BEABADOOBEE
Singer’s crew bring an early 2000s art studio style to her Alexandra Palace debut
CHILDISH GAMBINO
An innovative touring production powered by ground-breaking technology
NAS One of hip-hop’s greatest celebrates 30 years of Illmatic with an orchestra
NIKI
The vocalist’s tour embraces fans with a classic and intimate staging design
THE SHORTLIST
TRADESHOW SEASON IS HERE...
Happy New Year, one and all! It’s great to be back in the saddle after a much-needed Christmas break. The entire TPi team has already been busy sorting out our shared calendars for the year ahead –logging everything from company visits through to bucket list gigs, which we’ll be bringing you coverage of in the coming 12 months. We’re also excited about some of the other stories Jacob, Alicia and I are cooking up that we hope will bring fresh perspectives to our pages – documenting the ever-evolving demands of live touring.
In t he meantime, we are proud to bring you the behind-the-scenes creative story of Childish Gambino’s New World Tour. Although it was cut short, there are whispers of the production being resurrected in the future. The story behind this production and the creative collaboration that went into the show design was one of the most interesting tales that we at TPi have written about for some time. You can find out more on p34.
Elsewhere, Alicia meets the respective road crews behind Fontaines D.C. [p24], NIKI [p60] and Conan Gray’s [p78] latest live touring campaigns. During this time, she also had the opportunity to partake in Music Support’s Mental Health First Aid training with the support of Backup Tech. You can hear all about why more people from the sector should look at this course on p92.
Meanwhile, Jacob caught up with the production behind Nas’ Royal Albert Hall performance [p70] as well as Beabadoobee’s largest UK show to date at London’s iconic Alexandra Palace [p48].
Away from the shows, I got to sit down with the teams from Production Park and the Academy of Live Technology to hear about some of the developments at the Wakefield campus [p98]. I also got to chat with Solotech’s Lee Moro, Robert Kennedy and Ian ‘Woody’ Woodall
while attending THE Conference: Live at Lititz [p110]. While everyone is still recovering from the holiday festivities, we’re already hitting the ground running with the team setting sights on both NAMM in Anaheim and, of course, ISE in Barcelona. For the latter, please make sure to pop by the Live Events Stage in Hall 8, where TPi will be hosting a series of panels from Tuesday to Thursday of the show, with Hannah Eakins of Production Futures running several sessions on the Friday. Until then, why not turn to our back page where Mike Blackman discusses some of the things he’s most looking forward to at this year’s event.
Finally, I’d like to personally say a massive congratulations to all the individuals and companies who made this year’s TPi Awards Shortlist. Not to mention, a big thank you to the entire TPi Academy who aided in the creation of this list. Winners will be announced on the night of 24 February at Evolution, London. Book your tickets now to avoid disappointment! Until next time,
Stew Hume Editor
Editor Stew Hume Tel: +44 (0)161 476 8360
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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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Editorial Director Peter Iantorno Tel: +44 (0)161 476 8360 Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk
Chief Executive Justin Gawne Tel: +44 (0)161 476 8360 Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk
Accounts Lynette Levi / Sarah Miller: ar@mondiale.co.uk
Mondiale Group Chairman Damian Walsh
Graphic Design and Production
Dan Seaton: d.seaton@mondiale.co.uk
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Cover Photo
Childish Gambino
Photo: Greg Noire
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ON THE COVER
CHILDISH GAMBINO: THE NEW WORLD TOUR
A deep dive into the origin story of one of the most innovative and ground-breaking productions in recent memory.
14 THE Conference: Live at Lititz makes a welcome return.
16 Unusual Rigging supports Les M isérables arena spectacular.
18 for KING + COUNTRY takes to the st age with nine automation pods.
22 Manchester’s Aviva Studios plays host to Amazon’s City Sessions.
24 Patchwork London supplies Fontaines D.C.’s crew with an audio package.
30 Christie delivers projection mapping excellence at Signal Festival.
PRODUCTION PROFILE
48 BE ABADOOBEE
The singer-songwriter and her devoted crew tour a production reminiscent of a 2000s art studio.
60 NIKI
The vocalist wows the OVO Arena Wembley with a show that brings fans closer to the action.
70 NAS
One of hip-hop’s greatest celebrates 30 years since his breakthrough record.
78 CONAN
GRAY
The artist and his tight-knit crew hit the road with an impactful show.
INTERVIEW
88 Renkus-Heinz discusses the benefits of beam steering technology.
92 TPi takes on Music Support’s Mental Health First Aid Training.
96 Discover what GDTF and MVR can offer the live entertainment sector.
IN PROFILE
98 An inside look at Production Park’s Wakefield campus.
104 Freight Minds looks back fondly on four years of business.
106 mediaPro International adds Tw incamPro to its portfolio.
110 Solotech shares past learnings, discoveries and future goals.
PRODUCTION FUTURES
116 Meet Breakthrough Talent Awards’ class of 2024.
GEAR HEADS
118 Adamson introduces VGs
120 Lifting the lid on HIVE’s new system control chassis
FEEDBACK
122 Vision 2025 issues Outdoor Event Climate Plan update.
123 Rod Yancy provides an insight into bootleg.live.
124 PSA reveals a new bursary and member benefits.
126 John Mlynczak unveils what visitors can expect from NAMM.
BACK CHAT
130 Mike Blackman talks ISE 2025.
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4 - 7 Feb 2025
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THE CONFERENCE: LIVE AT LITITZ
The three-day conference demonstrates a concerted effort to welcome the nextgeneration of production personnel.
In what has become a staple of the touring industry’s calendar, THE Conference: Live at Lititz saw organisers make notable changes to the event, off the back of feedback from the past two editions. This included ensuring access for younger people earlier on in their career to the seminar topics presented throughout the three-day conference. With the event showing year on year growth, 2024 saw well over 1,000 people visit the Rock Lititz campus with a packed scheduled of sessions bringing over 130 speakers.
“You’ve got to leave the industry better than you found it,” asserted co-founder, Charlie Hernandez during the welcome address, highlighting the need to welcome newcomers and the wider issues affecting the industry. “One of our goals was to delve into the ‘how’ –
which is why we’ve included several learning sessions including CPT training, truck packing and financial planning,” added fellow founder, Stuart Ross, detailing some of the additional sessions available to attendees.
In a bid to bring more young people to the event, organisers encouraged sponsors to support those new to the industry by paying for their entry with the development of a scholarship fund. The number of younger individuals was notable, specifically amid the New To The Crew round table, held on the opening day of the conference. Led by founder, Marty Hom, attendees were encouraged to share their story and ambitions while posing questions to the veterans in the room.
2024 also saw the introduction of the Advisory Board of Production Managers, Jason
Danter and Malcolm Weldon; Tour Managers, Angie Warner, Giovanni Vargas, Jerome Crooks and Assistant Tour Director, Andrea Espinoza.
These six individuals offered strategic guidance in line with their extensive industry experience on content, event structure, and attendee experience. “What I value the most about the industry is learning from the incoming generation because everything is so different from what I needed 25 years ago,” Warner said on the main stage. The conference featured several ‘breakout’ panel discussions and round tables on a host of topics. From mental health and wellbeing through to how to best support a team.
A highlight was Right to Be’s Ali Brokaw and SafeTour’s Kelly Clague seminar on Respect and Inclusion Training, as well as a
Words: Stew Hume
Photo: Paige Durborow and TPi
powerful session led by Joanne Croxford of Roadies in Recovery which delved into the issues of addiction. Other highlights included Designing for an Advancing Industry led by TAIT’s Adam Davis and The ‘Why’ Behind Tour Budgets led by Founder Stuart Ross. Throughout the day, attendees were invited to visit the nearby facilities of companies on the campus, including Clair Global, TAIT and ATOMIC. Wednesday night saw the return of multiple speakeasies. Hosted by several of the events partners – 4Wall Entertainment, Beat The Street, Clair Global, CSG, Daysheets, d&b audiotechnik, DiGiCo, Dreamliner, and Music Matter Productions.
“T he programming felt strong, but as always, the people in the room are the most important element,” said Emily Cassidy, Director of
Conferences and Partnerships at Rock Lititz at the conclusion of this year’s event. “There was an eagerness to engage with content this year that was often met with trepidation in year one. There were so many sessions where people were sharing personal stories and being vulnerable in a way that inspires true change. I think it shows strength to be open and accessible to others, and we saw that across the board. There so many new faces and perspectives in the room that challenged and shifted the dynamic and I can’t wait to expand on that.”
THE Conference: Live at Lititz 2025 will take place this year from the 9 to 11 December. You can visit the website for more details. www.theconferenceliveatlititz.com www.rocklititz.com
A selection of highlights from THE Conference: Live at Lititz 2024 that sees well over 1,000 people visit the Rock Lititz campus
LES MISÉRABLES: THE ARENA SPECTACULAR
Unusual Rigging supports Cameron Mackintosh and Nick Grace’s latest theatrical world tour.
Unusual Rigging played a pivotal role in the technical setup for Cameron Mackintosh & Nick Grace’s Les Misérables: The Arena Spectacular World Tour. The firm took on the full design of the rigging infrastructure for the entire show, as well as manufacturing and assembling a custom mothergrid, which supported the lighting and scenic elements for this ambitious production.
“Our involvement with the concept of The Arena Spectacular World Tour began way back in 2020,” Luke McBride, Design Engineer at Unusual, explained.
“T his was a time when COVID-19 was at its peak and theatres had gone dark. At the time, it was rumoured that arena events would be the first to restart as the scale of the venues would allow social distancing to be possible. Nevertheless, we didn’t begin work in earnest until February 2024, working with Technical Director, Chris Boone.”
Physical work began with a week of assembly and test building at the Unusual warehouse in Bugbrooke, Northampton, followed by rigging the full show in Production Park in Wakefield to facilitate rehearsals. The Unusual team supported the touring riggers
during this handover. Boone commented: “We know we can always rely on Unusual to pull it out of the bag in terms of design. This time they had their work cut out to come up with a system that could cope with the rigorous demands of this world tour. Working closely with the production’s Set Designer, Matt Kinnley and Video Designer, Finn Ross, Unusual was able to deliver a system that ticked all the boxes.”
McBride continued: “One of the most significant challenges of this was ensuring the show remains mobile yet spectacular. At the core of the rigging design is a TT mother truss, manufactured by Eurotruss, which houses 28 automated chain hoists and supports 11 lighting trusses. The mother truss and hoists also allow for scenic elements, such as the iconic Parisian streetlamps and a flown bridge, to fly beneath it.”
In fact, the entire rigging system was engineered for efficiency, with custom-made trusses and bracketry designed to pack tightly into trucks.
This ensures that 14m by 13m mother truss can fit into just two thirds of a standard trailer, making it ideal for the demands of a two-year world tour. The equipment is built to
withstand constant use, ensuring a smooth and consistent performance at every venue. Key to the automation of the rigging system is the Kinesys Apex system providing control and safety for the 28 automated chain hoists. These were provided by MOTOR Stage Automation and adhere to the highest safety standards worldwide, ensuring compliance no matter where the production travels.
McBride added: “Unusual Rigging has been involved in various forms of the Les Misérables staged concert before, including at the Gielgud Theatre and Sondheim Theatre, However, this is the first time the show has been adapted for a touring arena production. We’ll be on hand throughout to offer technical advice and ensure the show remains tourable, while supporting the tour as it calls at more challenging venues.”
Boone concluded: “Once again Unusual has pulled it out of the bag. We know we can always rely on the team for their amazing design work, and it is truly incredible how Unusual, in collaboration with new suppliers and the tour’s Head Rigger, Roger Smissen have come together to deliver the show.”
www.concert.lesmis.com www.unusual.co.uk
Photo: Danny Kaan
FOR KING + COUNTRY: UNSUNG HERO
Show Designer and brother of the band, Daniel Smallbone of Lumina Design creates a 360° design featuring nine monolithic automation pods for the Christian pop duo’s latest outing.
Words: Alicia Pollitt
Photos: Michael Woolheater
Following the release of for KING + COUNTRY’s 2024 biopic, Unsung Hero, the duo embarked on a tour across the US with an ambitious stage design created by their brother, Daniel Smallbone of Lumina Design. Speaking to TPi, the designer ruminates on his special relationship with the band and their live offering.
“I ’ve designed shows for my brothers since day one,” Smallbone recalled. “We grew up in a music family; our father was a concert promoter, and when we were younger, we all had our roles – be it background singing, stage setup or lighting.”
Amid t he first tour meetings, t he c amp discussed making the show 360° to allow more fans to get close to t he action. T he fi ve-month design process began in February 2024.
“I put together t hree different concepts and took them to Joel and Luke; each of them had an end-to-end stage, simplified lighting
and a variation of an automation feature,” Smallbone explained. “ The finalised idea was to incorporate nine individual pods that could also double as lighting diamonds as well as being staging for a band member to be on top.”
On prior tours, t he design featured fi ve risers, but Unsung Hero intended to be more progressive with the stage design – the idea was to make the band as ‘mobile’ as the singers. “I pitched the idea that everyone was mobile, not just the duo – that we could have instruments pop up in places, and disappear,” Smallbone noted. “In conversations with band leader, Garrett, it was determined that we needed t hree setups t hat would be semipermanent so that we could house drum setups on t hem. T he semi-permanent pods would still move vertically but would not move around like the others.”
Initially sketching the design by hand, the designer used Vectorworks for
previsualisation, with Smallbone revealing that the Unsung Hero Tour was t he most in-depth tour preproduction process the camp had embarked on. “We would meet at Joel’s house weekly with band leads, tour management, as well as Joel and Luke to discuss every detail of the show,” he said. “Not only did we have to think through transitions between songs, but we had to figure out how we were going to get instruments in the correct positions – there were a lot of intricacies associated with every point of the show.”
The designer praised Christie Lites, which the camp has a longstanding relationship with, and automation provider, Five Points. “Shannon Scott from Christie Lites and Seb from Five Points have been a huge help – it has been great working with them,” Smallbone enthused.
The crew also utilised ShowCockpit to effectively light t he band members on top of the automated pods, with the software taking
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positional data from automation and then adjusting the pods accordingly, as well as providing additional zoom and focus data.
“ShowCockpit made the whole process tremendously simpler,” Smallbone explained. “This allowed me to turn on the lighting and adjust the intensity to whatever I wanted when someone was on a pod – it streamlined the lighting process.”
Reflecting on t he show, Smallbone highlighted the show’s beginning as a special moment. He elaborated: “It feels like the antithesis of what a ‘normal show’ is – we wanted to open the show with a kabuki drop that unveils a clean stage, with no risers, just a blank stage lit by the LED wall. The pods come in further into the show and provide us with these visually spectacular moments that are simple but so effective.”
In closing, Smallbone reflected t he logistics of making sure t he show was constructed effectively from city to city. “This was the most in-depth design I’ve ever done,” Smallbone noted, praising the entire production team. “ It took a huge group effort to make this show happen and I am grateful to have been a small part of the entire process.” www.forkingandcountry.com www.christielites.com @luminadesign
THE FUTURE IN PIXELS
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AMAZON’S CITY SESSIONS: LIVE AT AVIVA STUDIOS
Amazon Music descends on Manchester’s Aviva Studios to showcase streamed performances from the likes of Bastille and Ella Henderson. TPi goes behind the screens to discover more…
In 2021, Amazon Music launched City Sessions – a series of performances broadcasting unique performances directly into the homes of live music fans. Piloted in the States, the programme has featured performances from the likes of Kings of Leon, through to Glass Animals and Nelly Furtado. Given the success of the venture, Amazon has expanded City Session’s remit to the UK, Europe and LATAM. Ahead of Ella Henderson’s episode, Amazon Music’s Head of Production and Creative Mish Mayer caught up with TPi to share the guiding principles and evolution of the programme.
“T he impetus of the City Sessions is to have arena to stadium level acts perform in a more intimate setting, providing fans with a unique experience,” outlined Mayer. During each City Session, artists perform in front of a small audience while being simultaneously filmed and streamed on the Amazon Music UK Twitch Channel and Amazon Prime Video platforms.
Pre-recorded interviews are also broadcast with the artist, providing the musicians with the chance to explain more about the creative decision behind their performances.
“Musicians often change their delivery with stripped back arrangements to create some really unique moments,” explained Mayer, referencing Bastille’s latest City Sessions episode which saw the band re-working some of their back catalogue with a candle lit ‘in-theround’ performance.
For the UK rendition of City Sessions, Amazon Music found an ideal home and
collaborator in Manchester’s Aviva Studios. “The unique aspect of Aviva Studios is the location – it’s a muti-space venue that’s provided us with a lot of options of where we can shoot performances. The facility also has a good supply of lighting, rigging and audio equipment that we were able to tap into for these shoots.”
For Ella Henderson’s City Sessions, the artist wanted to bring audiences into her ‘living room’ so the crew created a ‘homely’ feel on stage, complete with lamps and soft lighting. “We brought in Art Director, Sophie Barrott to help create the look of the show,” explained Mayer. “Bringing in local creatives and crew is something that we always try to achieve with City Sessions.”
Although Amazon Music does encourage the involvement of the artist’s creative team to help to create a unique performance, Mayer emphasised that the point of these sessions was to create a one-off special show that was unlike anything else an artist may a produced previously. “For example, Bastille had expressed that they always wanted to do a candle lit show in an industrial space, which we were able to achieve with the space at Aviva Studios,” she enthused.
When it came to capturing the show, Amazon’s team utilised high-end equipment, often deploying a mixture of six to eight remote or manually operated cameras. For the Ella Henderson show, alongside this extensive camera package was camera jib to create sweeping shots. “We also brought in
programmable lighting to alter the colour of the upstage curtain, creating a different look throughout the shoot.” Each performance is shot in 4K and simultaneously streamed. “We’ve had amazing responses from those watching,” reflected Mayer. “Watching music performances at home can feel like quite a passive experience but what we’ve noticed, particularly on the streams, is that groups of fans are coming together to enjoy and participate in the performance.”
Mayer and wider Amazon team believes that City Sessions can contribute to the live music ecosystem. “As opposed to creating the fear of missing out because you’re not in the room with the artist, instead we try to create a unique experience for viewers,” Mayer said.
“We often find that people that see the show in person also watch the stream later to see a different perspective. The intimacy created with the filming adds a whole new dimension. It’s about putting the fan first and delivering a show that they really want to see.”
With such a unique performance opportunity, it’s hard to think why more artists won’t want to explore this option in the future –be it as an underplay style performance in the lead up to a new campaign. Franz Ferdinand will perform a City Sessions at the Aviva Studios in January and Amazon Music recently streamed a Tom Grennan performance live from London’s Rivoli Ballroom while also hosting sets in Spain, Italy and Germany. It’s increasingly likely that we will be seeing a lot more of the platform. www.amazonmusic.co.uk
Words: Stew Hume
Photos: Amazon Music
FONTAINES D.C.: ROMANCE TOUR
Meet the dedicated sound crew supporting the Irish five-piece’s latest tour…
Words: Alicia Pollitt
Photos: TPi
Fontaines D.C.’s sound is ever evolving and the band has proven this with their biggest touring campaign to date, outgrowing the club venues they cut their teeth in. Supporting their live sound as it moves into a more full-bodied direction is Patchwork London, which has been by the band and crew’s side since the post-punk outfit began touring with an audio package, as TPi finds out behind the scenes at Manchester’s Aviva Studios.
