and-coming artists. As well as giving greater access to IEM technology to upand-coming talent, the new line also feeds into the company’s goal to push the conversation of hearing health to more musicians.
“We’re trying to push ear health awareness early into an artist’s career,” Philippe Depallens, VP and General Manager at Logitech began. “We don’t want people to come to us when it is too late and risk their career when they could’ve been doing it safely this entire time.”
He continued: “The biggest thing is being able to convince somebody to switch from using wedges to ears and that is the exact reason we have manufactured this universal fit. Price can be a limiting factor, and it is not fair, so this is why we’re trying to make it more
affordable, creating awareness and giving artists the training wheels to understand why ear safety is so important.”
The line consists of three models, the UE 150, UE 250, and UE 350 that are each available at different price points, $199, $299 and $399, aiming to be accessible for new artists.
The UE 150 product features a single dynamic speaker with a neutral clear sound with no enhancement in the high or low frequencies whereas the UE 250 is aimed at musicians who want more of a low end in their mix featuring dual drivers and a two-way crossover for tight bass response and detailed highs.
The UE 350, the most expensive of the three universal fit, offers smoothness across the width of the frequency range and features three drivers and a two-way crossover for headroom and nuance for a more live audio experience.
“Sound quality is very personal so you will never see me or my team telling an artist
what to buy,” he commented. “Performances are individual, and an artist can define what is right for them.” Depallens also shared the company’s procedure for creating the in-ear monitors: “Our claim to fame is to be the first to utilise 3D scanners and 3D printing for in-ear monitors,” he enthused. “We’re inspired by the advancements of the hearing aid industry and adopting it for the live music world.”
With Ultimate Ears named one of Time Magazine’s best 100 inventions in 2023, its growth is not slowing yet with Depallens excited to see where the company will develop further: “Our initial focus for innovation is delivering faster service. Next, we prioritise the comfort of the fit, empowering users to immerse themselves in the hearing experience,” he explained. “Ultimately, our ongoing goal is to enhance sound quality, consistently improving it across all of our products.”
www.pro.ultimateears.com
With touring productions becoming increasingly complex, Duncan Ladkin and Jack Dunnett underline the importance of redundancy in the stage management role…
There is no escaping the fact that modern touring productions are becoming increasingly complex, with monolithic stage structures and lavish designs now regular features among the world’s leading tours. However, despite this increasing complexity, the time allotted for stage managers and local crews tasked with unloading and assembling these structures is narrowing. Hoping to shed light on this conundrum, TPi tracked down stage management duo, Duncan Ladkin and Jack Dunnett, who have demonstrated that two is sometimes better than one.
In stadiums, crew generally have a day or one-and-a-half days to load-in and build a show, with more space and support loading trucks than would typically be found at arena level. Most stadium crew rosters tend to include site coordinators or advance production managers; however, this isn’t often the case for arena shows – some of which are just as complicated as stadiums, putting an extra strain on crew.
“A rena days can be just as long if not longer than stadiums because if you’re loading-in and -out on the same day, you can easily clock a 20-hour day,” said Dunnett, who shares the stage manager role with Ladkin on Shawn Mendes and Harry Styles tours, with each bringing differing approaches and expertise.
In addition to the technical and logistical demands associated with the role of a stage manager, Dunnett believes the ability to deal with strong personalities as well as being the bearer of bad news to make decisions that benefit the wider crew, and the production, is of equal importance.
While Dunnett has an extensive technical background, having worked in almost every
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touring role possible, Ladkin, a Backline Technician in his past life, is a self-confessed “people person” – something Dunnett believes is an “invaluable” skill. “ Although we’re chalk and cheese, it works,” Dunnett remarked, describing their stage management dynamic.
Ladkin joined the conversation: “I’ve learned a lot from Jack when it comes to having difficult conversations and ways to talk to people to progress the work,” Ladkin said, sometimes adopting the age old ‘good cop, bad cop’ dynamic to get the best out of the crew. “The most enjoyable and difficult aspect of being a stage manager is dealing with people. It’s about understanding people and their needs.”
Although he is not as outwardly enthusiastic as his stage management counterpart, instead, Dunnett underlined the importance of keeping morale high during these difficult moments.
“It’s important to not portray any negativity on those difficult stretches because although you may be struggling, any murmurs of discontent can spread throughout the crew. It’s vital to keep morale high and work collectively,” he noted. “If you don’t have a solid plan, then it affects morale. If you have a bad load-out, it makes you feel low.”
So, what is preventing production managers from investing in two production managers? “Budget,” the duo said. “A stage manager isn’t cheap, and most arena tours can be done with one stage manager, however, shows are becoming increasingly complicated. If it’s a production that also requires a stage manager to be involved during the show, in addition to dealing with the support act with a large changeover of set, production managers should be looking to hire two stage managers.” Conversely, they believe that stage managers
should know what they’re signing up for. “It’s an incredibly complex and rewarding job, but there aren’t always going to be two of you, nor should there be if it’s not a hugely complicated tour,” Dunnett said.