“T he production has really stepped up,” commented Monitor Engineer, Mathew Acreman, who has been with the band for five years. “We’re now mixing in arena-sized venues, and their sound is evolving constantly.”
The band is touring with a full audio control package from Patchwork London. The FOH rig features a Yamaha CS-R5 RIVAGE PM5 console with a DSP-RX DSP Engine. HY256TL TWINLANe digital I/O cards connect the RPio622 I/O Rack Stage Box with RY16-ML-SILK input cards, and an RY16-DA output cards. A HY144-D-SRC audio interface Dante card provides connectivity for virtual sound checks, while outboard processing comes via two Empirical Labs EL8-X Distressors.
“Coming into this camp, I knew I needed a desk that was a step up. I don’t feel like I need anything else when working from this console,” FOH Engineer, Rich Burt commented. “I am very
familiar with the workflow of this console – so it was a no-brainer.”
Pr ioritising clarity in his mix as the band moves from academy shows to arenas, the tour adopted a d&b audiotechnik KSL PA system, which Burt favoured because of its scalability.
“It’s great in any room. On this tour, the size of rooms vary so it makes sense to use this system because of how reliable and expandable it is,” Burt explained. “[System Engineer] Richie Gough has nailed the coverage every day. A lot of these rooms are known as ‘sound graveyards’, but with him by my side, he’s been able to eliminate any issues.”
On monitors, Acreman mixes using an Allen & Heath dLive S5000 console. “When we got the option of bringing in some production back in 2020, I chose the dLive because I have always been a fan of the workflow and the way it sounds in the IEMs; it just suits what the band are doing. I’ve mixed nearly 500 shows with Fontaines D.C. on this desk,” Acreman commented.
The engineer utilises every component he needs for the show through the Allen & Heath desk apart from one personally owned piece of outboard gear: an AudioScape 76A Limiting Amplifier, which he uses on lead singer, Grian Chatten’s vocal.
“I snuck it into Grian’s setup to see if he would notice and now, he never has to ask me
for more vocal because it adds that sparkle,” Acreman explained.
The tour saw the addition of Allen & Heath’s v2.0 software and RackUltraFX Card. “We implemented it very recently; it’s something the company has been working on for quite some time, it’s really incredible,” noted Acreman.
“I ’m using the new reverbs on vocals and drums, which sound pretty next level. I have utilised the new ‘Actions’ feature, which allows me to do multiple things with the push of one softkey. I’m really loving the Director Preview mode, which allows me to run the dLive director software on my laptop and make changes to different scenes to the one that is open on my desk; it’s really handy when the band are jamming in soundcheck and someone suddenly remembers that they need a change on a specific song for the show later that night. It means that I can make these changes without disturbing what the band are currently doing.”
In addition to mixing monitors, Acreman runs The Rescue Hotel – a volunteer-run charity in partnership with Cardiff Dogs Home. During the tour, Fontaines D.C.’s merchandise team provided gig-goers a chance to get their hands on collaborative T-shirts at each show with profits donated directly to the charity.
Audio Technician, Aoife O’Connor supported the wider sound crew on tour. “I’ve been here
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for six months, and we’re in a position where the systems and our setup are flowing,” commented O’Connor. “The band have lots of good ideas, so I make sure I always have various spare inputs around the stage in case they want to add stuff.”
Working in a freelance capacity for Patchwork London, O’Connor was approached by James Kerr, Senior Project Manager at Patchwork London, to see if she’d be available to join the tour.
“It’s been great, everyone is really lovely, and I had already known Mat Acreman from a couple of years ago when I was a house engineer in Brighton,” O’Connor commented.
“W hen we first met about 10 years ago, Aoife solved an absolute disaster for me – we went into a venue and nothing really worked as it should, but Aoife was all over it, she just fixed everything so when I saw her name on this, I was thrilled,” added Acreman.
As t he crew are wrapping up a successful calendar year of touring, the sound team say they look forward to an array of worldwide shows next year – including some of the band’s biggest ever scheduled.
“I signed up to do three shows, five years ago – I’ve never left,” Acreman concluded, reflecting on his whirlwind journey with the camp. “It has grown organically over time and is a fantastic achievement for the band.” www.fontainesdc.com www.patchworklondon.co.uk
FOH Engineer, Rich Burt; Audio Technician, Aoife O’Connor; Monitor Engineer, Mathew Acreman
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SIGNAL FESTIVAL
Christie returns to Prague’s Signal Festival for the second year running, providing technical infrastructure and projectionmapping expertise for the annual celebration of digital and creative culture.
For over a decade, the autumn season in the historic city of Prague has played host to Signal Festival – a cultural gathering that sees digital artists present their artwork across various installations throughout the city. Having garnered quite the following, the annual event has welcomed over five million visitors to the city over the past 11 years. Key to the success of the festival is supporting the next generation of local artists with 70 citywide installations. Speaking to TPi on-site, Christie shared how its line of high-brightness projectors are responsible for showcasing the visual art on to various architectural canvases throughout Prague.
Christie Senior Technical Support Engineer, Pal Roppa and Global Enterprise Marketing Manager, Polly Bradley-Brock doubled as TPi’s tour guides for the day. “Christie has been the Technology Partner of Signal since 2023, so we were excited to be back again for another year,” began Bradley-Brock.
For the 2024 rendition, Christie provided several of its top of the range RGB pure laser
projectors including Griffyn 4K35-RGB and the M 4K25 RGB models. “The festival organisers sit down with the Christie team to let them know what building the festival has permission to project on to, outlining what projectors they require,” said Roppa, retracing the origins of the project. “There is a lot of back and forth amid this process, weighing up the appropriate lenses required in relation to the projection distances. The consideration of the surface is also a key consideration.”
As a Technical Partner, Christie adopted a hands-on approach, providing not only the equipment but an on-site team during the build and show days to support the operation. “We aren’t just a manufacturer that provides equipment and then asks for it back at the end of the project,” noted Roppa.
Case and point, Christie opened its doors to all the participating artists at Signal Festival who wanted to know more about the products’ capabilities in a unique knowledge exchange, designed to benefit the overall festival experience. “It was great to show artists the
level of colours that can be achieved by our RGB projector models,” added Roppa.
Christie products were featured across ten different spots in the city. One of the grandest was an art piece created by Filip Hodas, projected on the walls of the Archbishop’s Palace. Titled Eternal Recurrence, the visual journey depicted the origin and evolution of life – starting with a chaotic molecular stage, evolving into complex organic structures, showcasing natural growth patterns.
For this project, projectors were installed in the opposite building – the Prague Castle Riding School – harnessing the creative capabilities of a Christie Griffyn 4K35-RGB projector with TruLife+ electronics and the company’s proprietary RGB pure laser illumination. “Filip was ‘wowed’ by the colours he was able to achieve with our projectors,” remarked Bradley-Brock.
Roppa highlighted the evolution of projector technology in recent years, making these types of projects far more achievable. “In years past to produce this type of projection you would
Words: Stew Hume
Photos: Filip Hodas’ Eternal Recurrence at Signal Festival
need to have racks, and a chiller, connected to a projector head.”
Nowadays, Christie boasts that functionality onboard within the casing of a singular projector. “We just require three people to pick up our single 50,000-lumen projectors instead of an army of personnel and resources,” Roppa stated, proudly.
The smaller form factor of Christie projectors, making installation increasingly easier, has certainly opened more opportunities for artists experimenting with or specialising in the evolving projection mapping space, according to Roppa.
Furthermore, Roppa cited the development of dedicated mapping ‘forums’ conversing online and meeting up in-person, made up of enthusiasts and the workforces involved in staging these spectacles as an example of the growing community.
Following the success of Signal Festival 2024, the Christie contingent has set their sights on 2025. “Signal Festival grows more impressive each year, and as the demand for this style of event rises – the more artists will strive to get involved,” added Bradley-Brock. www.signalfestival.com www.christiedigital.com
Filip Hodas – one of the many contributing artists presenting works at Signal Festival 2024 – has his Eternal Recurrence art work projection mapped on to the walls of the Archbishop’s Palace in Prague.
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The perfect complement to the CONCERT SOUND series CONTOUR X and COSMO
CHILDISH GAMBINO: THE NEW WORLD TOUR
TPi retraces the origin story of one of the most innovative production designs in recent memory...
Words: Stew Hume
Photos: Greg Noire
Although the world first got to know Donald Glover via his standup and comic acting in the late 2000s, since then, the modern-day renaissance man has held a huge amount of cultural capital from his acting roles to his music. Every time he drops a new single or album using the Childish Gambino moniker, it becomes an ‘event’ in the zeitgeist, often with an accompanying music video that is then pored over in multiple cultural think pieces.
In TPi’s world, Childish Gambino and his production team have certainly had a track record of pushing the envelope when it comes to their live performances. For example, in 2018 they were one of the first productions to utilise the then brand-new L-Acoustics L-ISA system to explore the boundaries of immersive audio.
Fast-forward to May 2023 and with a new album that the artist has said will be the last using the Childish Gambino alias, and with a tie-in movie in the works – Bando Stone & The New World – the singer’s creative team began to start amassing to produce a tour that was just as ambitious in terms of creative vision.
From an enormous hologram look, to pushing laser design to a new level, this latest arena production certainly turned heads and made it all the sadder when the run had to be cut short due to Glover having to deal with some underlying health issues. However, at the time of writing, it looks like the tour will be returning to make up those missed dates and to pick up where it left off. With that in mind, TPi
spoke to some of the lead creatives that were at the helm of this latest production to find out how this ambitious tour came together.
CREATIVE COLLATION
There has been a core creative team at the centre of the Childish Gambino world for some time, headed up by Creative Director, Chad ‘Wolf’ Taylor. Also back on board was Tour Director, Christian Coffey and Production Manager, Bryan Scheckel.
“Some of the initial conversations for this tour happened in May of 2023 at Chad’s wedding,” recalled Coffey as he traced back the origins of The New World. “Then a few months later we started working out the timeframes and schedules of how we’d make this work. Then in January 2024, Chad began to collate some of the ideas Donald had and what he wanted to accomplish for this tour.”
The team’s approach to creating a tour is different to some of their contemporaries. “We had this idea to take many of the lead voices in the camp off to Big Bear for a collaborative session to come up with what this show could be,” stated Scheckel, impressing on TPi the importance of thinking creatively.
With most of the team living together for a time and other voices being Zoomed in, the broad strokes of the show began to take place. “Working on Childish Gambino forces you to think outside the box constantly, which can be a frustrating experience, but the lead from both
Donald and Wolf is that they don’t want to leave anything off the table,” stated Coffey.
One of the key elements that Glover wanted within the show was a hologram at the centre of the stage design. Also, in line with the themes of the album, there was a ‘dystopian’ motif that ran through the show, which all departments were keen to explore.
To help build out this vision, the production once again brought in Cory FitzGerald as Creative Producer as well as newcomer to the team, Tobias Rylander, who took on the role of Production and Lighting Designer. “Tobias created the vision and design of the show, working with Donald and his team,” outlined FitzGerald, explaining both his and Rylander’s responsibilities on this project. “He brought the form and ideas to life from the initial creative brief and added his own twist to the overall creative idea. I was tasked with taking those visions and realising them into the touring world, making sure we could create a canvas for Donald to perform his show in, as well as have it work every night and in every room.”
The Childish Gambino camp is “very democratic when it comes to the creative process,” stated Coffey, while talking about the importance of bringing in new voices to the production conversation.
“It’s why we often don’t go with companies who can offer us a 360° option. If you have a company that does ‘everything’, you can lose some of that expertise. Instead, I tend to think
of suppliers as consultants bringing ideas and solutions to the table.” When it came to the core suppliers of the tour, the team brought in Upstaging for lighting, Screenworks for video, Vis A Vis for cameras, TAIT for the set, and Strictly FX for lasers and pyrotechnics.
The impressive ‘Light Binder’ – the structure containing multiple automated LED tubes –which created numerous looks including the giant hologram, was provided by Glowmotion, while the custom LED helmet was created by The Specialists.
BUILD ME A WORLD
“The first thing that attracted me to this project was that they wanted to ‘build a world’,” began Tobias Rylander. “It’s great to hear something different than just making the artist look good and creating a show that is just 90 minutes of eye candy.”
He continued to explain the looks he and the rest of the team were trying to create.
“We had this phrase of ‘high-tech, low-fi’ that we referred to throughout. It’s a dystopian Earth-like world and although the technology is modern, you feel it’s malfunctioning.”
When it came to lighting the show, Rylander stated that all his choices came down to this overall goal of building the world, meaning that all fixtures became part of the scenography.
“We had a grated stage that looked industrial. Inside the stage we used hundreds of GLP JDC1s to illuminate the stage.”
This tour was also Rylander’s first time deploying the ACME Polsar S2. “It was both a runway light and the main effect fixture that outlined the main stage,” stated Rylander. “It’s really two fixtures in one with a spot/beam on one end and a wash/strobe on the other.”
While discussing the lighting programming, it was clear just how integrated the entire visual department was. “We’d sometimes take the feed from the cameras and feed that into our lighting rig,” enthused Rylander.
Aside from the Light Binder, Rylander explained that there was not the largest overhead rig on the tour with two half circles illuminating the band and providing some other effects. “We also had these two ‘terminating towers,” stated Rylander, with one upstage and the other out in front of the B-stage.
HIGH TECH / LOW FI
“Anyone who has done R&D to create a hologram will tell you – it’s hard!” laughed Rylander, sharing how he and the team tried to fulfil Glover’s wish to have this element of the show. “Donald had sent us a lot of ideas from people who had created holograms,” stated Scheckel. “We had steered the ‘hologram’
conversation into a ‘volumetric LED’ system as it was more of a known quantity in the world of live touring. But it was Tobias and Cory that brought Glow Motion to the conversation who they’d worked with before.”
Wh at Glow Motion eventually delivered was a system containing 1,024 individual 2m LED tubes, each with 80 controllable pixels. Each tube also featured an independent winch. This setup allowed voxel-based 3D content to interact with the kinetic movements, transforming the entire performance space.
“We tried a few different paths to create our ‘Lightbinder’ but after some testing and customisation with the Glow Motion tubes and winches, we realised how much more we could get between the volumetric pixel control combined with the vertical motion involved with the winches,” reflected FitzGerald.
“We had just 60 days to design, fabricate, and deliver the entire system,” stated Daniel Slezinger of Glow Motion. “The timeline was tight, and it pushed us to the limit, but it was incredibly rewarding to see the system come to life at Rock Lititz by mid-July.”
The system was made up of modular pods, which carried all the LED tubes with Glow Motion also designing custom shelves to securely mount DMX nodes directly to the pods, making maintenance more accessible
CREATE!
multifunctional as giant LED bar for flexible creative designs motorized zoom from narrow 4.3° to wide 52° IP65 rated: protected against dust and particles
and protecting the equipment on the road.
“Perhaps most importantly, the system featured remote management capabilities, allowing DMX universe assignments to be adjusted from the ground via a laptop,” stated Slezinger. “If pods were installed out of sequence, a quick adjustment saved valuable time during load-ins. These small but intentional decisions made the system practical for a fast-paced touring schedule.”
When it c ame to t he d ata-flow, pushing content on the volumetric system, the main brain of the show was a Disguise media server, that had been programmed by Danny Purdue. Content was then transferred to a TouchDesigner server, programmed by Brandon Epperson.
“I ’ve been a TouchDesigner advocate for many years for the sheer performance it allows, especially when I’m building my own servers,” stated Epperson. “In this scenario it was also the shortest path to what we wanted to achieve. It could prototype and experiment quickly and allowed you to pull techniques from a variety of different programming l anguages for different parts of your workflow.
“T here has been a lot of attention on volumetric displays l ately and m any different approaches you can take in the same project,”
he added. “ We used a few different approaches even in this show depending on what looked better for a particular effect.”
Epperson described t he flow of information from the Disguise server to the TouchDesigner. “Disguise was sending sACN for basic control information like cue stack, state management of prebuilt maps and then sending the video content in, to be mapped through my engine.
In the beginning, I was doing everything in TouchDesigner locally as we got our heads around how the show would work and then started passing things to Disguise as the show settled in preparation for a more automated use case on the road.”
Before Epperson was brought into the project, t he workflow t hat was needed to r un the Volumatic system had not existed and the TouchDesigner programmer outlined some of the major challenges this brought up. “There is a lot of experimenting with what types of 3D content will look good at this resolution. The vertical pitch of the LED in the sticks is tight but then they are spaced a foot apart in the grid, so it’s a quirky type of output where things you think would look good didn’t and vice-versa.”
The difference in t rims f rom show to show could be as much as 20 to 25ft. “Dealing with the math elegantly that rescales and shifts the
show cues for the 1,024 winches was its own science fair,” he explained.
SAFETY
Safety distance to the audience was also a major concern to the creative team with all the automated winches that came down to the deck at certain points. “We ended up building a standalone engine that was used each show for setting the daily safety trims per stick, and the overall scaling of data for the volume and travel of the winches,” stated Epperson. “The lighting desk and Disguise were always sending the same values and TouchDesigner scaled all of this each day to new trim heights and safety zones per venue.”
Each LED payload and cable weighed 2lb, making the total weight of the visual piece 45,000lb. “It was the elephant in the room when it came to the build,” chuckled Scheckel. “All told, that element alone was a four-hour build and it’s one of those parts that it wouldn’t make a difference how m any stagehands you t hrew at it – it takes the time it does to put it together.”
In fact, there were just two Glow Motion technicians that oversaw the setup and they were responsible for rigging the motors, powering them, assembling the truss that supported the pods, hanging the pods, running
power and data to each pod, and routing home runs back to control and the power distribution unit. During performances, one technician worked directly from the grid, which could be walked across, allowing any adjustments to be made in real time. “It was a demanding setup, but the team’s efficiency made it all come together smoothly.”
Th at all said, the PM stated it was not the most stressful build with each date being a same day load-in. “One thing we didn’t want to have was an A or B version of the rig; we wanted to put on the same show no matter the venue.”
With the tour going through US arenas, the inevitable headache of dealing with scoreboards was a consideration. “We divided the system into modular 4ft by 8ft pods, each containing 32 winches, which simplified setup and ensured consistency across the rig,” stated Slezinger. “The pods were built by TAIT to be lightweight, which was critical given that the system was rigged outside the scoreboard footprint in the centre of the arena.”
To avoid putting too much central weight on the roof, TAIT deployed the same system used on a Roger Waters production and overseen by Head Rigger, Brian Collins. “The system spanned across the arena with four spans that
each picked up eight pods,” stated Scheckel. Summing up Glow Motion’s contribution, Slezinger said: “This project felt like more than just a single showpiece – it opened the door to new possibilities for how kinetic systems can be used in future productions. Working through the challenges of this process gave us an opportunity to refine what we do and develop a platform for others to build on. We’re thankful to have been part of bringing Childish Gambino’s vision to life, and it’s something I’ll carry with me as a special collaboration.”