However, for anything with lots of automation and show cues, the duo believes there should be two dedicated individuals overseeing stage management responsibilities.
“It is hard taking four or five trucks into academy venues with little to no storage, but it is how you earn your stripes. Not every day should be a hard day – it’s super important to go into situations that you leave succeeding or failing, because you learn from those moments,” Dunnett said.
According to Ladkin, high-level arena touring is relentless and with shows becoming more complex, redundancy is key because without it, productions are going to “break” people. He elaborated: “With the advancements in technology, you need more people to check in on people, because you can’t be everywhere at the same time. It’s important to also have the support of your peers in the production office, crew chiefs and site coordinators.”
Acutely aware that there is a bottom line to hit, the duo is passionate that people should come first.
“Touring is brilliant, but it can be a lonely and isolating place when you’re on your own,” Ladkin concluded. “We’ve been fortunate to approach difficult situations collectively on prior tours as a united front but learning from your mistakes is key, and with two stage managers collaborating on a complicated production, it not only guarantees the safety of the production it also prevents burnout.”
Stage Manager, Jack Dunnett with Production Manager, Andrew Thornton and Stage Manager, Duncan Ladkin.
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Beam steering has never been easier. Why would you use anything else?
Building on our in-depth exploration of counterfeiting in the live events industry, Christian Hertel shares insights on how MADRIX is tackling this challenge and shares plans to raise public awareness on the issue moving forward.
In TPi #282, we spoke to representatives from MA Lighting and Avolites about the growing issue of counterfeit products within the live events space and explored some of the ways in which the industry could tackle this problem. It was always a topic that would merit further investigation – hence, we found ourselves on a video call with Christian Hertel from MADRIX who was keen to give his take on the issue.
“We were hiding the counterfeiting situation for a few years,” stated Hertel candidly, explaining how MADRIX didn’t want to give greater exposure to the wider market that such products existed. However, Hertel explained how this has changed in the past few years. The copyright for the MADRIX software, which is held by umbrella company inoage GmbH, is protected under the Berne Convention for the Protection of Literary and Artistic Works, as well as the Copyright Law of the People’s Republic of China. Further to this, in 2022, inoage obtained the Certificates of Software Copyright Registration for the MADRIX software in China.
However, despite this legal protection, the company discovered that unscrupulous individuals infringe on inoage’s rights by selling pirated MADRIX software. According to Hertel, these actions have damaged the brand’s reputation, especially in China, disrupted product services, and impacted the market sales of MADRIX software in Asia. In response, inoage proactively engaged a professional law firm to take legal action and has already
achieved a series of successful outcomes. “It became very clear that we would have to make a significant investment to stop the counterfeits and we as a company want to go straight to the source of the problem,” stated Hertel. “We are working with our legal team and lawyers to identify the source of the MADRIX counterfeits, dismantle the sales channels of these counterfeit products, and take action against both sellers and users of MADRIX counterfeit products.”
Recently, inoage once again launched an administrative procedure to combat a company’s illicit sale of MADRIX counterfeit on a popular e-commerce platform. Following the case’s acceptance, the involved parties reached a settlement under the coordination of the administrative authority. The case was eventually closed with the infringing company ceasing infringement, destroying all infringing products, disclosing all sales data to inoage, paying substantial compensation, as well as signing an undertaking to refrain from any further infringement and participate in the fight against pirated software.
Hertel highlighted some of the other measures that MADRIX is taking in the future: “In collaboration with our legal team, we have prepared several letters for our distributors and dealers worldwide. For instance, if a MADRIX partner encounters a counterfeit product in a nightclub, they can present this letter to the owner. The letter states that if the owner destroys the counterfeit product, no legal action will be taken, and they will be
Christian Hertel of MADRIX; Hertel standing with Sebastian Wissmann at Prolight + Sound 2018 in Guangzhou, China. The booth behind them sold counterfeit MADRIX products, and in collaboration with organisers of the trade show, the team were able to shut down the booth with all counterfeit products removed and destroyed.
encouraged to purchase an original MADRIX software. We also request that they disclose where they purchased the product to help us identify the seller. As a company, our focus is not suing users right now but on uncovering the sources of these counterfeit products. The more information we receive about the sellers of the counterfeit products, the faster we can identify the source.”
Furthermore, inoage as an organisation urges consumers to opt for official channels when purchasing MADRIX products to avoid potential pitfalls associated with pirated software, such as the inability of obtaining effective product supports and a series of problems and risks, such as data security vulnerabilities, system instability, malware and other viruses.
Having already made huge investment in the fight against counterfeiters, Hertel acknowledged that for real success, a concerted effort among the whole industry would be necessary. “In previous years, we developed an Anti-Counterfeit Alliance with several companies – including MA Lighting – to help tackle this issue,” he concluded. “Although most of the interactions occurred in a group chat, the alliance members successfully exchanged valuable information to more efficiently combat counterfeiting.” www.madrix.com
Emerson Wellens, founder of AVM-SFX, shares the company’s dry-hire approach to special effects and pyrotechnics.