ALL CONNECTED
Although having a system in place that technically would be able to create holographic looks, there was then the challenge of creating the content. Enter Amish Dani of Frameworx. “There was a lot to figure out and months of testing in collaboration with Brandon, who was running TouchDesigner,” noted Dani.
Despite working on a pre-vis setup, he explained that there was a big part of this show that had to be figured out in rehearsals to see what worked in person with the volumetric LED system. “We had multiple contingencies going into Rock Lititz for the two-week rehearsals period. I’ve never created content for a surface
like it as most of the time we are creating content for flat 2D objects.”
Dani and his screen work team deployed multiple styles of content creating for VFX, Notch and Unreal Engine. They also captured images of Glover and others via green screen, 3D Edits and XBOX Connect.
Dani went on to explain that there was plenty of trial and error with how the content performed on Volumetric LED setup. For example, one of the looks that was top priority was a version of Glover’s head that would also be ‘singing’ the song. “Our first model was incredibly detailed with teeth and eyeballs, but the result was too noisy, so we realised for the look to be effective the head had to really be a shell. It took some time to finesse, but we were very happy with the result.”
Commenting on this ‘trial-and-error’ approach, Scheckel mused on a comment that Rylander made during the build-up to the tour. “Tobias made the point that we needed to ‘allow the tech to tell us’ how it wanted to be used and presented.”
Aiding Frameworx with the project was a host of creatives including Art Director Rosie Geozalian, Notch Programmer and Animator Tanner Thompson, 3D Capture Berto Mora
from All Of It Now, animators Eddie Perez, Mike Estacio, the company Pixelface, and finally, Carlos Jovel overseeing Yeat Capture.
LIVE CONTENT
Handling the live footage was Camera Director, Damien Gravois. “The New World Tour had elements from almost every technical department that had never been done before,” he said, including his video department in this statement with what he described as a “first time on the road camera package.”
In t andem with Marty Kell of Screenworks NEP and Stu Mercer at Vis A Vis, the tour deployed the new Panasonic PLV100 camera chains, pairing perfectly with the new FUJINON Duvo series PL lenses. “We had our Long Lenses supported by the 25-1000mm variant and the shorter distances/rail systems flying the 24-300mm Duvos,” he continued.
“Working with Stu Mercer and Vis A Vis on this was a tremendous win both for us and the partnership opportunities within the general touring industry,” continued Gravois. “Vis A Vis operates a show success over profit business model. This allows directors like me to have access to industry leading tools that don’t consume the entire budget. This also opens partnership opportunities between vendors, and that is something rare in the industry that I hope we can further address down the road.”
He went on to outline some of the challenges he had capturing the action on camera. “Donald provides a very dynamic show as an on-stage performer, because of this the overall camera plot coverage becomes very important,” he stated.
Knowing that Glover was likely to move all about the stage to give the best show to all the fans in the venue, Gravois and the team had to be prepared to capture him from every perceivable angle. “This forced us to put lenses and cameras in places that may seem untraditional but allowed us to best capture both Donald and the technology on display.”
LASERS AND FUTURISTIC HELMETS
The SFX department, specifically the lasers used on the show, was another common highlight for many working on the show. For the tour, Strictly FX provided its new RTI NEO S12 to fit the very specific visual demands.
“T he use of lasers on the tour is another example of how I see our suppliers more as consultants,” stated Coffey. “Grant Sellers from Strictly FX spent a long time sending us video suggestions of looks and even warned us that the looks we were hoping to achieve would rely on five to six laser technicians to zone each fixture each day.”
This is what moved the production onto the NEO S12, reducing the necessary number of
technicians as the fixture contains six heads in one casing. The lasers were deployed on the two opposing lighting towers, which double as termination points.
“T he level of precision on display was truly incredible,” enthused the PM. “Especially as at time the lasers were shooting through the LED tubes. Two laser programmers – Stephanie Bernardini and Nathan Miller – did the programming in rehearsals and turned it over to Raefn Webber and Jason Barton-Gillman on the road. There are some looks with lasers that I don’t think people will have even seen before in the live environment.”
The other notable scenic moment that got a lot of exposure online after the first few shows was the custom helmet worn by Glover and featuring ‘audio reactive’ visual content as he sang. Created by The Specialists in collaboration with Smooth Technology, it added another element of this futuristic, dystopian theme.
Led by James DeVito, the company handled the LED in the mouthpiece of the helmet along with its ‘dreadlock tubes’. It also sewed in LED elements into Glover’s wardrobe.
“It’s another example of the connective we had during the show,” stated Rylander. As the helmet was more than just a scenic element with integrated LED and video, there had to be signal cables attached. “But we really lent into
that and as much as the ‘dreadlocks’ were functional looms; we emphasised their presence with incorporated LED to lean into the industrial feel.”
THE NEW WORLD TOUR
In a year that saw tours across the globe breaking records and innovation being seen from production to production, it’s safe to say that for any show to stand out in 2024 really had to go above and beyond. “During many of the stops on the tour, Donald referred to memories he had of the circus he had as a child,” Coffey said in closing. “He mentioned during these segments that when it came to the circus that you might not remember everything you saw but you recall the sights and the smells. He was keen for this tour to be similar in that it was not just a case of seeing his songs live but for the crowds to have a true experience. And that is what we built into the show from moment people entered the venue until they left.”
Although his fans around the world might have to be a bit patient for the ‘circus to come to town’, from everything that TPi discovered during our conversations with the team, it will be more than worth the wait.
www.childishgambino.com www.upstaging.com www.screenworksnep.com www.taittowers.com www.strictlyfx.com www.thespecialistsltd.com www.visavis.video www.glowmotion.tech www.frameworx.la
BEABADOOBEE: THIS IS HOW TOMORROW MOVES
The singer-songwriter and her devoted crew tour a multifaceted live production reminiscent of an early 2000s art studio with theatrical flourishes…
Words: Jacob Waite
Photos: Daniel Richardson and Tommy Davis
Following the success of her debut album, Fake It Flowers, Beabadoobee and her team hit the road as soon as live events were permitted post-pandemic, earning widespread acclaim. As the singersongwriter’s following has grown, so too has the level of production, with crew members rising through the ranks and new personnel and vendors being welcomed who complement the DIY ethos and camaraderie of the camp, aptly dubbed ‘crewbadoobee’.
Ahead of the singer-songwriter’s Ally Pally show – which, by a twist of fate, is the venue of the first show Beabadoobee ever attended independently eight years earlier – TPi goes behind the scenes to retrace the origins of the tour. “You build trust as a monitor engineer as someone stage side for reassurance that has your best interests in mind and understands you,” explained Production Manager, Connor Houston, who started his career on the road with Beabadoobee as her Monitor Engineer.
“So, when I was planning the tour and bringing in designers and a new team to step up the production, there was a level of trust,” he added. “This allowed us to progress swiftly with the gig’s best interests at heart and made the transition smooth.”
In 2021, the camp was touring a production that featured lots of amps, a drum kit, and a simple backdrop, playing rock songs to a crowd of between 500 and 2,000 people. Nowadays, the DIY stage designs have given way to a more narrative-driven show that aligns with the artist’s aesthetic and sound.
The result is a production design reminiscent of an early 2000s art studio with the incorporation of nature, creating a
multitiered show that evolves as the setlist progresses. “Every element of this production can scale to fit the size of the venue,” Houston said. “Some venues on this tour have been smaller and more challenging but are equally as rewarding as the larger shows due to the intimacy we can create.”
The tour’s vendors featured: Allotment (merchandise), Eighth Day Sound – a Clair Global company (audio), Christie Lites (automation, lighting, rigging), Fly By Nite (logistics), Harlequin Floors (marley), LMG Touring (video), NTRP (travel), Ox Event House (scenic), Phoenix Bussing ( artist, band and crew transport), Production Park’s The Mill (production rehearsals), Riverjuke (tour management), Rock-it Cargo (freight), and ShowTex (drape).
“I selected suppliers that can cover us in most territories,” Houston explained. “Having one point of contact ensures consistency and allows us to balance the budget.”
Tour Manager, Carlijne ‘Carly’ Schreijer; TM Assistant, Saule ‘Sun’ Kavaliauskaite and Production Coordinator, Meera Higginson supported the orchestration of the tour. “Beabadoobee requested a female tour manager,” Carly reported. “We have a great team supporting us on the road. It’s helpful to know I can lean on them, and vice-versa.”
SHADOWPLAY
Created and conceived by Beabadoobee, Production and Lighting Designer, Daniel Richardson, and Creative Producer, Andrew ‘Wilkie’ Wilkinson, a white spinnaker from ShowTex hangs unevenly on three sides of the stage as if concealing the walls. Grey high-
shine marley from Harlequin forms the studio floor and covers the drum riser. Various studio props are scattered across the stage, including a ladder, a workbench, and a shelving unit filled with art-making paraphernalia, as well as an old slide projector. Paint splatters above the walls and floor add to the illusion of an art space. Behind the spinnaker, a nature wall casts shadows when backlit.
Richardson cited the influence of Wilkie on the project: “His mind thinks beyond the show, to the meaning of the tour for the artist and where this should all be going,” Richardson noted. “He is always keeping things on my radar and moving us forward.”
Shadow play plays a significant role in the show, with shadows of the band and props shifting constantly, evoking memories of Talking Heads’ 1984 concert film Stop Making Sense and Nine Inch Nails’ 1994 Self-Destruct Tour. This analogue shadow play continues using gobos projected onto the walls, emulating clouds, water, and forests. At the climax of Beaches, the spinnaker walls kabuki away to unveil the nature wall in all its glory, with a backdrop of 35 blinders, creating a “rock ‘n’ roll forestry finale”.
To t ransform the concept into creation, the designer used Sketchup to create the scenic geometry before harnessing Syncronorm Depence previsualisation software to test materials, shadows and lighting design ideas. The resulting geometry is imported in Vectorworks, where technical drawings are produced. “The brief was to create a show that felt effortlessly cool with a big rock ending – a show that took you into a world inspired by Bea’s experiences in California creating the
album at Rick Rubin’s studio,” Richardson explained. “At our first meeting, she knew that she wanted fabric to create the space, but as the conversation progressed, we discovered her love for art spaces, studios, and nature. I began to see a painter or sculptor’s art studio with lighting and shadows coming through plastic sheeting draped about the place, and nature encroaching in on the world.”
INVISIBLE DESIGN
The show started with the lights lowered, the band entering the studio, flicking on ’90s-inspired warehouse lights, dubbed by Richardson and the crew as ‘fluoros’ before thrashing into the opening number.
“I wanted the show to start raw and harsh but considered,” Richardson said, referencing how the rig was manipulated by Automation Operator, Ben Allen using Kinesys to achieve a unified lift of the fluoros. “This gave it a dirty, raw feel for the first third of the show. The custom fluoro housings from Ox Event House hovering above the band’s heads made for amazing photos from the pit.”
Fiona Levitt of Hull-based Ox Event House explained how the set company helped create the backdrop of scenery, arranged the spinnaker, and crafted the custom aluminium framework housings for the fluoros, which housed Astera LED Titan Tubes.
“It was great to work with the production team on this unique project,” she reported. “Designing something to not look designed is harder than you think!”
Once the spinnaker was shipped from ShowTex, artificial greenery was constructed, and hand tied. Ox Event House made custom
set carts for the set pieces to tour. Around 15 members of the team were involved in the project. “One of our restrictions was making sure the 45ft by 20ft canvas could hang evenly, so we sectioned it off into several segments during the build, which connected using magnets to make it look like a continuous, living and 3D backdrop,” Levitt said.
Richardson elaborated on the “organised chaos” of the stage design: “I wanted the fabric to feel like plastic with some translucency and a sheen to it. I also knew that as a rip-stop fabric, it would hold up over the tour extremely well. It was never meant to feel clean, which is why it’s connected to the kabuki system at odd and uneven intervals. We wanted it to look curated.”
CONCEPT-DRIVEN VISUALS
From the low-profile industrial ‘fluoro’ beginning to the shadows cast by the nature wall and Fresnels behind the spinnaker backdrop, the lighting design was concept-driven from the beginning. “Bea loved that gobos are physical objects obstructing light to create shadows. She wanted everything to be physical and real, so we avoided any digital projection altogether,” Richardson explained.
Among the challenges of the design was getting Lighting Programmer, Luke Rolls, to time the gobo spin so that it would stop exactly back at the same point as it started without it jumping, according to Richardson. “He did a fantastic job, we both decided to transition to MA3 software, and I was meant to learn it too but, in the end, he did all the learning and absolutely smashed it… All I learned was that I’m getting older!” Lighting Operator, Robi Ankers-Mota controlled the rig using a pair of
MA Lighting grandMA3 consoles – a full size and a light as a backup console at FOH with three MA processing unit Ms.
“It’s an interesting, beautiful, and fun show. This is my first time operating the show on grandMA3 software, which was an equally daunting and exciting prospect… I’ve enjoyed learning how to tap into the creative capabilities of the software.”
The wider Christie Lites package included 21 ACME Lighting Leera Profiles; a pair of Martin MAC Ultra Performances; 12 Rama Fresnels; six Bambino Fresnels; 32 Astera Titan Tubes; 38 Elation DTW 2 Lite Blinders; 16 GLP JDC1s and a pair of Robe BMFL long-throw followspots on RoboSpot system. Atmospherics were generated by a DF50 fogger and four Unique 2.1 hazers.
“I look forward to getting a drawing from Dan; he puts a lot of thought into his designs, which are always different and interesting, and this was no exception. He’s clear about what he wants from a fixture but is interested to learn about new products and work with us on inventory,” commented Mathew Illott, Christie Lites Account Manager.
“A project like this, which requires global support, shows our strengths. It’s a pleasure to support their vision.”
Richardson added: “Christie Lites is a great supplier, and I really enjoy working with them. I’ve worked with Mathew on many tours – he understands me and always looks after me the best he can.”
The downstage Fresnels, when shone on the band, provided tall shadows to create a traditional theatre convention. This was accompanied by further mid-stage Fresnels on
stands as an extension of the set, embracing “classic” stage lighting methods. “The use of Astera LED Titan Tubes to achieve the ‘warehouse’-inspired lighting brief is unique,” Ankers-Mota said, further identifying the Martin MAC Ultra Performance at FOH acting as a projector as key to the design.
“It is a key fi xture t hat emits stunning colours. We’ve got custom gobos that zoom and spin, doubling as a projector – which required a lot of t ime and finesse to achieve.”
The show’s colour palette is modest – white, cto, ctb and red. “One of my favourite moments in the show is when we go full red on the fourth song, Charlie Brown, while the rig is still in its low position. The song is a mix of red, red, red and strobe, strobe, strobe – it’s fucking cool and feels like everything I wanted it to,” Richardson remarked.
As well as the kabuki drop during Beaches, Richardson’s standout looks are Girl Song, where Beabadoobee is joined by the drummer, Luca Caruso on piano. Behind them are the shadows cast by the nature wall and two angular spots, creating a “powerful moment” equalled only by the following forest gobo and a single back Fresnel on Beabadoobee.
For Ankers-Mota, it’s the track, Ever Seen, which starts as a small square of projection that zooms out to fill t he entire stage c anvas. “It’s so simple but a genius way of using the MAC Ultra Performance as a faux projector,” the operator said.
Ta ke A Bite sees a static gobo over the stage, which as the chorus begins, starts to rotate slowly to create a hy pnotising effect, with the quality of the light emitted “far superior” to most modern projectors, according to Ankers-
Mota. “Robi cares deeply, is patient, and puts all his energy in every step of the way,” Richardson said. “ The show looks great f rom start to finish and he operates it fl awlessly.”
Elsewhere, Lighting Crew Chief, Kane Tinajero was embarking on his first overseas tour, w hich he defined as a “special albeit cold” ex perience. “I’m from California, so the weather has been difficult to acclimatise to, but t he venues have been great and Christie Lites equipment and packaging is always to a high standard, so the truck packs away nicely during load-ins and -outs,” he added.
“I ’m working with equipment that I’ve never toured with, such as the Astera LED Titan Tubes; GLP JDC1s on t he floor, w hich have been solid; ACME Lighting Leras and DTW 350 blinders on the upstage, which have been extremely reliable.”
Supported on the road by fellow US-based Lighting Technician, Jordyn Aupiu, the duo’s biggest challenge was the economy of space.
“We’ve developed a flow as t he tour has progressed. We’re a well-oiled machine now, but, we must be mindful of how we load-in or building on top of each other in smaller venues,” Tinajero said. “It’s a demanding show, so I’m lucky to have a solid team around me.”
LMG Touring provided a complete IMAG package. Namely, two Blackmagic Design M/E PPU camera systems; four Panasonic 4000 camera channels and two 20K laser projectors; a Barco 4K Image Pro; two 90x long lenses at FOH and a pair of standard lenses on-stage; two 4K robotic cameras on-stage; TX record and iso records.
The firm’s UK-based team worked closely with the designers to supply two rear-projected
portrait 26ft screens. Opting for rear projection allowed the light levels to be “better managed on stage, ensuring a clean and effective design,” according to Jo Beirne, Business Development Manager at LMG Touring, who further commented: “Collaborating with Production Manager, Connor Houston and the entire team has been a pleasure. The energy and creativity, especially from Camera Director, Steve Price, has made this project exciting.”
CHAMPIONING THE FUTURE OF TOURING
With two years touring with camp under his belt, Stage Manager and Guitar Technician, Ronan Sherlock, reflected on t he journey so far: “T he level of production has grown massively,” he s aid. “ It’s been my first r un stage managing in arena-sized rooms. Working with US crews was a helpful and eye-opening experience –they have a different approach, w hich was great to experience, and the gigs have been brilliant.”
Fl y By Nite ensured the transportation of the technical equipment and set pieces, while Phoenix Bussing handled the artist, support teams and production crew. With additional levels of bureaucracy required to travel challenge-free post-Brexit, Phoenix Bussing collaborated with the team in advance.
“T here are things we can do things to speed up t he regional-specific permit processes and make the journey as smooth as possible,” Stewart Scott, Phoenix Bussing Transport Manager commented, praising the involvement of “experienced” and “accomplished” Artist Bus Driver, Carl Mackenzie and Crew Bus Driver, Jimmy Hamilton at the wheels of this tour, who have worked for the company for several years. “We love championing young artists. They are
the future of touring, so seeing this exciting team go from a bus and a trailer to a brandnew 5 Series artist bus and a 16-berth double decker crew bus is great,” he added. “It’s been a pleasure to work with this camp.”
Fi ve Fly By Nite trucks arrived on site and were unloaded in order of rigging and lighting gear; once that was flown, backline, audio stage left and right and finally, set pieces were assembled on stage. “We’ve been able to drive trucks right up and unload, which is one of the benefits of the Ally Pally,” Sherlock noted.
Come show time, Sherlock stood at stage right and was frequently on and off stage, substituting 11 guitars between the camp. He was further supported by Production Rigger, Josh Slade; Set Carpenter, Zack Wade; Playback and Drum Technician, David Gane and Guitar Technician, Robert Jones on the road.
“Every department is strong, so it’s a smooth-running camp... Restringing guitars before the show is my meditation time,” he said, revealing the track, Coming Home, as among his favourites on the set. “It’s just her and an acoustic guitar, which she plays and performs so well – I love it!”
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EVOLVING SOUND
In line with the staging design, the stage sound has evolved from a classic band setup with amps, drums and the fight to control stage level to a slick, programmed show.
“We just toured control and backline when I started,” recalled FOH Engineer, Andy Robinson. “Now, it’s a much more updated playback system. The band are on Quad Cortexes, everything is programmed, and the stage is a lot quieter. The introduction of Musical Directors, Joe Clegg and Si Francis has taken it to another level, and the wider team has really stepped up.”
Robinson mixed the show on an Avid S6L, his console of choice over the past two years. “It’s my ‘go to’ console due to the sound quality. The Pro Tools integration is ideal for virtual soundcheck and recording the shows; even just putting the markers in and going through your snapshots it instantaneously flicks to the markers, which is cool – as is being able to run plug-ins onboard,” he explained.
“We’re on a gain sharing system with a Stage 64 and Stage 32; the latter is loaded with Dante cards, so we take a MADI feed, ‘up sampled’ and converted to Audinate Dante for playback.”
His Avid Venue | E6L-192 Engine and 24D surface was bolstered by a rack of outboard gear – a Solid State Logic BUSS+ for drums; a Focusrite ISA430 for the vocal; an SPX 990 drum reverb, and a couple of Empircal Labs FATSOs to add “sparkle” to the guitars, plus a Rupert Neve Designs Master Bus Transformer. With a vast inventory to choose from, Robinson was pleased to be in the capable hands of Eighth Day Sound Account Executive,
Stu Wright, who he has collaborated with on several projects. “Being able to get whatever you need, wherever you are is invaluable. Eighth Day Sound has such a pool of resources with experts in their field. They are always on the end of the phone, and I consider Stu a close friend,” the engineer said.
The d&b audiotechnik PA system comprised 16 KSL loudspeakers on the main hangs, with five XSL8 aside on the outer hangs, 12 SL-SUBs, and six aside V-Series loudspeakers as delays. “The SL Series is my ‘go to’ if I get a choice, with GSL for bigger rooms. The rear rejection of the PA is incredible, helping to keep the noise down on stage. ArrayProcessing is also a useful addition,” Robinson said, commending the on-site support of System Technician, Liam Halpin.
“Bea is also quite a delicate singer, so this PA system gives me more headroom, and makes the in-ear mix cleaner. It also has better onsite noise limit than you would get with another PA and, most importantly, it sounds good. You can’t beat the subs either – they’re so punchy!” Robinson declared.
“Post is big, loud and punchy, but One Time has crept up as my favourite song to mix now; it’s a big number and I love mixing drums – I feel when you get the drums right, you can pull everything in around it. I like to try and bring the album sound into the mix as well, recreating the punchiness of the drums on the record in the live space with physical energy,” Robinson said, citing his psychoacoustic approach.
A new face to the camp, Monitor Engineer, Alice Asbury stepped in to Houston’s shoes in ‘monitor world’. With the band all using wireless
Ultimate Ears UE 11 PRO in-ear monitors, the engineers deployed a Shure PSM 1000 in-ear monitoring system.
Like Robinson, Asbury mixed on an Avid S6L console with not too many gadgets, other than a Rupert Neve Designs Shelford Channel for Beabadoobee’s vocal chain and 10 channels of RF. For this run, the team managed to get Bea’s in-ear monitors emblazoned with photos of her cats, Kimchi and Miso.
“In terms of microphone choices, we’ve got an sE Electronics V7 for her vocal, which sonically, doesn’t pick up as much spill from the crowd, who are super loud, it keeps her in-ears mix tight and helps Andy with the feedback,” Asbury explained. “I ride Sennheiser MK416 shotgun ambient mics in a little bit during the quieter songs, big moments of the set or when she’s speaking to the crowd, but the crowd are so loud, they’re not always essential.”
The drum microphone package, devised by Robinson, featured Shure BETA 91A in; Audio-Technica ATM25 out; sE Electronics V7 X and VB on two snare tops; Audix Micro-D underneath the snare and a couple of sE7s and Beyerdynamic TG D57 as tom mics.
“T here’s a mix of very distorted, electric guitar sounds which transition into acoustic guitars, so we spent a lot of time working with the MD and the backline techs to balance those sounds at source and make it not too abrasive for the in-ear mix, keep it nice and not too shocking,” Asbury said, speaking more broadly about the role of a monitor engineer.
“It’s half about how you mix, and half about how you interact with the band. Trying to make Bea and the band feel as comfortable and
confident as possible on stage and reassure them that I am a wave away at the stage side, if required. They are brilliant musicians but to have a smiley face at stage left always helps.”
In closing, Asbury looked back fondly on the two nights at The Greek Theatre in LA as a “special way” to cap off a “fantastic” US tour.
CREATIVITY AND CREW CAMRADERIE
The wider This Is How Tomorrow Moves team featured Manager, Chris Melian of BannerYeer and Merchandiser, Marlon English. Speaking to the crew, it was apparent that Houston has fostered a culture and an environment backstage that goes beyond the production design, to make sure everyone on stage, artist permitting, feels more comfortable than they have ever been during a tour. “We all work well together, we have a laugh and a good time on the road while taking the work seriously, and that harmony away from the gig is the secret to the success of this production,” Asbury said.
“Connor believed in our vision and saw value in doing it right. He’s a great PM and I’d feel safe with him managing any show I’ve designed,”
Richardson added. “At the end of the show, I hope the audience walk away with a smile on their face, and while Beabadoobee matures as an artist, she remains effortlessly cool.”
Houston found it an “exciting” opportunity to open the Beabadoobee’s eyes up to production and being creative within the show, which has never been afforded to the artist before. “It’s fantastic to see a young, exciting artist so involved in the creation of her show, backed by a team invested in, and proud of the outcome.”
www.beabadoobee.com www.allotment.pro www.clairglobal.com www.christielites.com www.8thdaysound.com www.flybynite.co.uk www.uk.harlequinfloors.com www.lmgtouring.net www.nt-rp.com www.oxevents.co.uk www.phoenix-bussing.co.uk www.productionpark.co.uk
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THE SMART WAY TO CONNECT ROBUST COMPREHENSIVE
The band celebrate at Alexandra Palace.
NIKI: BUZZ WORLD TOUR
The powerhouse vocalist takes to the stage at OVO Arena Wembley backed by a sun-bleached set design that strays from video content and creates an intimate live show to celebrate her new album, Buzz.
Words: Alicia Pollitt
Photos: Natt Lim (@nattografi)
Marking her much-anticipated return to the UK and Europe, the introspective indie star took to the stage at OVO Arena Wembley in November 2024 with a grungier and darker production than fans have ever witnessed from the artist – aiming to bring the audience closer to the action with an intimate staging design. Before the doors opened to thousands of NIKI fans, TPi went behind the scenes to reveal the hard work that goes into staging the Buzz World Tour, which sees the artist and her team visit varying-sized venues with a dynamic production.
Welcoming TPi at the production entrance was a familiar face to TPi readers, Jack Dunnett – who was assuming the role of Production Manager for the first time in his career. “Stepping into this role is interesting,” Dunnett said. “I’ve been fortunate to do some large-scale stage management jobs; I’ll never move to production managing completely, but because this experience has been so enjoyable, I’d be open to the prospect again.”
Brought in to the NIKI camp by Tour Director, Matthew Walt and Tour Manager, CJ Harrison, Dunnett has taken learnings from stage management into this project. “Everyone needs to be treated differently,” he commented. “Some people need a gentle push, whereas others need an arm around their shoulder and it’s important to us that our office door is always open. It’s a very open production office so people can come in and divulge anything without any fear of reprimand.”
When going from department to department, there was a notable gender
split among the production team, something Dunnett was keen to point out when he sat down with TPi. The Production Manager emphasised diversity as a crucial factor when looking at staffing a tour: “I like to have a lot of women around on a tour because it can take away toxic masculinity and it is nice to walk around and see a balanced crew,” Dunnett explained. “I strive for diversity in a crew, but sometimes that’s not possible. Importantly, I want people to be kind to each other and a pleasure to be around.”
Harrison joined the conversation: “Tour managing is something I hold dear; when I was younger that was all I wanted to do. This tour is amazing as we have a lot of different cultures and diverse individuals on the road, and everyone brings themselves into it which is just beautiful. You don’t see many tours like that. I want the tours I head up to be family orientated and have a diverse and queerfriendly atmosphere, but it’s hard especially with vendors only sometimes having limited access to people at a certain level of touring. I have been doing this for 20 years and it’s changing slowly, but very slowly.”
Ru minating on the tour as it reaches the end of the UK run, Harrison reflected on her friendship with Dunnett. “Jack and I have worked together for a long time on many projects, so when we were looking for a new PM, I knew he was the right person, not just because of his passion for his work but also how he advocates for women in the industry.”
Having worn many hats within the industry – from merchandise manager to photographer
and sustainability coordinator with REVERB – Courtney Kiara Boyer was experiencing her first tour as a Production Coordinator and supported Dunnett with the day-to-day.
“T here has been a lot of learning involved, but getting to help people is something I love to do, and, in this role, it couldn’t be more appropriate,” Boyer commented. “A key to this job is being welcoming, kind and inquisitive, and making sure the crew feel like they can come to me with any problems.”
Following a steady increase in women working in the production industry, Boyer highlighted the importance of setting an example to women who may want to join the industry. She elaborated: “To set an example backstage where nearly half of the crew is women is so cool. People can tend to think that femininity is inherently bad in this space, but that’s just because women haven’t been welcomed in these spaces for a long time.”
To meet the demands of the production, Dunnett called upon Clair Global for audio, TAIT for staging, Colour Sound Experiment for lighting, Fly By Nite for trucking, Beat The Street for crew travel and Eat to the Beat for catering. “Clair Global has been great and supported us very well. Sean Sturge and Jonathan Dunlop have looked after us on both sides of the Atlantic,” he said, going on the cite the influence of the wider supplier roster. “I’m very lucky to have a very good relationship with all of our suppliers, they have been fantastic, and I can’t fault them.”
Ad am ‘Bullet’ Bettley, Business Development Director at TAIT, added: “It was
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nice to be back working with Jack, but it was also exciting for us to branch out and support a newer artist like NIKI.”
The production camp approached TAIT with a ready-made design, which made the hand over simple. “We replicated what they had created with another vendor in the US and retrofitted everything to fit some pre-existing fascias,” he explained. “It was seamless for us to tap into our global reconfigurable inventory to help lower costs and quickly provide the right package for the production.”
Working on the logistical side of the run was Fly By Nite, who took over the trucking responsibilities for the run. “Working across the UK and EU run of NIKI’s tour has been wonderful,” Fly By Nite’s Rob Stockwell, commented. “I’ve worked with CJ and Jack across other projects so it’s been great to be reunited with them on this one. The whole crew were fantastic at their jobs, which made the tour so much more enjoyable.”
Beat The Street handled transport for the tour. “NIKI’s Buzz World Tour was an absolute pleasure to deal with,” commented the company’s Lee Rees, reflecting on the project. “Our drivers had a great time touring with them and we hope to work again with them many times into the future.”
STRONG GIRL
A part of creative studio and musical direction collective, WFB Live, Creative Director, Ace Bowerman, sat down with TPi in the production office to retrace the tour’s roots. “This crew is very family-orientated, so it was difficult leaving the camp at the start of the tour. I tend to miss everyone a lot but it’s good to pop in on shows like Wembley, a local show for me, and see the full scale of it,” Bowerman said.
Du nnett and Harrison introduced Bowerman to the camp, enlisting her help after working with the designer in the past. “I got a deck from the 88Rising creative team at the start of my process which was the first time I’d ever received something like that, which was quite nice,” Bowerman said. “We wanted to put a different spin on how NIKI’s show has looked in the past and create a grunge feel that was industrial and darker.”
Touring different-sized spaces was a challenge. To overcome this, the scenic was created in layers with the idea that elements can be taken away and repurposed depending on venue limitations. An example of this was the lighting towers, with the camp utilising two 24ft lighting towers that could be broken down for smaller academy shows. “The idea was that the design could expand and retract while
Production Manager, Jack Dunnett; Tour Manager, CJ Harrison; WFB Live Creative Director, Ace Bowerman and Production Coordinator, Courtney Kiara Boyer.
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maintaining the show’s look,” said Bowerman. “Being able to expand and retract the design has benefitted this tour, meaning fans won’t miss out on the creative concept.”
Part of the design featured sheet metal configured in squares and hung around the stage that Bowerman and Dunnett worked on and treated with chemicals in the LA sun to give it an aged look. “Ace led the way, and I was a willing participant,” Dunnett laughed.
Complementing the sheet metal was a drape with a washed design that throughout the show was backlit in different colours. For Bowerman, this was the first tour that didn’t feature video content, after predominantly working in the pop and K-Pop genres. “It was interesting to do a tour that had no content, but I absolutely loved it. It meant we could dig into NIKI’s lyrics and portray it as a feeling as opposed to visually telling a story through content,” Bowerman explained. “We ended up with something sculptural.”
Discussing the show design more broadly, Bowerman cited the move from contentcentric shows and says she is intrigued to see where live show design will take her creative direction in the future. “It’ll be interesting to see what’s coming around the corner. I think we’ll see a rise in environment builds and more theatrical sets, and that generally, people will move away from content.”
BLUE MOON
Accompanying the creative vision on the tour was a lighting design by Jason Steel, operated by Jack Hooper. Bowerman praised the operator, detailing how closely the pair worked together. “I love working collaboratively with people, and Jack understands my working language,” she remarked. “He has been wonderful, understands the vision and works very hard. This show is the last time we’ll see this specific configuration of lighting yet he is still reprogramming.”
The show was broken down into four acts. “The clarity in colour temperatures was crucial to the way the show progressed,” Hooper said, explaining the concept. “Ace was very clear in her vision of the show.”
For control, Hooper used an MA Lighting grandMA3 console with grandMA3 software. “I really love it! The whole show is programmed using recipes, which has been a lifesaver since the venue sizes have shifted in size throughout the tour,” he continued. “We essentially have an A and B show and having the freedom to update groups and know that the sweeps and hits will work has been so much better than trying to figure out cloning.”
Ru nning three-quarters of the show in timecode, Hooper provided himself space to run outros and the acoustic section himself using back-set scenes. Luminex GigaCore
Lighting Operator, Jack Hooper; FOH Engineer, Joel Gregg and Tour Manager, CJ Harrison.
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The lighting rig meanwhile featured an array of fixtures including: Ayrton Karif LT and Huracán Profile, CHAUVET Professional Color STRIKE M, Martin Professional MAC Aura XIP, GLP JDC Line 1000 and three Robe BMFL Spots controlled by a RoboSpot followspot system. “Colour Sound Experiment has provided a great package for the run,” Hooper enthused. “They’ve been lovely, and we’ve had no complaints. Their team is great!”
Using silhouettes throughout the set, Hooper explained how NIKI has started adapting her movements on stage to play around with the shadows. “It was an organic thing that developed as the tour has progressed,” he noted.
Hooper referenced Blue Moon, a track from the singer’s latest studio album, as his favourite lighting moment. “That part of the show has a cool ‘hero-lighting’ moment with a single back spot on NIKI,” Hooper commented.
“As the tour has gone on, she has organically leant into the light and has started doing some shadowplay with it – she has connected with what the moment is.”
OCEANS & ENGINES
FOH Engineer, Joel Gregg mixed on a Yamaha RIVAGE PM5 console with a DSP-RX-EX DSP Engine for signal processing and system control. “NIKI has a great set of lungs, so she makes my job easier,” Gregg commented. “I love the way her set flows. It’s a good gig with
great musicians on stage and I feel fortunate to be on this tour.”
Gregg’s setup featured a Yamaha RPIO I/O Rack Stage Box, a Manley Massive Passive EQ plug-in, a Smart Research C2 compressor, two Rupert Neve Designs 5045 Primary Source Enhancers and a Waves SuperRack running on two SoundGrid Extreme-C servers.
“I started mixing on a Yamaha console a couple of years ago,” the FOH Engineer commented. “I wanted to change it up and I haven’t looked back since. The RIVAGE PM5 isn’t forgiving but if you get it right, it’s the bestsounding desk on the market.”
Audio vendor, Clair Global provded a d&b audiotechnik KSL PA system for the OVO Arena Wembley show. “Clair Global are always fantastic,” stated Gregg. “Their involvement has been a welcome addition. OVO Wembley Arena is a notoriously hard room to sound out, but it’s made easier by the fact that I have people around that know what they’re doing and setting it up from scratch.”
Jonathan Dunlop, Account Executive at Clair Global, commented: “We were very happy to be involved in the European and UK leg of NIKI’s Buzz World Tour, especially her OVO Arena Wembley performance. We have enjoyed working with her team since 2022. It’s wonderful to see an artist move into larger venues, where on this occasion, we installed a d&b audiotechnik KSL rig for her muchdeserved headline concert.”
Monitor Engineer, David O’Brien also mixed on a Yamaha RIVAGE PM5 on a DSP-RX-EX
DSP Engine running in-ear monitors through Shure PSM 1000 personal monitoring system. The team piloted Shure’s new Nexadyne 8/S Supercardioid Dynamic Wireless Capsule to ensure vocal clarity for NIKI.
Harrison reflected on the campaign, noting how the crew have bonded with one another: “This tour runs like a family. Everyone works well together and the crew work so hard, it’s lovely to see. We even want to spend time with each other on our days off,” Harrison commented. “To be on a tour that is almost an even gender divide in the crew is great – and it shows it can be done. I’m actively looking for women to join the industry – there needs to be more of us. The industry has changed a lot since the COVID-19 pandemic. Personally, I’m trying to give myself more grace as a tour manager, however, it would be nice to see a positive change towards diversity and inclusion following the reset.”
Gi ven the success of NIKI’s Buzz World Tour, the star and her dedicated crew will reunite in February 2025 for a tour of Asia and Australia with a completely reimagined design from WFB Live but not before a well-deserved break over the festive season.
www.nikizefanya.com www.taittowers.com www.coloursound.com www.clairglobal.com www.beatthestreet.net www.flybynite.co.uk www.wfblive.co www.88rising.com
NAS: ILLMATIC 30 YEAR ANNIVERSARY TOUR
From Queensbridge to the Royal Albert Hall – one of hip-hop’s greatest celebrates 30 years since dropping his impactful breakthrough record with an evocative touring production of two halves.
Words: Jacob Waite
Photos: Andy Paradise and Tom Bielby (@tourlifetom)
Hot on the heels of a successful UK and European tour celebrating three decades of his iconic debut record, Illmatic – hailed by many as the greatest hip-hop album of all time – Nas, backed by the Heritage Orchestra and his transatlantic touring outfit, showcased the 1994 body of work, culminating with a selection of his greatest hits at the Royal Albert Hall for two nights. Behind the scenes equal measurements of orchestration ensured the production was worthy of the milestone, as TPi discovers.