Words: Stew Hume
Photos: Julien Duval (UNTOLD) and Frederic Lepla (David Guetta)
Having spent half a decade working in a management role in a 3,000-capacity nightclub, AVM-SFX founder, Emerson Wellens was looking for a new way to connect with the music scene. “I recognised early on that with so many well-established sound and lighting companies, I needed a unique niche and during my time working in the nightclub, I discovered the powerful impact that special effects could have in enhancing peak moments during events,” he recalled. With this thought, Wellens invested in two CO2 jets, which he hired out on a weekly basis at nightclubs in his local area – thus laying the foundation of what would become AVM-SFX. During this time Wellens also began working with Le Maitre, which saw him transition from
small clubs to major stadium tours. “This period also coincided with the rise of EDM festivals, where the demand for special effects grew alongside the genre’s popularity,” he explained.
“I started by focussing on our own shows in Belgium while also freelancing for colleagues, primarily in the UK and the Netherlands,” he added. “Often, they would ask me to bring equipment, which marked the real beginning of AVM-SFX. 2016 was another important year in our history as Xavier Kosolosky, my current business partner, came on board.”
What followed was several years of serious investment in equipment as AVM-SFX established a dry hire model similar to that used in the sound and light industry. “Word quickly spread that we are a single source
for all additional SFX needs, which helped us save our clients time and costs,” reflected Wellens. “Our goal remains unchanged; to create unforgettable moments for audiences while also contributing to the growth and professionalisation of our industry.”
In answering why others might not have replicated this model, Wellens stated that “many underestimate the challenges involved,” particularly in maintaining the assets and managing logistics. He continued: “Our success lies in our attention to detail and commitment to service, which isn’t easy to duplicate. Special effects is a lot more than only machines. There are the consumables, different accessories and specialised knowledge and experience to consider.”
The dry hire model is certainly less common within the special effects world, and for it to work effectively, Wellens impressed on TPi the importance of keeping all equipment in immaculate condition: “AVM-SFX operates as a dry hire rental source, offering equipment in impeccable, nearly new condition. This ensures that every item we rent out is thoroughly checked, tested, and, if needed, restored to like-new condition before it goes out again. In our sector, reliability is crucial and there’s no room for error,” he underlined.
Wellens went on to express the evolution of special effects technology and the introduction of more complex technologies that “require meticulous maintenance and expertise,” which has been at the forefront of the firm’s offering.
Currently AVM-SFX employs 16 staff across its two branches in Belgium as well as a new base in Dubai. Collectively, the team works across 2,000 shows annually worldwide.
“We established our Dubai presence late last year, with a dedicated office, crew, and equipment to better serve the Middle East,” stated Wellens, outlining the reason for the international expansion. “We were cautious about opening a second office, but we’re
confident in our ability to deliver the same exceptional service from Dubai as we do from our Belgium office.”
Reflecting on the past 12 months, Wellens was keen to highlight some of the major jobs he and the team had worked on in the Middle East including UNTOLD Dubai. “We also had the pleasure of touring with David Guetta in France, delivering an impressive package of special effects, pyrotechnics and even lasers. The Show from DJ Snake at Les Ardentes Festival in Belgium was also one for the books, with no fewer than 54 different flame devices providing a challenge in a festival setting.”
Away from the EDM world, AVM-SFX was also proud to supply equipment for the Olympic and Paralympic Games in France alongside this year’s Hellfest. “The outlook for Q4 this year is very promising,” closed Wellens.
“We’re collaborating with several clients on major events across Europe, the Middle East, and even North America. We anticipate strong demand in the coming months and are prepared to meet it, ensuring that AVM-SFX continues to deliver top-tier special effects that create unforgettable experiences.” www.avm-sfx.com
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Brock Adamson, CEO at Adamson Systems Engineering, reflects on four decades of loudspeaker manufacturing...
Photo: Adamson
After establishing the business that bears his name in Vancouver in 1984, Brock Adamson led his company on a journey to become one of the most widely recognised loudspeaker manufacturers worldwide. Holding patents in everything from chamber design and transducer architecture to innovative rigging systems and cabinet configurations, the company is celebrating 40 years of business.
Emphasising greener development, Adamson develops nearly all its components, from transducers and cabinets to onboard electronics itself. “The ability to control the entire process, from design through production, is essential to ensuring that every individual component delivers optimal performance and durability,” explained Adamson. “Keeping manufacturing in-house also allows us to better manage production schedules. It’s honestly one of the best decisions we’ve made.”
Industry-defining products include the MH225, the Metrix and SpekTrix lines, the Y-Axis
line array, the SD-21 21”, Kevlar cone driver from the T21 line-arrayable subwoofer, and the Energia E15 and E12 line arrays.
As t he company moves into the future it aims to move forward toward integrated solutions and digital systems, with the company showing its dedication to this through the recent acquisition of BeSpline and Brain Modular, which has added software and DSP expertise to the Adamson engineering team.