Tour Director, Charlie Bradshaw, who has worked with Nas since 2012, retraced the origins of the project. “In 2014, we did a run with the National Symphony Orchestra in Washington, DC at the Kennedy Centre to celebrate 20 years of Illmatic, which became the blueprint for these symphony shows,” he said. “This is our fourth design this year, following a successful residency with the Las Vegas Philharmonic and a subsequent UK and Europe tour.”
With 31 years’ experience in touring, Bradshaw stepped into the role of Tour Director, enlisting the ‘on the road’ expertise of Tom Bielby, to advance the tour – having first been introduced to the camp as a Production Manager amid Nas and Wu-Tang Clan’s N.Y. State of Mind Tour in 2023. “We immediately hit it off and became friends. He was so eager, positive and a hard worker, truly invested in the production,” Bradshaw recalled.
The show displayed content throughout the years of Nas’ journey without detracting from the performance. “Nas has a real focus on the quality of his production,” Bielby said, joining the conversation. “This was a complete redesign of the previous production we were touring; it needed to be a modular system that could fit a range of differing sized venues. This year’s tour was the celebration his debut
album, Illmatic, which is widely hailed as one of the most important albums of all time, so it’s a special year for Nas. With that in mind, Booking Agent, Brian Cohen, booked venues to reflect on that journey, delivering the same experience regardless of the size of venue.”
The loyal suppliers of choice included Beat the Street (travel), More Eyes (content), Ox Event House (staging and set), Siyan (lighting and video), Solotech (audio), STS Touring Productions (backline) and Stagetruck (logistics). “I’ve worked with these vendors on several projects in the past and that relationship provides the best product. We understand each other’s workflows and are prepared to go the extra mile to help you out, knowing that in the long run, that the favour is going to be returned,” Bielby said.
There were whispers during the booking phase that there would be the addition of an orchestra. “Nas has, in the past, played orchestral symphony dates in the States, so it is nothing new to him. However, nothing was set in stone until around 10 days out, when we got the final confirmation that we would be joined at the Royal Albert Hall by the iconic Heritage Orchestra,” Bielby stated.
With a tour ongoing, it was counterproductive for the team to advance both projects. Bielby elaborated: “You can lay the foundations with vendors and local promoters, however, the point we were able to assess our options was 10 days out.”
Due to the layout and history of the Royal Albert Hall, this required a complete redesign. “[Production Designer] Brian Spett and I had to pull some all nighters, going through several iterations to come up with the perfect design together, before landing on the eventual concept,” Bielby remarked.
The format of the show was the album Illmatic performed in its entirety with the
Heritage Orchestra, followed by Nas’ greatest hits without the orchestra. There was a tasteful changeover, which flowed from one to another. Bradshaw praised the influence of longtime collaborator, Production Designer, Brian Spett, in addition to the wider production team.
“T he entire team did their homework before we arrived on site. We wanted to embrace iconic, historic elements of the room, like the organ, while incorporating modern production value. This was one of the highlights of my career,” he said, recalling the unique ‘cultural exchange’ of the project.
“T his tour was my first experience with a mixed crew, half British and half from the States, so it was an interesting exchange of knowledge and processes, and one of the best tours I’ve ever been involved in – I’m extremely proud of Nas and the entire team.”
THE GENESIS
The brief was to deliver a hybrid, hip-hop symphony show, and be respectful to an historic British institution.
“It was sold as a general admission hip-hop show, so you can imagine, we didn’t have the largest stage extension, so one of the biggest challenges was to construct something that looked respectable with a 45-piece orchestra while keeping the artist and band separate from the orchestra; we didn’t want it look like it was thrown together,” Bielby explained.
“You can’t just put your A rig into the Royal Albert Hall as it wouldn’t use the space in the wisest way possible and you could very easily disrespect a venue, so we had to use the architecture of the building and create a stage design that highlighted Nas and the Heritage Orchestra,” he added. “What I learned on my way up, building stages and working with staging companies and vendors, helped me understand the challenges of a build like this.”
The result was a three-tiered stage setup to elevate Nas and the Heritage Orchestra, with the band situated in a ‘sunken’ pit. The team installed a curved LED screen to match the curvature of the building, complemented by surrounding lighting towers, using the pillars and the architecture as an integral part of the show. Space paramount, and with the lastminute addition of the orchestra, the team had to innovate.
The other big challenge was loading straight into the venue the day after Bob Dylan’s team, who left the venue at 2am the night prior.
“We didn’t have much time to put this threetiered decking on top of the stage; implement the lighting and video; dress the stage in black and gold marley; load-in three trucks’ worth of orchestral gear, afford the piano tuner an hour to tune in the morning and half an hour before the show – the orchestra also need a three-hour rehearsal, so the schedule was comprehensive,” Bielby explained. “We had three pages of logistics and schedule items documented on [Eventric] Master Tour, alone!”
Intense calculations were required to get it right and the result flowed seamlessly. However, it meant Bielby had to leave the Wolverhampton show – the night before the opening Royal Albert Hall show. Interpreting ‘I never sleep, ’cause sleep is the cousin of death’ quite literally, once the Wolverhampton date was ‘show ready’, the PM hopped on a train to London, had three hours sleep, before entering the RAH with a team of set designers and local crew to embark on the overnight build – a testament to the team’s skills and tenacity.
Ox Event House provided the staging system, which was layered on top of the venue’s house stage, effectively building a new stage above at varying levels – a 4ft orchestra structure at the upstage edge, a 3ft artist level downstage, and a 1.5ft sunken platform for the band. As well as the downstage edge being wrapped in video panels, gold and hi-gloss black marley from Harlequin
Floors and bespoke fascia panels and steps were fabricated. The set design outfit further provided plexiglass steps and custom brackets to fix the video to the stage set. These were grilled to allow smoke and light to emit from the caverns of the stage, as well as a stock set of rear aluminium stairs and risers.
The Ox Event House team worked with the production team overnight build due to the incredibly tight schedule.
“Tom allowed us to come in earlier with a bigger team, supported by local technicians to help, knowing it would be a big project to get in, in a short amount of time. We started at 2am and were installed by 11am,” Ox Event House’s Ben Levitt commented.
Logistics and timings for each department, as well as the orchestra, including which doors they came in, at what time, and what street level and whether the venue could allow the lift to still be in use for the longer period, were all factors the team had to consider throughout the build. “We were pleased with the time of the load-in and build speed, which provided more time for the Heritage Orchestra to rehearse,” Levitt stated.
The custom-shaped curves and stage triangles, made from timber, were fitted overnight with nine stage technicians, six fabricators and multiple joiners working on the gold-cladded staging, covering the timber with custom aluminium items. Including the office team handling CADs, around 20 members of Ox were invested in the project with a six-strong team installing the build alongside 16 members of Stage Miracles local crew.
Reflecting on the equal orchestration on and off-stage, Levitt said: “Working for the Nas team on a unique show in the iconic setting of Albert Hall was special.”
ONE MIC
Solotech provided an audio control and monitor package consisting of two DiGiCo SD12-96 consoles, a Shure PSM 1000 in-ear
Production Manager, Tom Bielby and Tour Director, Charlie Bradshaw
monitoring system, a Sennheiser microphone package, d&b audiotechnik B6 subwoofers, M2 monitors, and D80 amplifiers and a drum microphone package for FOH Engineer, Mike Gonzales and Monitor Engineer, John ‘LJ’ Evans. At the Royal Albert Hall, 51 Shure PSM 1000s were added for the Heritage Orchestra, along with a mixture of Sennheiser, Shure, AKG, Neumann and DPA Microphones for their respective instruments, along with two further DiGiCo Quantum 338 consoles.
“W henever you put anything with a drum kit next to an orchestra, there’s always a bit of a challenge, so there were drum screens brought in. Getting the level you require for a hip-hop gig in line with an orchestra is challenging and they did a great job at balancing that,” Solotech’s David Shepherd explained.
“T he challenges were pulling that amount of kit and crew together in a short timeframe. Chris Wheeler, who put together musicians for the Heritage Orchestra, at short notice, deserves kudos.”
With only one run-through in the afternoon of the show under their belt, Solotech liaised with the Nas audio team given the introduction of the orchestra to make the mix seamless. Solotech enlisted the support of Simon Hendry to mix the entire orchestra and feed it left and right to Nas’ engineer, so they could mix it with the artist’s band, in addition to monitoring of the orchestra.
“We ended up with 51 IEM belt packs for the orchestra. Everything had to be wireless because there was no load-in day; it was easier to give every member of the orchestra a belt pack, on top of the packs for the band and crew,” Shepherd said, citing the track, Made You Look, as his favourite on the setlist.
“I ’m an old hip-hop head, so it was great to be involved in this show in an iconic venue. It’s great to see the Royal Albert Hall showcase much more contemporary artists, and it provides an audience who have never listened to a live orchestra, a phenomenal experience.”
STS added to the backline package it provided for the Nas tour with keyboards and bass equipment for the extra musicians.
“It’s always a pleasure to work with Nas’ production team. The team were specific and detailed with their equipment requests,” STS Touring Productions’ Pete Dutton said. “There are no complaints, and the equipment is collected and returned in the best condition and on time. Being involved with a show at the Royal Albert Hall always feels special.”
LET THERE BE LIGHT
For the wider tour, Siyan provided a flown and ground-based LED video wall package using a carbon frame lightweight Redot C-OL 3.9mm product, with 120 sq m of this product on the road, with further panels wrapping the three 1m-tall risers and platforms. At the Royal Albert Hall, the system was reconfigured to fit on a ground-supported arc around the upstage edge of the redesigned stage.
For IMAG, Siyan provided a camera and projector package using Panasonic 20K projectors and seven cameras – a mixture of manned and unmanned as well as PTZ systems with Camera Director, Andy Warwick handling the live cut, and Siyan also supplying camera operation and engineering staff.
Si yan also supplied a rigging package for the LED, a three-point RoboSpot system and a lighting floor package consisting of Martin MAC Ultra Performances and MAC Ones and Chauvet Strike Ms along with Robe iFORTE fixtures for the followspot requirements, with these elements then redeployed around the video wall and supported overhead by the inhouse rig at the Royal Albert Hall. Production Designer, Brian Spett and Lighting Designer, Mike ‘Slim’ Howe and Spett controlled the rig using an MA Lighting grandMA3 console.
The touring screen was constructed in a different format – a five-sided semi-circle, or ‘half-decagon’. “Brian Spett and I had to do a lot of investigation through CAD and pre-
visualisation software to ensure that sight lines were not affected,” Bielby remarked.
“A longside Tom, we ended up becoming the technical consultants of this project – transforming the creative team’s ideas and making them a reality, technically and logistically,” Siyan’s Tom Grant commented. “Helping to transform their vision into something tourable was a fun challenge.”
Si yan Project Manager, Mike Williams, added: “The tour was standard; other than the different-sized venues, it was challenge free. The Royal Albert show, however, was a total redesign, factoring in the logistics and nuances of putting on a show of the venue.”
The main challenges were space and logistics. The unique shape of the space compounds these constraints, with the additional workaround of where to put boxes, the minutiae of walking around and storing equipment on multiple levels of the venue, adding time to the crew’s day, slowing down the process.
“It’s also challenging for a designer who has not worked in the venue before to devise a concept within the timeframe that allows the orchestra to setup. By adding the orchestra, everything else must be achieved earlier, which adds a layer of complexity,” Williams reported.
Gi ven the unique nature of the venue’s in-house rigging system, the building is often best placed to provide some infrastructure for visiting production teams, with the majority of Siyan’s offering situated on the floor. In terms of the design, the mechanics changed but the products remained the same, except for the addition of IMAG with Panasonic projectors.
“T he screen and lighting fixture quantities remained the same as the tour, with ancillary equipment added. However, we deployed a new floor rigging system for the lights and LED screens, which were mostly flown with a small element of deck front on the tour, which became a deck front on a semi-circle arch and support system at the back, with the deck front
arranged on the stage edge. The stage plot was different due to the orchestra.” Including warehouse and preparation staff, around 15 members of Siyan were involved in the show. “We’re proud to be involved in this project. It’s a pleasure to work in the Royal Albert Hall; the result looked fantastic!” Williams enthused.
THE WORLD IS YOURS
More Eyes’ Pete Thornton and Matt Sharp took care of content wrangling and the live playback of visuals. “If you listen to Illmatic as a body of work, it’s a story and a journey. We wanted to set the scene for each track and ensure it flowed like the record from start to finish,” Sharp said. “We built looks that complemented the tracks and the set, creating engaging pieces for the Illmatic half of the set, while ensuring the second part of the show didn’t feel too disparate and different.”
When the orchestra was brought in, it changed the dynamic. “We wanted to make sure there were signature pieces of content accentuating the performance, but with an orchestra involved, you don’t want overbearing content that diverts attention from the magic that’s happening on stage,” he commented. “So, trying to provide an engaging backdrop that doesn’t dominate proceedings, embracing the artists in an historic setting was our greatest challenge.”
With back-to-back gigs to contend with, the visual collective toured with a portable and versatile ‘fly pack’ in the shape of laptop-based Resolume media servers, allowing the visual collective to arrive at the venue, open the lid of their Peli case and set up the show in minutes.
“Every venue we toured required a different stage layout, so we were changing the size of the screens constantly. We used a Resolume plug-in called Stageflow, created by a Joris de Jong of Hybrid Constructs, which allowed us to get any stage layout, set up some basic looks
based on the video design, throw up content very easily, and switch between screen layouts via sliders while remaining perfectly sized and framed,” Sharp explained.
Having done the pre-work with Stageflow, the team overlaid the visuals on the technical drawings of the stage design. “Stageflow saved us so much time, coming in hot to the Royal Albert Hall show, where we were rolling straight off a tour bus into an entirely new screen setup. It does loads of the heavy lifting for you and saved us programming time, which we didn’t have. We could programme the show at night on the bus and turn up on site ready to go.”
Sharp pinpointed Represent, which featured fisheye lens content of Queensbridge. “We broadcasted that footage across several screens, changing the tempo in sync with the music and throwing up that content during different intersections of the show,” Sharp said.
“From an audience perspective, it was engaging but not overwhelming. We had around five pieces of content. However, because of the evolution of the show and where and when it was broadcast, it looked like we had way more.”
Th e World is Yours was an “audience favourite” with black and white globes floating on a black video screen backdrop. Given the juxtaposition of modern touring technology, old-school hip-hop and the Heritage Orchestra in an historic venue, Sharp was full of praise: “The crowd was incredibly mixed, which was cool – from people as young as 12 who come along with their parents through to old-school hip-hop heads.”
The production showcased the classical features of the venue in a modern take for a hip-hop audience. “Working with the Heritage Orchestra is always special; their arrangements are so contemporary, keeping the subject matter engaging,” he continued. “Everyone pulled their weight. There were
sleepless nights all round to get this over the line, and without their skill and dedication, this wouldn’t have been possible.”
REPRESENT
Tasked with transporting the technical infrastructure and set pieces, Stagetruck provided eight trucks for the Royal Albert Hall shows, with four trucks provided between the August and November tour dates.
Having run the business for 46 years, Robert Hewett has seen it all, and provided Production Manager, Tom Bielby with one of his first jobs in the industry. “I’ve been in the business for a long time… I remember when Tom Bielby first came to work with us, he was a very bright lad and applied himself,” Hewett said. “I love it when people realise that this business is a good industry to work in, and you can earn good living from it. It’s such a joy to see him doing well. Although he came on as a truck driver, he understood or soon picked up the other facets of the business and worked well to develop his craft. At Stagetruck, we pride ourselves on seeing talented individuals and directing them and letting them progress.”
Seeing it all come together in such an elegant way was a “powerful and equally proud” moment for Bielby. “By the time the third song was being performed, I had to remove myself from the Royal Albert Hall for five minutes because I was quite emotional. It was a career highlight so far.”
www.nasirjones.com @tourlifetom www.touringsolutions.com www.beatthestreet.net www.moreeyes.co.uk www.oxevents.co.uk www.siyan.co.uk www.solotech.com www.ststouring.co.uk www.stagetruck.com
CONAN GRAY: FOUND HEAVEN ON TOUR
The singer’s rise to prominence sees him and his tight-knit crew heading into venues across the globe – showcasing his signature blend of ’80s-inspired pop hits from his Found Heaven album, played to a backdrop of a striking production design befitting rock ’n’ roll royalty…
Words: Alicia Pollitt
Photos: Scott Hutchinson (@scotchphotos)
Breaking onto the scene in 2020 with his debut album, Kid Krow, Conan Gray has risen to fame with hits such as Maniac, Heather and People Watching and has moved up to command arenas in the US. His live performances are marked by an eclectic production design that complements the singer-songwriter’s back catalogue with his Found Heaven signature star iconography ever-present centre-stage. TPi caught up with the crew to discover more.
“Conan’s engagement with his fans is really something else; they scream along to every word,” Matthew Chequer, Production Manager for Found Heaven on Tour, began. “It’s why we have enjoyed the tour so much.”
Having joined the camp in 2024, Chequer feels the touring industry is in a “good place” post-pandemic with a newer generation of roadies bedding in. “We’re finally getting there as an industry and the new generation of roadies have been on the road for a while now,” he stated. “Their experience is growing by the day. Things aren’t perfect, but they are settling.”
When looking forward to staging a production that tours the world, a dedicated crew is crucial to ensuring the show goes off without a hitch – and his relationship with the crew is both one of friendship, with multiple crew members visiting each other’s family
homes after the tour, and hard work. The PM outlined some of the key characteristics he looked for when building out the Conan Gray crew. “Hard work is the first thing, but as long as you’re willing to learn then that shows a person’s character,” Chequer explained.
“Not having an ego is very important. When you’re travelling and with these people for 24 hours a day for months on end, it is important you get along. I brought in half the crew from a gig I was doing previously and everyone else was existing crew or were brought in by [Tour Manager] Austin Luna.”
Enlisting the help of suppliers Christie Lites, Worley Sound, Moo TV, Gallagher Staging, ER Productions, Rock-it Cargo and RBC Express, the tour visited venues across the US, including crew favourites Madison Square Garden and The KIA Forum in LA. “I have a network of ‘go-to’ suppliers, so it’s been great having them along for this tour. They’ve made sure our movement across the world has been as smooth as possible,” Chequer said, citing the influence of RBC Express. “They were new to me as a PM, and they worked out to be the best truckers I’ve ever had.”
“T his was Moo TV’s first time working with the Conan Gray camp and our connection was Matthew Chequer, who we have a longstanding relationship with,” commented Travis Walker,
Moo TV General Manager. “The crew we put on the road with Conan loved working with the team on the Madison Square Garden, Texas and California shows. We’ve loved supporting the tour on their biggest shows in 2024.”
LONELY DANCERS
With each album cycle, Conan has a clear vision of what he wants his tours to look like, and Found Heaven on Tour was no different. “It’s a gorgeous design,” Will Smith, Lighting Director, Designer and Programmer, commented.