The first products to emerge f rom a more ex pansive focus on connectivity include the VGt Line Array System and the FletcherMachine – an immersive audio rendering engine.
The first offering in Adamson’s new Vergence Group, VGt, is a large-format line array system that debuts the patent-pending M140 MF compression driver; a revolutionary surround-free design that enables unfettered pistonic movement to push resonant frequency well outside the audible range. Onboard Class D amplification, redundant and d aisy-chainable
Milan AVB, DSP, and a versatile LF section that allows users to select from cardioid, hypercardioid and omnidirectional dispersion combine aimed to establish VGt as a leap in loudspeaker evolution.
The Adamson FletcherMachine V2, is an advanced audio rendering processor that combines simple operation w ith efficient and spat ial optimisation tools. The FletcherMachine can be used in almost any loudspeaker environment, from simple to complex.
“We are motivated by a deep passion for innovation and an unwavering commitment to engineering and manufacturing excellence,” commented Adamson.
“T his anniversary we celebrate our past while embracing an important period of evolution for our company. Adamson’s future lies in the power of digital technology to propel system performance, control, and versatility to entirely new levels.”
www.adamson.ai
At the tail end of the summer season, TPi pays a trip to PRG UK Birmingham HQ to gather the company’s insights on the current state of the live events sector, discover how the firm leverages its global network reach, and explore some of the upcoming changes to its UK facility.
Words: Stew Hume
Having featured in the pages of TPi and TPiMEA several times during our recent coverage of live events, it has been a while since we paid a visit to PRG’s UK base, just outside of Birmingham. Not only was the company’s headquarters primed for major renovations but there has been a significant reshuffle of personnel, with the addition of some new faces to greet TPi at the door.
The first, Miles Hillyard – a veteran of the live events industry, who joined PRG back in 2022 and now holds the title of Business Development Manager, alongside newly appointed Marketing Coordinator, Francesca Parry and Digital Content Creator, Dylan Swann. They would be our tour guides for the day as we traversed the company’s impressive warehouse and The Bridge.
During the visit, we got an in-depth look at some of the company’s processes for servicing kit as well as its extensive preparation area. Amid the tour, it was clear that its inventory was expanding. This included a great deal of equipment purchased following Anna Valley going into administration as well as new acquisitions which include over 1,500sq m of LED video panels and the addition of nine video and broadcast specialists to the 200-strong UK team. “Last year, PRG made the biggest investment it ever has across the group in LED for our UK stock,” stated Hillyard. “I would say the UK is a real jewel within the wider PRG network as throughout our office – we deal with most of the international acts and are a big part of the global companies long-term strategy.”
Within the walls of PRG, although working very closely with one another, the company does have four unique segments of speciality with teams focussing on music, theatre, corporate and TV. With this being a TPi visit,
it was no surprise that our focus was on the music side of the business and as such after the tour we gathered around the board room to speak about some of the current trends in this market vertical.
Ben Holdsworth, PRG UK Account Manager for Lights and Rigging in Music, picked up the story: “After 2020, we had a whole year to catch up on projects that had already been sold, and thankfully due to our size, we were able to cater for this demand,” he explained. “However, with an increased price of ticket at the larger stadium end, there has been a notable slow down on the arena level of touring. We’ve seen multiple acts scheduled for arenas drop down to several nights at academy-sized venues.”
Due to the size and capability of PRG, the Music team expressed that they were still able to be competitive within the largest level of shows but everyone around the table expressed concern about the shift of arenalevel shows and the knock-on effect this will have on finding and creating the future stadium-level artist.
“T his industry is our life and many of our clients are also good friends,” explained Account Executive, Music and Special Events Kelly Cornfield, citing rock band, Ocean Alley’s September academy tour.
“W hile we have the capacity to deliver some of the largest global stadium events at the highest quality we also put the same care and attention on the delivery of any smaller emerging break through artists down to the academy level’,” added Hillyard.
B
One thing that was clear, based on a tour of the
facility and the conversations around the table, was that PRG is exploring alternative ways to support other areas of the market – specifically with The Bridge. Developed amid the COVID-19 pandemic, The Bridge is a project conducted by PRG to provide a creative space for the industry. Four years on, this wing of the PRG base provides a 17m by 35m clear floor space and minimum 6.2m to the beam clearance with a 400A distribution board providing enough power for all departments of academy-level rigs. The Bridge also offers more than enough office space for incoming productions along with a full pre-visualisation suite.
“T he money you’d have to spend on a truck to get your equipment into a production rehearsal space can be used for a full day of rehearsals at The Bridge,” noted Holdsworth.
However, it isn’t just visiting artists and production teams that PRG are hoping to support, but also, those looking to make their first strides in the industry. As we toured The Bridge, TPi had the pleasure of meeting Josh Shewell – a recent graduate of PRG’s internship scheme who was preparing show files ahead of Rockstar Energy presents Creamfields.