Working alongside Smith, the Creative Director fashioned a design that was reminiscent of Gray’s vision– opening the show with a drape adorned with the singer’s signature star inside of a teardrop logo. The drape then drops at the start of the show, courtesy of an Electro Kabuki system, unveiling the ambitious show design with the logo positioned upstage, fashioned from custom welded aluminium.
Nicknaming the star iconography as an ‘exploding star’, Benjamin Dupont, Creative Director at Moment Factory, told TPi how they began their process with a rough sketch that exaggerated the design of a standard truss.
“The sketch looked like an old-school 1970s launch station, so we originally started by going off the design of a standard truss,” Dupont
explained. “However, Conan loved the original sketch so much that he wanted us to go back and recreate that – which meant we had to build a custom frame for the design while making sure we could still attach lighting fixtures to it.”
As well as the set design, the stage risers were custom-made from Gallagher Staging & Manufacturing – placing the set at the centre of Moment Factory Studio’s design. “I like that the show focusses on scenic and lighting as the focal point of the design, straying away from video screens, this gives it a ‘classic’ feel and look and has meant I, Will Smith and Rob Sinclair could work together to meticulously plan which fixtures were going to sit where and how.”
Val Grant and Kevin Brown, Project Managers at Gallagher Staging & Manufacturing commented. “We worked closely with Conan’s team to bring the vision into reality. Our biggest challenge was designing custom set carts that could house the unique shape and size of the truss star as we wanted it to be transportable in the tour’s trucks and for air freight.”
The custom staging and fascias that the company created required a modular design to adapt to the varying venue sizes, a hydraulic lift was also incorporated into the centre riser. “We took great pride in delivering a quality product for the camp and we’re pleased with the positive feedback we received from the team.”
Working towards multiple designs for each song was important to Dupont and the studio’s
team – who wanted to foster different concepts throughout the show to create visual contrast as the show moved along. Dupont and Smith spent a week in a previsualisation studio going through the setlist, with Dupont giving directions so that Smith could programme the show before reviewing the outcome in a Depence R3 production suite. “We wanted every song to look different, so it became a very collaborative process. There is a clear visual statement and classic design. Getting to put that out in front of a majority-Gen Z crowd and seeing them embrace it was wonderful,” Dupont added. St aging a show for a younger audience meant that lighting was crucial. “If it doesn’t look good on Instagram, it doesn’t look good enough,” Dupont remarked. “I’m always using my phone in rehearsals to see how it looks. After all, people are going to take videos and post them, so making it look as good as it possibly can for a phone camera is integral as a creative.”
ASTRONOMY
“Finding fixtures that would fit the ’80s theme of the album was crucial to this design,” Smith noted. To this end, the LD reviewed the rig, which comprised Martin Professional MAC Ultra Performance, VDO Atomic Dots, and MAC Quantum; GLP JDC1 and FR10; ACME Lighting PIXEL LINE 1000 and 500; Claypaky Sharpy; Elation SMARTY MAX; Chroma-Q Color Force II 72, 11 and 12 fixtures along with three Robe
Production Manager, Matthew Chequer, FOH Engineer, Eric Dobson, Lighting Designer, Will Smith, Monitor Engineer,Joel Matzinger, Playback Engineer, Enrique Suarez, and Stage Manager, Carter Hayes.
BMFL Spots on a RoboSpot followspot system. “The inner star has over 60 ACME Lighting PIXEL LINE fixtures that bring a nice, diffused light, and we have a lot of Elation SMARTY MAXs that sit on the star and help us create the beam looks and wash looks,” Smith explained.
Declaring ACME PIXEL LINE 1000s and 500s as the ‘workhorse’ fixture of the rig, additional PIXEL LINE 1000s also acted as ‘audience blinders’ on both the floor and flown truss, which Smith believes is unusual on a show of this level. He elaborated: “We wanted it to be the same as the star, it matches beautifully. He likes to run about the stage, so we had the PIXEL LINEs Acting as a frame for the stage with the BMFL Spot to highlight him from both the front and rear.”
Timecode makes up 90% of the show file to ensure consistency. “Timecode frees me up to be able to focus on that key light and it means we can also have fun moments that are manually operated. It’s great to be able to focus on his key light. I want to make sure he looks as good as possible,” he explained. “Boys & Girls has a moment where everything looks pixelated to hone in on the ‘80s theme and it’s a great part of the set where I can let loose on the programming and realise that this is a creative industry, and I can have some fun with the design and not be so serious.”
ER Productions provided a laser and special effects package featuring three AT-30 30W lasers, Look Solutions Viper deLuxe fog generators, Unique Hazers, and MAGIC FX Confetti Stadium Blasters, powered by Pangolin FB3 software on a MSI laptop, triggered by a combination of a ChamSys MagicQ Mini Wing and an ETC Connect HedgeHog 4. Dean Bennetts, Chris Hudson, Jon Derrington, Alex Aulson and Kyle Smith made up the lighting team.
Dynamic and Engaging Live Event Sound
Funktion-One’s Vero VX is a highly efficient, sonically engaging live event sound system that is very easy to handle. Its advanced array rigging system, including the award-winning VX M-Beam, ensures fast and accurate deployment. Vero VX delivers full bodied audio with unprecedented dynamic range, dimension and fidelity for next level audience experiences.
“They’ve all been excellent throughout this whole thing, I don’t need to worry about anything because I know that every time I come into the set-up, the star is going to be hanging up, thanks to Head Rigger, Ken Flagg,” Smith said, praising the wider production crew. “They have been such a wonderful team to work with.”
Christie Lites Account Handler, Mathew Ilott, added: “I have a long-standing relationship with Matty Chequer, and he very kindly brought me in to work with him on this tour. It was a pleasure to meet and work with Will for the first time and support his creative vision for the production.”
MANIAC
Having achieved acclaim in the pop sphere, the crowds at his gigs often garner high noise levels, with attendees reaching over legal limits purely by singing. “Sometimes the fans are so loud they are hitting 110dB a night, which means we are typically using the whole system,” Eric Dobson, FOH Engineer commented. “Being able to get a certain amount of energy out of the low end is vital, so you can feel the music if the crowd is singing over Conan and it’s still fun to dance to.”
To combat this challenge, Dobson enlisted an L-Acoustics K Series system made up of 32 K2 mains, 24 K3 outfills and 12 KARA II. Sixteen K1-SB were paired with the system as well as 16 KS28 subs on the ground and eight A10 and four A15 utilised as front fills.
Tom Worley, Owner of Worley Sound – and sound supplier on the tour, commented: “This
is one of the first tours where a K Series system is driven completely by LA7.16i amplifiers while LA12X amplifiers drove the subs; single box resolution is a game changer and we are excited to be at the forefront of the technology,” he enthused. “Two P1 processors and an LC16D drove all controllers in a redundant Milan-AVB network – having an analogue system to fall back on.”
Delivering his mix via a DiGiCo Quantum 338 console with a Waves Axis Scope and two Extreme Servers, Dobson’s outboard consisted of two Bricasti M7, two Empirical Labs Distressor EL8s, a Smart Research C2 compressor and a vocal chain utilising Neve and Solid State Logic units.
“I ’ve been using DiGiCo for a while, and it suits my workflow well,” he said. “I’ve never wanted to do something that a DiGiCo console couldn’t make possible. “Tom Worley has been great,” Dobson said. “His control packages are super clean and you can tell he maintains the gear very well. Everything is easily accessible and in pristine condition.”
Dobson continued to discuss why “precision” in his mix was so important for a pop show such as this: “When mixing the show, clarity is my first port of call; the fans are coming to hear his vocal. It’s important to me that that’s what they get. The L-Acoustics system works well because I can get a lot of gas out of the full range of the system without sacrificing clarity, and the low end is tight even at high drive levels” he said,
citing the support of Worley Sounds System Engineer, Eric Rogers. “Eric is brilliant and it’s been great having him with me, he has done such a wonderful job.”
Monitor Engineer, Joel Matzinger also mixed on a DiGiCo Quantum 338 with a fully loaded SD Rack and a Mini Rack with 32-bit Ultimate Stadius I/O cards.
Employing Wisycom beltpacks, the engineer utilised Shure Workbench. “Since the update I’ve found it easier to do my coordination in Shure Workbench, then I export those frequencies into Wisycom’s WDF chart then I can upload everything from there,” he noted.
To articulate the singer’s voice, the team chose a DPA Microphones 4018VL Capsule on a Shure Axient handheld; AD4Q and AD4D wireless receivers processed the band’s wireless microphones and instruments, while a AD600 Spectrum Manager enabled coordination and analysis. Six Wisycom MTK982 dual transmitters and 16 MPR50 IEM receivers with a CSI16T Combiner that ensured RF compatibility. “Given the global nature of the tour, it makes sense to utilise these solutions,” Worley noted. Playback Engineer, Enrique Suarez, harnessed of Ableton Live and MainStage software in his rig. “We have slates to remind the band which song is coming, and all the pedal boards and the drum machine are run on automation,” he said. “When I start a song in playback through MIDI, the computer can send a message telling them whether it is a verse,
chorus or a different song. I’m an avid Ableton user, it allows me to do all the MIDI stuff I want to do, it’s my standard now.”
St age Manager, Carter Hayes was in charge of making the setup run as smoothly as possible, especially in fluctuating venue sizes in the US. “It can be difficult, on some shows we’re only using half of our trucks, so I have to coordinate what is going where and prepare for a gig in three city’s time,” Hayes explained. “Having to constantly alter what I’m doing is a challenge but with an experienced crew, we’re dialled in.”
On t he subject on dual redundancy [see TPi #283], Hayes believes more can be done to support stage managers tasked with staging complex productions. “Sometimes it’s like trying to be eight places at once. Whether it’s a second person to help or someone to help coordinate trucks or local hands I think we, as an industry can improve,” he reported.
Conan Gray celebrated his biggest-ever tour with a victory lap across Europe and the UK – finishing the year with a sold out show at London’s OVO Wembley Arena. The singer’s fans are eager to see what lies next for Conan and his crew, and so are TPi… www.conangray.com www.momentfactory.com www.christielites.com www.rockitcargo.com www.er-productions.com www.gallagherstaging.com www.mootv.com www.worleysound.com
THE IMPORTANCE OF BEAM STEERING TECHNOLOGY
Renkus-Heinz Product Manager, Brandon Heinz, outlines the benefits of steerable technology and the advantages it can bring to the wider events sector.
Words: Jacob Waite
Photos: Renkus-Heinz
Having designed and manufactured amplifiers and DSP for the best part of two decades, Renkus-Heinz is well-versed in exploring emerging technologies and experimenting with unconventional approaches. In September 2024, the California-based loudspeaker manufacturer introduced OmniBeam – a new beam-steering software tool available for free with the latest RHAON II 2.5.0 release. Speaking exclusively to TPi, Renkus-Heinz Product Manager, Brandon Heinz, reflects on the company’s decadeslong pursuit of research and development in steerable technology.
“We are incredibly excited to bring OmniBeam to our customers,” enthused Heinz. “OmniBeam will help deliver dramatically better results when using our beam-steered loudspeakers in as little time as possible, allowing our partners to save time and money on their installations and deployments, which will lead to greater success on their projects. We can’t wait to see what kind of projects this new algorithm will enable for our customers!”
PUTTING SOUND WHERE IT’S NEEDED Beam steering can account for, and in most cases overcome, challenging acoustic environments. “Because the coverage is generated via the beam steering, you don’t
need to physically adjust the array to make any coverage adjustments, so if your plan doesn’t quite match reality when you get on-site – any adjustments can be handled through software.” The benefits, Heinz cites, are apparent w hen you consider acoustics. “We put sound where it’s needed. This happens in 360° because of the relationship between the steering and the direct line-source transducers giving us a dramatic difference in terms of directreverberant ratio compared to traditional loudspeaker systems. This allows us to run the sound system louder without exciting the room as much – so you get more clarity, more intelligibility due to the reduction of the reflections of t he reverberations w ithin t he space,” he explained.
With this coverage generation happening in 360°, Heinz referred to this as an ‘umbrella opening and closing’, with corresponding gesticulation. “This 360° coverage generation means beam-steered sound systems have improved off-axis coverage, resulting in more seats getting the same sound quality as the on-axis coverage – dramatically reducing the need for out- and f ront-fill loudspeakers. T his reduces the number of loudspeakers required to cover a venue, and fewer fill loudspeakers means there’s less unnecessary energy going into the room which results in a clearer
mix.” he said. “When we think about outdoor music festivals and live events, noise control is something that is incredibly important. You want to make sure that you’re not putting too much sound into neighbouring stages and external environments, and with digital beam steering, there is an incredibly dramatic drop-off once you’re outside t he intended coverage zone, w hich c an be a huge benefit when maintaining good relationships with your neighbors and meeting any legal requirements for noise levels off-site.”
When it comes to compatibility with preexisting systems, Renkus-Heinz amplifiers feature audio-over-IP, so end users can use most desired audio sources, and standard ethernet control with no specialised hardware required. T he amplifiers c an also be used w ith ex isting mixing consoles and platforms. “All of our steerable loudspeakers include the latest generation processing power to accommodate the many channels of FIR filters required for beam steering. Our multi-channel amplifiers use a very non-traditional amplifier topology for the pro audio world, which gives us a marked benefit in terms of linearity and sound qu ality,” Heinz said, highlighting a selection of the manufacturer’s beam-steered solutions.In technical terms, Renkus-Heinz’s amplifier range can be described as ‘true digital, no negative
feedback Class D’ amplifiers. Essentially, if you access the amplifier digitally – either via AES or Dante – there is no conversion to analogue in the entire signal chain, all the way from DSP through to the drivers. According to Heinz, this means there is “no loss of information” when it comes to determining the sound quality.
He added: “We use an FIR-based feedforward correction system which helps to correct for the amplifier-transducer system, and that provides a very linear output stage, more traditional than a Class AB amplifier, which gives us the sound quality of the Class AB amplifier because of the no-negative feedback, with the efficiency of Class D.”
As music and programmed content is often complex, negative feedback circuits can correct steady-state signals like sine waves and tones. Heinz elaborated: “However, music is dynamic, so sometimes the negative feedback circuit is attempting to correct something that has already passed. Without that, using the FIR feed-forward and understanding the relationship between the transducer and amplifier, we can correct those distortions as well as having a linear output stage – so we get really good sound quality and highly efficient electronics as well.”
SUSTAINABLE SOUND SOLUTIONS
“Customer feedback and input are important to us,” Heinz said, explaining how the company utilises these insights during its rigorous product development process. “Some of the feedback we get when considering our beamsteered loudspeakers is the ease of setup, how consistent the coverage is, how good it sounds overall, as well as how easy it is to transport.”
As all digitally beamed loudspeaker systems are self-powered, their inclusion on a rider can simplify transportation needs because you’re only transporting your loudspeakers, as opposed to both loudspeakers and amplifier racks, which can radically reduce
the amount of space needed and inflate transportation costs, as well as impact environmental considerations. “Thinking about the environment is very important for us as a company and the way we design our loudspeakers reflects that,” Heinz remarked.
Indeed, all Renkus-Heinz loudspeakers tend to be self-powered, optimised with the inclusion of incredibly high-efficiency electronics, which can generate very high voltage swings to produce good power and have low current draw, with overall usage reportedly lower than some competing sound systems on the market.
“T he way we design our loudspeakers is they don’t draw a lot of heat, which results in lower VAC usage in venues, which can lower resource usage when you’re thinking about utilisation in venues,” Heinz explained.
“We manufacture in California, which has some of the strictest regulations in the US when it comes to environmental considerations for manufacturing, and we do not just meet those requirements, but we exceed them by large levels.”
Looking to the future, Heinz theorises on the role of emerging technologies: “A lot of machine learning algorithms are data-driven, and at this point, we’ve been doing live sound for a long time, so I could see machine learning being used to simplify setup on-site – making it easier for crew to enter a venue and get their desired results from a loudspeaker system. I could also see this being used for development, using data to drive product development in such a way that helps us meet the specific needs of specific markets, helping us understand greater what environments our users are operating in to meet their desires as opposed to developing generalised products.”
Ar tificial intelligence, he believes, can be used to “simplify” the setup process. In addition to the machine learning, which enables AI. www.renkus-heinz.com
Renkus-Heinz Product Manager, Brandon Heinz
MENTAL HEALTH FIRST AID TRAINING
Music Support calls on freelancers to enrol in a free Mental Health First Aid (MHFA) England training course, courtesy of its bursary scheme. TPi’s Alicia Pollitt embarks on the training to gain a firsthand insight into the crucial work the team does behind the scenes…
Words: Alicia Pollitt Photos: Music Support
In July 2024, TPi attended Backup Tech’s Village Fete, where the industry gathered to raise money for the charity to continue financially supporting industry technical workers. Music Support donated a MHFA England training course as part of the event’s raffle, where I was the lucky beneficiary of the prize. The free training course was taught by the charity’s Learning and Development Specialist, Davey Shields, over two weeks in four-hour sessions
“I ’ve always tried to make the training personable, sharing my personal experience – just in case it inspires someone else in the training session to speak up and apply the training to their lived experience,” Shields said. The charity has impacted at least 1,000 people in the UK music industry over the past year and has seen an increase of 51% in calls and emails to its helpline.
Shields underlined the importance of having multiple trained staff on its books: “The person struggling might not want to go to one individual for support, so having as many people as possible mental health first aid trained will
ensure someone struggling can either have multiple people to speak to or someone that they are more comfortable speaking with.”
Gaby D’Annunzio, Head of Connections and Community at Music Support, believes collective responsibility is integral to breaking down the stigma of mental health in the workplace. “It becomes easier to look after others as a mental health first aider the more of us there are. For there to be systemic change, it needs to come from the top down – there needs to be the awareness that as we start opening conversations about mental health – the easier the conversations get, and individuals are more likely to speak out.”
Having attended the course, the sessions gave me a better understanding of my own mental health and how crucial it is to take stock of how you’re feeling before you can help someone else.
“To learn how to empathise with someone else, you need to be able to empathise with yourself,” D’Annunzio said. “Helping support the individuals themselves but giving them the confidence to recognise in others if they are
Music Support Learning and Development Specialist, Davey Shields and Head of Connections and Community, Gaby D’Annunzio
feeling down is important to Music Support.” Completing the MHFA England course doesn’t mean you are a mental health professional; it teaches individuals to converse when people need it and encourages appropriate help.
“Everything we do with MHFA and Music Support is encouraging preventative measures to someone that may be struggling – having someone on a tour that is openly a Mental Health First Aider opens doors to crews to be open about their feelings and that is why it is so important,” Shields explained.
“We encourage people to ask us about the course because it is understandable to be nervous about it and we’re here to have that open conversation.”
Open to everyone in the industry, Music Support provide a bursary for freelancers
for funded places on the course supported by Backup Tech, The Julia Rausing Trust and Stagehand. “I think what’s interesting the music industry is that it connects us in a way, and we share so much love for music and what we do. It keeps us driven. However, it’s such a unique industry in the sense that it has so many challenges, especially if you’re a freelancer,” D’Annunzio commented.
As well as the MHFA England course, Music Support also hosts an Addiction and Recovery Awareness workshop with the organisation also trialling support groups in collaboration with Headstock. “It’s called ‘Behind the Scenes’ – the idea is to create intimate spaces for people where they can connect and talk about what’s on their mind,” D’Annunzio explained. “It’s a way for us to create more sustainable
ways of community and we’re hoping to roll this across many different spaces.”
The charity has now trained over 2,000 people in at least one training course with more than 600 graduates of the MHFA England course. The goal is to have at least one in 20 people trained in the music industry. As an individual on the outskirts of the industry, the MHFA England course delivered by Music Support was a valuable learning experience that I will carry into my personal and professional life. Others in the industry should consider partaking and engaging with this vital training. To learn more about the freelancer bursary and how to sign up visit: www.musicsupport.org/mental-health-firstaid-training/ www.mhfaengland.org
High brightness | IP65-rated | 16-bit motor control
Comprehensive control options
First-class features and effects | Leading lightweight technology
The founding partners of General Device Type Format (GDTF) and My Virtual Rig (MVR) share what these solutions can offer the live entertainment sector...
Words: Jacob Waite
Photos: GDTF Group
Since its launch in 2018, the originators of General Device Type Format (GDTF) and My Virtual Rig (MVR) – Vectorworks, MA Lighting, and Robe – have committed to spreading the word, with increasing participation from industry manufacturers, in identifying ways to expand the development of what GDTF and MVR can offer the live entertainment sector.
For the uninitiated, GDTF is a system that helps manufacturers and users share information about technical equipment – such as how they work, what they look like, and how they respond to controls. It makes it easier to find and use the right data without having to search through different file formats.
MVR is a format that can encapsulate the data from GDTF into a comprehensive description of the stage or venue and transfer it between devices such as lighting consoles, visualisers, or design software.
“T his is a passion of ours,” commented Vectorworks Chief Marketing Officer, Jeremy Powell, reminding TPi of the collective’s mission statement. “We noticed these problems a long time ago, and we’ve been working hard as a team to solve them.”
St riving to challenge and unify the exchange of data among live entertainment technologists, the Group’s offerings now include GDTF Share, GDTF Builder, MVR, and MVR-exchange. “There is a lot of interesting stuff, and depending on where you look, you will find lots of developments bringing us forward to today,” said MA Lighting Intellectual Property
Manager, Rene Berhorst. “We strive to provide people with building blocks to choose from.”
During monthly meetings, the Group works to make incremental changes, which have helped achieve widespread adoption by multiple software manufacturers and entities.
“T hrough our work and cooperation, we also try to ensure that we enable other people to easily implement GDTF and MVR, which we, as manufacturers, use internally,” noted Robe Customer Service Manager, Petr Vanek.
According to its developers, GDTF and MVR can help speed up the process of preprogramming, preparing, and programming for end users in the dynamic, fast-paced world of live events. “You don’t have to take our word for it. People use this every day and are starting to reap the rewards,” remarked Berhorst.
This mission goes beyond lighting, control manufacturers, and planning tools. Berhorst elaborated: “GDTF and MVR are simple but effective models, creating a ‘digital twin’ of the real world, adding a logical structure to abstract concepts and protocols. We can describe any type of device as a digital twin with any logical structure of how to control it.”
Take, for example, DMX, the most common protocol driving the live events business. “Recently, we made a clear example of how this would work with Open Sound Control, which is a totally different structure, protocol-wise, and simple to adapt,” Berhorst noted.
“W hat we’re finding is that commitment to that original mindset of a clear structure,
GDTF and MVR founding partners: Above: Vectorworks Chief Marketing Officer, Jeremy Powell. Opposite: MA Lighting Intellectual Property Manager, Rene Berhorst and Robe Customer Service Manager, Petr Vanek.
that can remain extensible and sticking to it, is allowing us to adapt far faster than anticipated,” Powell added. “We continue to seek to bring into the Group other likeminded companies that want to contribute in the same way.”
Vanek believes there is momentum among partners who are interested in solving issues and delivering solutions for the betterment of the overall sector.
“We have more than 60 confirmed manufacturers contributing files for their devices. On the control side, 14 different global control-based soft- and hardware platforms utilise GDTF or MVR – from established entities to start-ups,” he said, citing the ‘invisible work’ that goes on behind the scenes to enable manufacturers to provide the descriptions for their technical solutions.
“It requires a lot of effort, money, and brains from the companies and external manufacturers, attending biweekly meetings and taking action to drive this forward,” Berhorst explained. “However, we all want to give back to the business, and we believe we have found a solution. We want everyone to participate and benefit.”
Moving forward, the Group will pursue the expansion of the specification into the audio realm. “The attitude that we’ve created with the Group of partnering and putting aside competitive differences in the
effort of meeting the needs of those who put on events is slowly starting to appeal to those across the aisle,” Powell noted.
Berhorst believes there is further room for growth among media server specialists.
“I’m aware of two premium manufacturers that are not on our list because they do not define and publish a simple GDTF Share profile for their media servers, as it is often project dependent, but rather they typically create the GDTF file, specific to the current project needs on the fly,” Berhorst said, citing another project that spent development time making GDTF and MVR compatible with OpenUSD – aka a gateway into the Metaverse.
He continued: “It’s amazing to see that people invest their time and effort to pave the way further into all these emerging technologies.”
With the brand sharing the slogan ‘unify the industry’ on the tradeshow circuit, from a brand perspective, Powell believes joining the GDTF and MVR mission is a ‘win-win’.
He commented: “The industry wants to work with brands that solve their problems, and if you want to be part of a collective that truly puts customers first, then we welcome you and your input with open arms. Make sure to visit the GDTF Group at several upcoming 2025 tradeshows, including Prolight + Sound in April, to learn more.” www.gdtf-share.com
ON SITE AT PRODUCTION PARK
TPi visits Production Park’s Wakefield campus to discover the latest developments from rehearsal studios, the Academy of Live Technology and XPLOR.
In 2015, having been at TPi for three months, I found myself on the top of the Studio 001 staircase with Production Park founder, Lee Brooks, as he discussed his vision for this Northern campus. “We have a long-term master plan to bring a lot more space to the site,” stated Brooks. “We want people and companies to come here for the right reason – seeing not just short-term revenue but rather buying into the collaborative future of Production Park.” Walking around the site nearly a decade later, you could argue that the Park’s team has certainly achieved this goal.
With representation on the site including TAIT, 4Wall Entertainment and ROE Visual, to name but a few, Production Park’s studio offering has expanded dramatically, most notably, with the formation of Studio 005 –which is equipped to host anything from a complex arena tour to the next Netflix series. There has also been significant expansion at the Academy of Live Technology (formerly, Backstage Academy). Not only is the Academy looking to become a fully independent accredited institution, but it has also launched
operations in the US at Rock Lititz as well as an education partnership programme in Saudi Arabia. If that wasn’t enough, Production Park’s newest venture, XPLOR, is proving a shining example of the innovation of the live events sector and the wider insight it can provide multiple industries.
With so many talking points, it was difficult to know where to start. Thankfully, several of the Production Park family were on hand as tour guides.
STUDIOS
Our first stop was Studio 005 – one of the newest additions to Production Park’s rehearsal studio portfolio. A similar size to Studio One, the space is 15,500 sq ft of floor space with an additional storage area, which the team affectionally refer to as the ‘cow shed’. Looking skyward, the roof has a fully walkable grid with a shackleless system capable of handling a total of 500 tonnes of uniform distribution load (UVL).
A graduate of the Academy of Live Technology, Studio General Manager, Scott
Matthews represents Production Park’s penchant for creating industry professionals able to become integral parts of the live events sector. “It’s safe to say that shows have become bigger; with the increasing number of stadium productions, it has been a struggle fitting everyone into Studio 001, so having this extra space with Studio 005 has been so helpful,” Matthews commented, referencing several incoming film and TV shoots in Studio 005 while live touring camps enjoyed Studio 001. “We have also included features to make the lives of incoming productions much easier such as lines engraved in the floor matching the hanging points in the roof to save time in marking out.”
Elsewhere, Studio 002, 003 and 006 are smaller spaces, ideal for band rehearsals or the Academy’s practical sessions with Studio 004 home to the Virtual Production Studio – more on that later. Production Park also owns The Mill for smaller-scale production rehearsals. Located in Wimbledon, London, The Mill offers a versatile space with complete privacy and a homely feel. Since its inception in 2017, the
Words: Stew Hume
Photos: Production Park
studio has hosted band and production rehearsals, music concerts, theatre production rehearsals, corporate events and film and television shoots.
The company’s on-site restaurant in Wakefield – CentR Stage – is nestled between Studios 001 and 005 and stocked for incoming productions, staff and students. “Incoming productions can bring in their own catering if they’d prefer but in the two years since we’ve offered the on-site service, most clients take us up on the offer,” Matthews said, highlighting the savings made to productions with this additional service.
EDUCATION
While discussing the day-to-day running of the Studios, Matthews revealed that when it comes to crewing incoming productions or any extra help needed in the space, he makes use of the Campus Crew scheme, which gives students from the Academy of Live Technology the chance to gain to real world experience outside of their studies, while also being paid a fair living wage. To learn more about the scheme, TPi spoke with Rachel Nicholson, Head of Institution for the Academy of Live Technology, and Emma Cook, Director of Student Support & Experience.
“A mid their first few days at the Academy of Live Technology, students have the chance to sign up to Campus Crew,” explained Cook. “Over the years this scheme has broadened to encompass all staffing needs on site. Jobs can vary – from helping in the studio and working on an event, through to taking shifts in the CentR Stage. Students who sign up go through an interview process to place them in roles that will are a good fit for their future career prospects.”
Nicholson emphasised the importance of providing students a fair living wage: “Every student should get the same opportunities regardless of their financial background,” she remarked, further reflecting on the growth of the campus. “In the six years I’ve been here, there has been an awful lot of changes. We are now a higher educational provider and are in the process of having our own educational awarding powers.”
Currently, the Academy can award degrees via the University of Bolton, but full independence would make it the first specialised live events institution, globally. “Getting our own powers is a complicated process, but our current goal is by summer 2025, being able to enrol students on independently run courses.” With more independence, this would enable Nicholson and the team to embody the institution’s ethos of “industry-embedded learning”.
In addition to the appearance of visiting crew members, countless students flooded in and out of the space during TPi’s visit to the facility. “The whole point is to not put education in a bubble away from the industry,” enthused Nicholson.
Away from Production Park, Nicholson has advocated for the industry at a governmental level, siting on The Creative Industries Council’s Skills and Education Working Group. With the Creative Industries Council charged with making recommendations to the government about higher education, Nicholson explained that having a seat at the table enables her to talk about the very specific differences within the events sector. “Compared to sectors such as construction or automotive, projects in live events don’t tend to last between 12 weeks to a year, so we’re trying to push for a more flexible options to recognise apprenticeships in our sector by Skills England. The issue is that by the nature of the sector, not a lot of people know we exist, so we must advocate for ourselves.”
The Academy of Live Technology has also seen significant growth outside of the UK boarders. Most notably with the opening of a facility at Rock Lititz in Pennsylvania. “Our ambition is to build a global network of campuses. After all, we are an international industry,” stated Nicholson.
In August 2024, the Academy officially opened its new facility at Rock Lititz, in partnership with Pennsylvania College of Art and Design. “There is no better place in the USA for the Academy of Live Technology to call home,” said Nicholson. “Rock Lititz offers a rich community of innovators, experts,
industry leaders, rebels and creators, working on real, high-profile projects. The environment on campus is a perfect place for students to prepare for a career in the industry.”
The Academy has also been working in conjunction with organisers of MDLBEAST in Saudi Arabia, specifically with the BEAST ED programme – an initiative aiming to develop the next generation of Saudi events professionals. The curriculum begins with a two-week core foundations course taught by the Academy of Live Technology (ALT), which covers the basics of events production. From there, students enter a more focussed segment of study depending on their area of interest and skillset, with specialised courses on everything from site management, security, and health and safety to stage production, audio, IT connectivity, and event logistics, delivered by a selection of MDLBEAST’s partners.
“It’s been incredible to see how everyone in the ecosystem has pulled together to bring this emerging industry forward,” commented the Academy’s KSA General Manager, Matt Glynn. “We’re a specialist higher education institution from the UK, expanding into Saudi, so to get this level of traction we’ve needed and appreciated the full participation of the
partners. With massive projects such as Soundstorm demanding bigger workforces, we look forward to being part of the solution to deliver the local workforce vision.”
XPLOR
Our last stop on the tour was with Phil Adlam, Head of XPLOR, which is arguably the most elusive department on site – and for good reason. XPLOR represents the research arm of Production Park’s business. During the opening pleasantries with Adlam and asking what he’s been up to, he answered simply: “I’m afraid I can’t tell you.”
Smoke and mirrors aside, TPi was keen to hear the reason for this new branch of the business. “It was in 2010 when developing Production Park, we knew education was going to be a pivotal part of everything we were trying to build.”
This now takes the form of the Academy of Live Technology. However, in 2020 when the Production Park team had a similar conversation about the future, there was one key aspect the group knew would be key to its continued success: research.
“During the conversations, we spoke of how much innovation happened within the
Head of Institution for the Academy of Live Technology, Rachel Nicholson; Studio General Manager, Scott Matthews; Director of Student Support and Experience for the Academy of Live Technology, Emma Cook
live events industry and yet because of the gig economy where people work from show to show, you end up on the project hamster wheel,” Adlam commented. “People solve issues for a project or tour then move onto the next then, in effect, the solution is lost. The goal of XPLOR is to provide a space outside of the hamster wheel where there is an opportunity to think of a solution that could aid the wider industry and perhaps further afield.”
A big part of this branch of the business was the XPLOR Research Community (XRC) whereby companies can buy into this neutral space in order to work on a certain project that they would ordinarily not be able to afford, however with the aid of XPLOR could perhaps start to create a solution that could be shared into the community.
The establishment of XPLOR also opens more opportunities to apply for research funding that as of this time has never really been leveraged by the events community. “There are cases where one singular automative brand will be awarded a grant that far exceeds anything the entire live events community will be awarded,” stated Adlam, emphasising the need to harness the innovations happening within live events.
“T here is a concern that the events community really needs to take control of our IP to avoid a situation where vital tools could be created by a third party and then we are forced to pay for a subscription service. However, investing in research mean we as a community could have better control of shared IP.”
He went on to give an example of the types of solution that the live events sector could
offer the wider world. “TAIT, for example, can track every piece of metal they use in their staging via their internal systems. This is something that would be highly valuable to other companies working in manufacturing. Much of what we do is under the radar and secret,” he continued.
“People don’t know we are here. But what people need to understand is that we are not here to own IP – we’re here to create a one-off environment where you can do something amazing in the live events industry and that’s the reason why it’s so crucial that XPLOR is based here in Production Park, surrounded by people in the live events community.”
Before leaving, TPi headed into Studio Four to see the Virtual Production Studio. Having written about several XR stages between 2020 and 2021, it was interesting to see a studio in the flesh and discover more. While the Virtual Studio had recently been used for a commercial shoot, where the team created a fake kitchen. Off the back of some of the research under the XPLOR moniker, TPi got to witness some of the latest innovations within 3D world creations and the wider implications for industries such as TV and film.
It was yet another example of the confluence of the general ‘entertainment industry’. Production Park has always had the slogan ‘Where Live Industry Lives’ but the ever expanding definition of ‘live’ is certainly clear on the Wakefield site, and no doubt will continue to be an ever-growing centre point for this industry. We look forward to the next 10 years. www.productionpark.co.uk www.academyoflivetechnology.co.uk
Head of Production Services at Production Park
Richard Blair and XPLOR INNOVATOR, Tyler Plamer; Head of XPLOR, Phil Adlam
FOUR YEARS OF FREIGHT MINDS
Modern-day freight forwarding and logistics firm looks to the future, following a successful start to life in the sector...
Photos: Freight Minds
Notwithstanding geopolitical uncertainty, a global pandemic, and rising costs associated with modern-day freight forwarding and logistics, Freight Minds has grown from strength to strength since its formation in 2021. With the live entertainment sector as active as ever, 2024 saw the firm collaborate with the production teams powering Adele, Billie Eilish, David Gilmour, Def Leppard, Jeff Lynne’s ELO, Liam and Noel Gallagher, Sleep Token, and Squeeze’s latest live offerings, among many other projects – spanning multiple industries.
As t he dust settled on a successful calendar year, TPi sat down with Freight Minds’ Matt Wright, a second-generation freight forwarder, to reflect on the origins, evolution, and what the future holds for Freight Minds.
What are the founding principles behind the creation of Freight Minds?
“To offer a credible, viable, and sustainable option to the already established companies in the freighting arena; always being contactable no matter what time of day or night; being pro-active instead of reactive, approachable, and budget-conscious, due to the massively inflated air and sea rates being offered by all the carriers. In addition, flexible to work with very last-minute schedule changes enforced on
tours due to COVID-19 pandemic regulations. Futhermore, to grow organically and not force the growth through borrowing, which only adds a certain weight to our shoulders.
“Key to our operation is offering competitive pricing without the need or desire to undercut competition to the point of doing the tour or move at a loss – this is not in our interest. Fundamentally, we are here to build a long-term future for ourselves as a team and to build the business. It doesn’t take a rocket scientist to work out that doing work at a loss is a surefire way to guarantee it’s not sustainable in the long term, and why should other clients in our roster subsidise that loss? It’s down to us as a business to make sure we control our costs and overheads so that we can remain competitive within this niche sector.”
How has the company evolved in recent years since establishing in 2021?
“When we first started, there were three of us in an office barely big enough for four desks with a 2,000 sq ft warehouse space. Four years later, we have grown to 28 people in London, one operative in Sydney, and 10 in the US, with more people coming on board over the next few months. Since October 2022, a move that we hadn’t planned was ‘fortuitously’ forced upon us. Since then, we have taken on our
Freight Minds’
leadership team of Beverly Aguiling, Andy Lovell, Joseph Pacheco, Matt Wright, and Alan Durrant.
own lease for a 24,500 sq ft warehouse and 3,500 sq ft office space, which has allowed us the organic growth that we set out in our initial plans. Due to the growth we’ve experienced, we are currently in the process of installing an 8,000 sq ft mezzanine, which will be finished and ready to use by the end of January. This will be used for dedicated storage cages.”
What challenges have you faced when providing logistical solutions for touring camps in 2024?
“One of the major issues for the freighting community are the geopolitical situations arising around the world – a prime example being the issues in the Suez Canal, which have led to most shipping lines now avoiding that area, meaning they are now going around the Cape of Good Hope to get to and from Asia and the Middle East. This not only adds precious time to the schedule but also increases costs.
“W ith the stress and strain being put on shipping schedules, the ability to plan ocean moves is proving riskier. Unless there are no deadlines with the shipment, taking a shipping line’s published schedule at face value is an unwise idea. In our opinion, they simply can’t be relied upon based on a single ‘rotation’, so with our clients’ schedules in mind, we always recommend they have a plan B, as there is a
probable chance that plan A will change due to the shipping line’s schedule being delayed.”