“We’ve have successfully grown 20 apprentices over the last few years,” said Hillyard. “As part of the three-year scheme, they will be trained in all aspects of our business and will get exposure to on-site roles as they progress. I think it’s fair to say when any company gets to a certain size, there is a tendency to only think of the ‘bigger shows’, however recently, we’ve done a lot of internal reflection and realised the importance of training the next generation of engineers.” Holdsworth expanded on this point, discussing how crew personnel for the UK were often in demand on the international stage. “There’s
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“There’s a high demand for UK skills, which is why it’s important to maintain this initiative to futureproof the sector.”
THE GLOBAL NETWORK
In addition to the growth of UK operations, TPi was keen to discover more about the global reach of the organisation and how PRG’s vast network collaborates. “I characterise PRG not as a multi-national but a global business,” stated Holdsworth. “With operations in 29 countries, we have the ability to support a show anywhere on earth.”
Christopher Holz, PRG Account Manager, Video, added: “We’ve got many locations around the world – from Australia to the Middle East and Europe – but we’ve also got alliance partners in less prominent countries including Asia, Croatia, Greece and South America.”
As well as being able to draw on extensive stock resources, Holdsworth highlighted how PRG can draw upon its extensive network of people. “At this year’s Download Festival, we provided custom screens, which required the expertise of Alastair MacDiarmid – a leading expert in large scale LED deployment who has overseen projects like MDLBEAST’s Soundstorm in Saudi Arabia – who we flew in from New Zealand to manage the LED delivery,” stated Holdsworth.
Based in the US, Randy Hutson, Senior Vice President, Music and LiveTV, shared some of the challenges PRG faces as an international company working in the live events space: “Collaboration and communication remain our biggest challenges,” he said. “We often find ourselves working down to the wire, with production changes sometimes occurring right up until the tour launch. Fortunately, our extensive footprint and experience enable us to navigate these requests with ease. In addition, the evolving marketplace has driven a greater
emphasis on pre-production involvement for PRG – creating changes in our workflow and expanding our role across productions.”
Holdsworth underlined the growing importance of a 360° service for clients. “The demand for turnkey solutions has increased in recent years,” he explained.
“T he concept of the 360° deal is considered by many in the industry these days, though there are less than a handful of companies around the world that can often accommodate this request. Most companies can only offer one to two disciplines per tour. Production and tour managers are beginning to understand the value of enlisting us for every leg of a global touring campaign.”
As part of the ongoing sustainability initiative, significant refurbishment works are taking place allowing the team to meet its sustainability goals with enough solar panels on the roof to power its warehouse facility and The Bridge. “We are also installing double glazing throughout the space to improve efficiency in line with our global strategy for sustainability” stated Hillyard.
This strategy includes retrofitting older equipment under the PRG umbrella, making it LED compliant. “We have re-engineered and recycled our Bad Boy and VL5 range with LED engines,” reported Holdsworth. “We didn’t want to scrap the technology as it is still valid and highly requested.” PRG has been known for award winning proprietary products with its long line of lighting fixtures and ever-popular GroundControl Followspot System featuring on the riders of some of the world’s biggest touring projects, the company’s reworking of existing technology to be more complaint with more modern and sustainable measures are not in vain.
PRG Business Development Manager, Miles Hillyard; Marketing Coordinator, Francesca Parry; PRG Account Manager for Video, Christopher Holz; PRG UK Account Manager for Lights and Rigging in Music, Ben Holdsworth; Digital Content Creator, Dylan Swann; PRG Sales Director, Peter Marshall. Opposite: Senior Vice President of Music and Live TV, Randy Hutson.
Compared to some of his colleagues, Peter Marshall, PRG Sales Director for Theatre, was one of the more established names within the company, having worked for the company since 1987. Like his counterparts in the music industry, PRG UK’s theatre department handle many international productions as well as London’s West End. “We’ve currently got four touring shows in China alone,” he enthused, while also giving special mention
to the Mamma Mia! Tou r, currently enjoying its 20-year anniversary. Having been part of the industry for such a long time, Marshall mused on some of the ways PRG separates itself from other businesses. “We are one of the few companies working across theatre, corporate, music and TV. Those in theatre have learned a lot from touring – especially when it comes to packaging a show. These days, a theatre show goes out on pre-rigged truss with everything being compact and neat,” Marshall noted.
In closing, Hutson shared his thoughts on what the next few months look like for PRG, globally. “We have several exciting projects underway, including the release of a new multi-fixture remote followspot control solution that promises to enhance our capabilities. All indicators point to strong pick-up heading into 2025. Clients need to book now, or it will be very difficult come the start of the fourth quarter. Next year will be a wild ride!” www.prg.com
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Gaining experience, overcoming introversion and working on one of the world’s biggest music and arts festivals.
What was your role at Glastonbury?
“I had the opportunity to undertake two distinct roles at Glastonbury Festival, in my first role, collaborating with the dressing room crew to ensure artists had the best possible experience during their stay as well as a work experience position in the FOH area of the festival. It allowed me to gain valuable knowledge about the operational aspects of managing large-scale events.”
How did it feel to be involved in one of the biggest festivals in the world?
”Working at Glastonbury was an incredible experience. I woke up each morning with a renewed sense of passion and readiness to work. It was remarkable to feel so mentally invigorated even when my body was fatigued. This opportunity provided me with invaluable insights into working in a highly dynamic
environment, and I am grateful for the chance to experience such a significant event firsthand. I believe my career has greatly benefited from this experience. It enhanced my ability to maintain professionalism in highpressure situations, improved my coordination and teamwork skills, and deepened my understanding of the logistical and technical aspects of large-scale event management.”
What inspired you to pursue a career in the live entertainment sector?
“I’ve always been drawn to music. In my early years, I enjoyed my music lessons and distinctly remember playing the African drums in Year 3 and participating in the choirs for school plays. I chose to pursue a GCSE in Music, a decision influenced by my mother and by college, I was studying for a Level 3 Diploma in Music Production. It was during this period
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that I began to seriously consider my career options, particularly in sound engineering.”
Have you faced any additional barriers breaking into the sector?
“The main barrier I faced was overcoming my introversion and engaging with people. However, I quickly adapted and began interacting with others to build my network.”
What’s next for you?
“After completing my studies, I will pursue job opportunities in sectors such as sound design, studio sound engineering, live sound engineering, or any other area that aligns with my interests and expertise. In the short term, I aim to seize more opportunities like this one to deepen my understanding of the industry and determine how I can contribute effectively.” www.productionfutures.com
LIGHTING NEWCOMER OF THE YEAR
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OUTSTANDING ACHIEVEMENT
Allen & Heath Head of Application Software, Anthony Evans, and Product Director, Nic Beretta, delve into the release of the company’s V2 firmware and RackUltraFX card – ushering in a new era of integrated creative effects and advanced workflow features.
Words: Stew Hume
Photos: Allen & Heath
Prior to the original and groundbreaking dLive, Allen & Heath focussed mainly on houses of worship and regional rental houses. Since its release, the brand has become prominent in the live market, featuring on major productions including the likes of Billie Eilish, Bring Me The Horizon, Sam Fender and Lewis Capaldi, as well as some the world’s biggest festivals including Reading & Leeds and Coachella. dLive, in many ways, has redefined and elevated the Allen & Heath brand. After extensive development, testing and innovative upgrades, the company recently launched its V2 firmware and new RackUltraFX to provide even more solutions to its growing user base.
“We’re in a very different position to the one we were in 10 years ago,” stated Allen & Heath Director of Product, Nic Beretta. “We have
released nine major firmware updates since the first release of dLive before bringing V2 to market,” he added. “We used every customer touchpoint at our disposal, as well as our global distribution network, to acknowledge requests, ideas and suggestions, all of which was fed into our R&D team.”
V2 brings the ‘next generation of effects processing’ and ‘extensive workflow enhancements’ to Allen & Heath users. Major changes include an overhaul of its Cue List system, simplifying the process with manual and auto renumbering options alongside custom MIDI recalls designed for the fastmoving live environment. While the Actions feature makes complex automation easy, enabling functions across multiple channels.
“I ’m proud of the Actions feature,” added Allen & Heath Head of Applications Software,
Anthony Evans. “We have studied engineers show files and workflows for complex live shows. Actions are our single button solution to many of these workflow complexities. Actions can be used to bypass plug-in servers, change multiple talkback configurations, completely reconstruct surface layouts or even multiple channel gain stages – at the touch of a button.”
The RackUltra FX card uses a combination of a custom FPGA FX core with ARM processing, allowing the company to push the envelope with new algorithms. “Its power is unprecedented,” said Evans. “We can now deploy integrated, low-latency effects that were previously unimaginable in a live console, opening up dLive to the next generation of onboard processing.”
Notable effects that are now ‘in-box’ for the dLive include a Vocal Tuner, Quad Voice
and Auto Key Harmoniser, Saturation, Amp/ cabinet modelling and two new reverbs utilising the full power of the RackUltra FX card – all of which bring a new level of realism to in-console reverberation, according to its developers.
“T he amount of pure processing has enabled much richer and complex reverbs. Spaces Reverb Designer is an algorithmic reverb exploiting three different reverberation engines capable of detail, ultra-realistic and natural sounding spaces. The Plate Reverb Designer, replicates 11 true plates, including classic emulations, models of vintage plates and new models, creating a next level in intelligible vocal reverb,” stated Evans.
“We are in a unique position in offering a very streamlined workflow without the need for engineers to carry a lot of gear to their show,” said Beretta. “There’s many cases when a live sound engineer doubles as a studio
engineer. When they go out on the road, they are using numerous plug-ins with a great deal of automation on their show file, with timecode and triggers for processing and to drive autotune. We created these tools to go beyond what they are asking for, enabling them to provide a unique offering. I am particularly pleased with engineers’ feedback on our saturation, vocal and reverb processing. They have been favourably compared with the best industry plug-ins,” commented Beretta.
The duo stated that several engineers took on the V2 midway through a tour with several more opting for the system for their latest production rehearsals. “Jared Daly who looks after Bring Me The Horizon has now moved over to V2 and has stated that it has changed the way he mixes. He can now do certain things at the push of a button,” Beretta revealed. www.allen-heath.com
Logistics specialist KB Event presents YUNGBLUD with a custom-wrapped vehicle to promote his very own BLUDFEST, further cementing the company’s commitment to the artist and his sustainable efforts.
In the build-up to the first ever BLUDFEST, singer YUNGBLUD visited the site at The National Bowl, Milton Keynes, to get a sense of what the day would look like. To mark the occasion, and to fuel the growing excitement for the festival, KB Event surprised him with one of its trailers, wrapped in a special BLUDFEST design, which was then parked by the main stage during the event.
“T his whole idea came about following a conversation with YUNGBLUD’s management,” stated Leanne McPherson, Company Secretary at KB Event, who was on site to present the vehicle. “It’s such a brilliant idea for a festival and the ethos at its heart – breaking with traditions, delivering in a responsible way,
and committing to inclusivity and diversity –which aligns with that of KB Event.”
YUNGBLUD announced BLUDFEST in response to his own growing discontent that the current price of live music event tickets places them out of the reach of most music fans. For BLUDFEST, all tickets were capped at £49.50. In addition to low ticket prices, BLUDFEST partnered with Tickets For Good to provide free tickets for people with low incomes. “If we want the next generation to enjoy the festivals we enjoyed, someone has to fight for it and decided to do this on a big scale,” reflected Tommas Arnby, Co-Manager for the artist – who thought that the event would make a real statement to the live events industry.
Along with the need to make music more accessible, the alignment of principles between YUNGBLUD and KB Event extend to their take on sustainability. “KB Event feels very strongly about sustainability,” stated McPherson, highlighting some of the incentives the company offers to customers – specifically with HVO/Sustainable fuel, which offers a great alternative to traditional diesel productions. “For those tours choosing to use HVO (which is stored separately on site and sourced via a European network on the road), we keep a running log of what is used. Subsequently, at the end of a tour we can offer productions a sustainable fuel certificate to prove that they worked off 100% sustainable fuel.”
The topic of sustainability is one that KB does not shy away from, as can be seen in the company’s Sustainability Policy, which can be found on its website. It’s a service that was provided to the YUNGBLUD production for their last tour. “It was a big push for us when we moved into arenas,” stated Adam Wood, discussing the production’s sustainable efforts. “This was heavily led by YUNGBLUD himself and involved us looking into everything including the fuel we were using.”
As well as being presented with the custom-wrapped vehicle, the artist was given a crash course in driving the vehicle – surely making him one of the few singers to get behind the wheel of one of the trucks responsible for getting his production from show to show, night after night.
www.bludfest.com
www.kbevent.com
Known as an ‘AV wizard’ in the live entertainment industry, Hans Cromheecke of Virtual Innovation Partners outlines the importance of unified data, workflows, control and management in live productions.
Words: Hans Cromheecke
Photo: Stage Precision
As live productions grow evermore complex, data translation, monitoring and connectivity between departments becomes crucial. Virtual Innovation Partners’ Hans Cromheecke, possesses more than 30 years of experience in production technology.
On the set of this year’s Eurovision Song Contest [see TPi #282], Cromheecke, who was responsible for all video requirements, utilised a critical linking tool to unify departments and data flows. The linking tool in question is SP software from Stage Precision.
“T here were a lot of moving parts to this production, both from a video perspective and in terms of automation,” recalled Cromheecke. “Everything needed to work together in unison and with complete accuracy.”
During preparations for the live event, it became clear that the data between the LED cubes and the lighting desks was not 100% accurate. Diagnosing the issue quickly and
efficiently was critical. “I suspected a protocol issue due to the naming of the two lighting automation desks, but I needed a way to prove this and to fix it,” explained Cromheecke. “Having used SP by Stage Precision on past projects, I got a license and started to visualise the data to find a way forward.”
SP control software is a pioneering platform that connects all departments in live production through an integrated, low-code development environment. By centralising data management and control in a 3D space, SP significantly reduces complexity and enhances connectivity, allowing seamless interaction across audio, video, lighting, kinetic stage elements and performance tracking. This innovation has already proven indispensable on major productions including a live augmented reality broadcast of the Super Bowl, performances at the Coachella festival and for automation and light tracking at Berlin’s
Friedrichstadt-Palast. It is the first and only low-code development platform specifically tailored for the experience industry providing a comprehensive solution that integrates various data pipelines and devices across all departments involved in event production.
Cromheecke believes that as the awareness of this tool expands, it will become a mainstay of event production. “Technology manufacturers often claim their software has similar functionalities, but anyone that works in large event production will know that the data in this software is so often siloed, with no integration between different hardware types or brands,” he commented. “SP is not just software doing funky stuff, it’s a critical linking tool that also allows us to manipulate the data in real time, giving users the power to solve problems on the fly. It is relevant to any big production involving automation.”
What will this new connected world of event production look like? When various technologies are working together, it’s essential that they can also be visualised and monitored in a unified way. Making the proactive choice to assign a dedicated ‘integrations specialist’ utilising a tool like Stage Precision to act as a unifying agent between departments would result in a smoother overall production experience for all.
“There’s no alternative really. SP is a full solution and is relevant to any automation on any big production,” concluded Cromheecke.
“I w ill fight to ensure this tool is a necessary component of any project I’m involved in, but the events technology community needs to consider how creating a dedicated front-ofhouse role for this purpose could revolutionise the production process entirely.”
www.stageprecision.com
www.virtualinnovationpartners.com
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Celestial Head of Production, John ‘JP’ Partridge reflects on the successful deployment of 576 drones at Worthy Farm...
Glastonbury Festival has often celebrated its opening ceremony with a firework display that welcomes punters. This year, organisers treated festivalgoers to a debut drone show 15 minutes beforehand. The display showcased famed Glastonbury iconography, which closed with a 3D peace symbol standing high above the green site, underlining the festival’s ethos. A key figure in the delivery of the spectacle, John ‘JP’ Partridge, Head of Production at Celestial, reflected on the project and considers what events like these mean for the future of drones in the live entertainment sector.
How did this project come about?
“I’ve spent much of my working career attending Glastonbury Festival with touring artists, and now with Celestial’s office being just 15 minutes away, collaborating with the festival was a dream myself and many others
had. After a couple of years of discussions and meticulous planning, I am incredibly proud that we made that dream a reality. This year’s festival was officially opened for the first time with a drone display.”
What was the creative brief for this show?
“The creative brief was to craft a celebration of the festival, telling its story through some of its most iconic artwork while emphasising key messages of love, hope, and peace. We incorporated key imagery and local landmarks such as the Glastonbury Tor, the Pyramid Stage, and the iconic festival logo, culminating the show with a giant 3D peace symbol that was visible from miles away. We used 576 drones for this show and a team of 10 including myself and a drone camera pilot.”
Did the site pose any challenges?
“Anyone who has been to the festival, or indeed
any festival in the UK, knows that nearly every square inch of space is occupied by people or infrastructure. So, finding a suitable and safe take-off and landing zone, while staying close to the iconic Pyramid and ensuring the animation was suitably large enough in the sky, was initially challenging.
However, through collaboration with local landowners and the entire festival team, we managed to create the perfect spot to accommodate the drone swarm.”
What has the feedback been from the festival?
“It was incredibly positive. There are always challenges when doing something for the first time, and with that comes many unknowns.
But on the Wednesday night a huge crowd filled the Pyramid Stage arena to witness something completely new, and they erupted with excitement when we suddenly appeared in the sky. It felt as though Celestial had headlined the festival!”
How does it feel to be involved in the first drone show at Glastonbury?
“Personally, it was an absolute honour and privilege to be given the opportunity to work with Emily Eavis and the rest of the festival team, as well as the incredible Patrick Woodroffe as our Creative Director. I believe this project truly demonstrated that drones are increasingly being accepted as the next piece of technology to integrate into live performances and events and with careful planning and coordination, drones can successfully operate within busy and complex festival environments.”
www.celestial.show
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Mark Davyd, CEO and Founder of Music Venue Trust (MVT), provides an insight into what a new Labour government means for the charity and the wider music industry...
Prior to the election, what issues were MVT making the government aware of?
“MVT published a Manifesto for Grassroots Music which contained the top five opportunities to support the grassroots music venue sector for any incoming government. That work echoed the conclusions of the cross party Commons Select Committee Report on grassroots music which was released in May 2024, covering the most obvious chances any new government has to promote growth in the sector and turn around the current declinecutting VAT on tickets, implementing a legal version of Agent of Change, reviewing business rates, and supporting the development of a grassroots contribution of £1 from every arena and stadium live music event.”
What interactions did you have with the incoming Labour leadership before 4 July?
”Very extensive. We met with a large number of the new influx of MPs, including the newly appointed ministers across a range of departments, which can have a direct impact on a better future for live music in the UK; not just in culture but in housing and local communities, treasury and business. There’s a lot that can be done, and this really is a future defining moment of opportunity if the new government wants to directly address access to culture in our towns and cities.”
“Music belongs to all of us. We want to work with the new administration so that all of us can experience it.”
Mark Davyd, CEO and Founder of Music Venue Trust
What are your thoughts on the appointment of Lisa Nandy as Secretary of State for Culture, Media and Sport?
“It’s early days in terms of what Lisa can deliver as the Secretary of State, but in terms of her historical positions and the basics of what she believes in, I’d strongly encourage everyone to get hold of a copy of her book All In (How We Build a Country That Works) because large sections of it read like she would fit in perfectly working with the team at Music Venue Trust.”
What significant steps do you hope that the new UK government will implement over the next five years when it comes to the live events industry?
“Policy, legislation and a tax regime that recognises that everyone, everywhere, deserves the right to high-quality live music on their doorstep. Music belongs to all of us. We want to work with the new administration so that all of us can experience it.”
www.musicvenuetrust.com