What industry-related misnomers would you like to set the record straight on?
“Since we started Freight Minds, there have been a few undertones from some quarters suggesting we don’t have the experience of other well-established freight companies, which is clearly wrong in our opinion. The group of people here in London and the US have all been operating in this increasingly highpressured freight environment for decades. Ultimately, every freight company uses the same international airlines and shipping lines; all with very similar rates. It’s these relationships that we have built over many years throughout our collective careers that really come into play when the going gets tough due to circumstances outside our control. Our client list speaks for itself; if these calibre of production teams didn’t have confidence in us, they wouldn’t trust us with their freight.”
Are you exploring other territories, following recent operations in India and Australia?
“If the client wants to visit a territory, we will go there. We will always find a way for the move to work. Given our decades of working with hundreds of people around the globe, there
is always someone in a territory who knows someone reputable if we don’t directly know someone ourselves.”
How is the touring season shaping up?
“We never like to count our chickens before they have hatched, but if the initial calendar overview for 2025 is anything to go by, it should be another very good year for us. I always get nervous at this time of year, not knowing where the work is coming from for the following year. This is not a new thought process since starting Freight Minds – I’ve always had this feeling, you just never know what’s around the corner, but I guess this is what drives us as a business, by never being complacent. We have a saying in the office: ‘Until the freight is on the dock, it’s not confirmed.’ Even then, we’ve seen shows cancelled when the freight is in the air on the way.”
Given recent successes, are you anticipating further growth and expansion?
“We are in the process of expanding operations in the US and UK through our organic growth. Furthermore, we are looking at key strategic areas to either form partnerships or open wholly owned Freight Minds offices to cater for the growth in those key areas.” www.freightminds.com
TWINCAMPRO INTERNATIONAL
Owned by the Dubai-based company
mediaPro International, TwincamPro is the group’s latest addition to its portfolio and its first European-based business venture. TPi speaks to Group CEO of TwincamPro International, Mikin Shah about the new branch and its future plans.
Words: Stew Hume
Photos: TwincamPro International
Within the pages of our sister publication, TPiMEA, there have been many times over the years when we have covered the story of either a UK or European-based company opening an office in the Middle East – and the frequency of this type of story has only increased in recent years as the Saudi Arabian events market has moved into high gear.
It ’s been much less common for us to cover a story with a Middle Eastern-based company opening a European base. However, this is exactly the circumstance that saw TPi sitting down with mediaPro International’s Mikin Shah to hear about the latest branch of the group,
TwincamPro International. “I’ve been getting this question a lot from others in the industry,” laughed Shah while discussing the less regular scenario of a Middle Eastern audiovisual company setting up a base in the EU. To learn the story, he wound back the clocks to the origin of the decision.
A familiar name within the Middle East, mediaPro International has its head office in Dubai, with operations in Kingdom of Saudi Arabia along with offices in Bahrain, Oman and Qatar since 2018. The company also spreads itself to Singapore, Malaysia, Indonesia and Cambodia. “Europe was one region that was
not acquired by us,” Shah explained. “And with so many companies looking to events in Saudi Arabia – especially from the EU – it made sense for us to open in the region and build relationships with businesses in Europe.”
When Shah and the team decided that Spain would be the company’s entry point into the European market, they deliberately targeted the right market segment. “With our established expertise in audio, visual, and lighting in the Middle East, we were confident in our decision to expand into Europe. In today’s interconnected world, where business and clients are no longer restricted by geographical
MADRID
twincamPro International
Calle Margarita Salas, 6 Parque
Tecnológico Leganés 28919 Madrid +34 91 298 80 50
In just one year, we’ve set the stage for iconic, unforgettable events. From PRIMAVERA SOUND, SONAR FESTIVAL, COCA-COLA MUSIC EXPERIENCE , LA VELADA IV, ROCKFEST, FEID, O GOZO FESTIVAL, THE LOOP MADCOOL, SOUTH SUMMIT, CAMILA CABELLO, BRUNCH BARCELONA , BOILER among many others.
EUROPE | MIDDLE EAST | ASIA es@twincampro.com
BARCELONA
twincamPro International
Avinguda Número 2, 7 Parc Logístic de la Zona Franca 08040 Barcelona +34 93 300 22 88
boundaries, it was essential for us to continue serving our existing clientele while exploring new opportunities across the globe.”
Shah explained that one of the company’s key objectives was to invest into a comprehensive solution in lighting, audio and video equipment. This vision led to the creation of TwinCam Pro International. “A lot of the stock has been a new investment,” Shah stated, proudly showcasing mediaPro’s commitment to European expansion.
Af ter securing the equipment, the next challenge was recruiting the right team in Spain. “Following several months of searching the local market and holding numerous meetings, we successfully onboarded some of the best talent available to handle business operations,” Shah recalled. “Barcelona was selected as the first branch, and within six months, we expanded further by opening a second branch in Madrid. Both cities presented unique market opportunities, and our strategy was to launch them consecutively, capitalising on seasonal trends to maximise our impact.”
In little more than a year, TwincamPro International has already picked up some major Spanish festivals including Primavera Sound, Mad Cool and Sonar Festival. “For Primavera, we picked up lights, sound and video for stages one, two and three while we provided audio for both Sonar and Mad Cool. However, the largest project to date was an event in the Santiago Bernabéu Stadium in Madrid for
over 85,000 people for La Velada IV,” stated Shah. Clearly finding its feet very quickly in the Spanish territory, Shah explained why Spain had proved itself as the natural place for the mediaPro’s expansion. “We did a lot of research before deciding on Spain looking at the market closely,” explained Shah. “With Barcelona being a primary tourist destination, it is a location with an annual influx of people coming in and out of the country and a destination for numerous festivals and corporate events.”
That Barcelona is now the destination of one of the largest AV trade shows – ISE – reinforced the decision for the mediaPro team. “More broadly, the decision to choose Spain was also made due to its culture, which is incredibly welcoming to new investors,” he enthused.
Madrid being the financial capital offered more serious corporate business supported by festivals such as Coca-Cola Music Experience, Fied, O Gozo, Camila Cabello and more.
It was very clear speaking to Shah that TwincamPro’s Barcelona base was only the beginning of the group’s expansion into Europe and already the company has opened a base in Madrid and currently employs 40 people between the two offices.
“We have a clear five-year plan for TwincamPro and looking ahead,” concluded Shah. “The next few years will be very focused on Spain, the venture is too new to be looking at expansion into other European countries yet.” www.twincampro.com
TwincamPro International Group CEO, Mikin Shah
A YEAR IN THE LIFE OF SOLOTECH
From Adele in Munich to Justin Timberlake’s Forget Tomorrow World Tour, Solotech reflects on the company’s busy year and some of the learnings the global rental house is taking into 2025.
Words: Stew Hume
Photos: Stufish Entertainment Architects and Solotech
Hardly an issue of TPi goes by where one of our editorial team has not sat down with one of the many faces of the global Solotech family to discuss a recent project. Take consecutive cover stories such as Justin Timberlake’s The Forget Tomorrow Tour [see TPi #282] and Adele’s record-breaking Live in Munich [see TPi #283], for example, the company has been supplying technical equipment and expertise for some of the most discussed shows of the past 12 months. With 2024 ending, TPi was keen to catch up with the company to hear about this bumper year.
Three key members of the Live Production management team were in attendance at THE Conference: Live at Lititz [p14]. Solotech’s Senior Vice President of Live Productions, Lee Moro; Director of Business Development for the Live Productions Division, Robert Kennedy; and Director of Special Projects, Ian ‘Woody’ Woodall gathered around Rock Lititz’s Per Diem bar to ruminate on an impressive calendar year.
“T here’s been a huge list of achievements,” Kennedy stated to TPi. “We saw a surge coming out of the COVID-19 pandemic when artists were looking to come back on the road, which pushed us as a vendor finding ways to support
them. Between new enquiries and existing clients, it was a real challenge to juggle all commitments.”
However, with the proceeding surge of 2022 and 2023, Kennedy shared the company’s desire to “re-balance the flow” of touring.
“Artists are trying to re-establish their work-life balance, as a lot of them have been on the road for the past few years. As a result, I think we’ll see a reduction of artists out at the same time.”
It ’s a trend that Moro believes is vital, not just for Solotech, but the wider entire entertainment industry. “The pace we’ve been operating at is extraordinary. Although I’m incredibly proud of what we have achieved during this time, we’re seeing a natural shift as the industry adapts. It’s about finding balance and sustainability, both for the artists and the teams that support them.”
The Senior Vice President went on to express how, in previous years, rental houses like Solotech used to benefit from ‘down periods’ where they would be able to sort equipment and consolidate – something which he is hoping will return. “This industry has always been cyclical, and I think we’re starting to see those rhythms return. It’s not about
slowing down; it’s about building longevity for the future.”
A NEW TYPE OF SHOW
Solotech has a well-documented history of working on Las Vegas-style residencies from Cirque du Soleil to other musical performances in the famed entertainment city. Yet in the past few years, the vendor has been involved in other residency-style shows thousands of miles away from the ‘Entertainment Capital of the World’ that are equally worth noting – ABBA Voyage and Adele Live in Munich – both of which pushed the boundaries of video in the live events space.
Having worked on both projects, Woody shared his thoughts: “I think these types of shows bring up interesting points such as sustainability. I appreciate there can be mixed views on this topic as audiences are still having to travel to the show. However, my argument would be that when working on a stadium show, you are still getting same level of audience travel and at least amid these ‘residencies’ you are not moving equipment from show to show.”
He went on to state how he did not see this type of show ‘replacing’ touring but added
Queen Orchestral 3 Arena Dublin
another route when it came to approaching a live show. “Artists also need a chance to recharge,” he noted, adding that the residency setup allows artists to achieve more balance.
Naturally, projects on the scale of ABBA Voyage and Adele Live in Munich require a greater deal of onboarding with the manufacturers involved. The upshot of this relationship is vendors like Solotech can develop a direct line of communication with manufacturers about what they require to facilitate the project and vice-versa.
“Currently, we have more ‘Solotech versions’ of various pieces of hardware than we have ever had, where manufacturers have made slight ‘tweaks’ to software and hardware products for a project,” Woody commented. “A good example of this is a feature developed for Adele in Munich which will now be an element we offer moving forward.”
Moro further commented on the close relationship Solotech shares with various brands in the sector. “We like to collaborate with manufacturers to let them know what we need their products to do, which in turn, gives them such a valuable insight into what the market is asking for.”
On t he topic of manufacturers, Kennedy noted the greater level of choice that is now available in the market – specifically, when it comes to lighting. “Around 15 years ago, there were a few major lighting brands that were
delivering at a professional level, but that next tier down has done a fantastic job in recent years gaining designers’ trust.”
He went on to explain how this market proliferation has affected Solotech’s purchasing choice. “You can never stock everything, and the goal is to have depth of inventory of three to four select brands,” Kennedy said, citing how the other branches of Solotech’s operation provides further flexibility in its purchasing power. “The other half of our business is systems integration, which effectively means that we can move product very quickly.”
He went on to discuss a recurring trend in the live market where a tour might request a “unique type of fixture” that produces a specific effect, explaining that such products often have a short rental lifespan in the touring market. “Essentially, people don’t want to see the same type of look several years later,” he stated. “To overcome this, we can funnel these solutions into different market sectors and geographic territories.”
TURNKEY SOLUTIONS
As one of the live events industry’s largest turnkey providers, TPi was eager to speak to three representatives about the advantage of facilitating multiple departments of a project. “We’ve delivered a 360° offering for a long time – far before video was such a focal point of a
Solotech’s Global Touring Team; Director of Business Development for the Live Productions Division, Robert Kennedy and Senior Vice President of Live Productions, Lee Moro.
live event,” commented Kennedy, expressing the pressure that can come with delivering a turnkey service. “One complaint we often hear from the industry on the topic of 360° providers can be that they are very ‘departmentalised’. You might approach a single salesperson but then that individual must go to all the individual departments separately.”
To combat this, Kennedy spoke of Solotech’s methodology of “leveraging project management departments along with software platforms to effectively disseminate information to our wider team,” ensuring that all verticals work cohesively together. He continued: “We realised long ago that bringing in senior members of the audio, lighting and video teams early on when a client makes an enquiry was key to a successful delivery and ensuring that there is continued conversation after the fact.”
Moro also highlighted the importance of both internal and client communication: “It’s all about what the client is looking for and finding the best solution – which may or may not have us looking after multiple departments on a show,” he stated, listing the advantages a 360° offering Solotech can provide. “Projects gain real efficiencies, from optimising truck space to sharing rigging equipment, all of which help deliver a smoother, more cost-effective result.”
“That all said,” interjected Woody. “We never want to force a 360° package on clients.”
OPEN TO ALL
To close our conversation, the Solotech trio shared how the company is looking to progress in 2025.
“W hen you look at the list of shows we were involved in – including the likes of Adele in Munich, Harry Styles’ Love On Tour [see TPi #276], P!nk’s Summer Carnival World Tour and Taylor Swift’s Eras Tour – if you were a young band or production, you might feel that Solotech might be unattainable, which frankly, is not the case,” emphasised Woody.
“Being involved with some of the biggest names in live events over the past 12 months has encouraged us to become more approachable to all levels.”
Kennedy concurred: “We deal with several acts such as Wilco, who we have serviced for several years,” he commented. “We often have production managers wanting to work with us, while making the point that their artist might not be at stadium level. However, we always want to have those conversations – if we have the right equipment and we’re the right fit, we really want to help.”
Speaking to the trio, it appears that what Solotech brings to the table is far more than just a large inventory of stock. “It’s also the global support, expertise and wealth of knowledge we can bring to any project,” said Moro. “But more than that, it’s the people behind the scenes – our skilled crew, staff, and
creative teams – who make it all possible. Their passion, precision and deep understanding of live production set us apart, as we attempt to ensure every show exceeds expectations.”
Crew welfare is another key priority for Moro. “It’s about ensuring people have the right tools and resources to succeed,” added Woody. Moro elaborated: “One of the greatest improvements we can make as an industry is giving crews more time to prepare for largescale shows. More time allows for better planning, promotes sustainability, and helps control costs. Most importantly, it protects the well-being of the crew. If someone plays a vital role in a show’s success, it’s only fair to give them advance notice about a major project –especially one that could keep them away from home for months.”
To f urther support crew welfare, Solotech provides freelancers access to mental health, first aid courses and Global Health Insurance, offering peace of mind for crew while on the road on tour.
Drawing a line under 2024, it appears 2025 will shape up to be another milestone year for Solotech, which will continue its bid to not only meet and exceed the demands of its clientele but ensure the longevity of the live entertainment sector at large; supporting projects at all levels and futureproofing those behind the scenes. www.solotech.com
Adele in Munich © Stufish
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BREAKTHROUGH TALENT AWARDS
Production Futures celebrates a year of ON TOUR events by crowning the latest Breakthrough Talent Award winners...
The final Production Futures ON TOUR event of 2024 took place at Production Park in Wakefield on 27 November. Some 53 companies were on hand to interact with those looking to take their first steps in the production industry as well as up-and-comers. ON TOUR provided a space to network, hands-on training as well as employment opportunities in live entertainment, brand activation, theatre, installation, audiovisual, broadcast and film production industries.
A selection of the key industry players from the dynamic world of live entertainment
in attendance included KB Event, Robe, Neg Earth Lights, Disguise, Martin Audio, CHAUVET Professional, Black Lives in Music, among several others.
Additionally, the latest rendition of the Breakthrough Talent Awards saw winners crowned across 21 categories, reflecting the wide diversity of opportunities within the wider production sector.
Following the success of the event, Production Futures Chief Executive, Hannah Eakins, highlighted how the award category sponsors provided winners with prizes and valuable industry experience.
She commented: “Everyone involved loves the concept of the Breakthrough Talent Awards because the recipients receive something far more valuable than a trophy for the shelf! The reward of being granted direct access to these world-leading businesses means so much more in practical terms. In addition, Breakthrough Talent Awards’ individual categories are sponsored by multiple companies, breaking with the tradition of one award, one sponsor.”
Eakins added: “This new format enabled award winners to access an even wider range of industry contacts and training opportunities
at a vital early stage in their careers. We believe that this approach is of huge benefit not only to the award winners but also to the several sponsors whose shared visibility and promotional reach is enhanced.”
The TPi Awards 2025 shortlist was released days after the Production Park event, which revealed five previous Breakthrough Talent Awards recipients among those on the 2025 TPi Awards shortlist, which celebrates the brightest and the best the sector has to offer. “Breakthrough Talent Awards took on even
greater significance this year when five previous Breakthrough winners were nominated for the TPi Awards, something which demonstrates not only the value of investing in and trusting up-and-coming young talent, but the fact that the Production Futures mission is demonstrably achieving its aims,” Eakins said. “We’re very proud of our Breakthrough winners, past and present, and congratulate Abby Shum, James Coghlan, Morgan Evans, Oli Crump and Subul Lodi on their TPi Awards nominations.” www.productionfutures.com
The Breakthrough Talent Awards’ class of 2024 at Wakefield’s Production Park.
ADAMSON WELCOMES VGS TO THE VERGENCE GROUP
Adamson’s Pieter van Hoogdalem details the advantages of the second addition to the company’s Vergence group.
Built on the foundation of its E-Series E119 subwoofer, Adamson’s custom designed, and in-house manufactured VGs subwoofer boasts a single channel 6kW Class-D Amplifier with on-board DSP. TPi goes under the hood to find out more.
What were some of the goals of the VGs?
“VGs is the second product release in the Vergence Group. As such, this powered subwoofer is the perfect companion for our line-array speaker VGt.”
Where does the VGs fit into Vergence group?
“Like the VGt, the VGs is self-powered and has redundant and daisy-chainable AVB/ Milan connectivity allowing the full rig to be controlled by Adamson’s software ArrayIntelligence.”
Which features will excite audio engineers?
“Our single 19-inch speaker delivers a whopping 139 dB Max SPL with a frequency range of 29Hz to 100Hz. The etherCON connectors provide passive continuity when powerless. The entire speaker also only weighs a mere 72.5 kg.”
“Current owners of the E119 passive sub can easily upgrade their gear with the VGs Upgrade Kit, lowering the threshold for current Adamson users to go fully powered and digitally connected with Array Intelligence.”
How has VGs been developed to serve the live entertainment and rental market?
“VGs is lightweight, can be flown or stacked and its integrated rigging ensures efficient truck packing. It saves a ton of ground-stacked equipment such as amp racks and makes cabling more efficient and easier.”
When can users take stock of VGs?
“Orders for the VGs and the upgrade kit are being taken now, but we expect to see these new products shipping in the first quarter of this year.”
Where can we expect to see the new subwoofer in the future?
“The new subwoofer will be presented at NAMM Show, Integrated Systems Europe and Infocomm as well as regional demos around the globe this year.” www.adamson.ai
Words: Pieter van Hoogdalem
Photos: Adamson Systems Engineering
Pieter van Hoogdalem, Business Development Strategist at Adamson Systems Engineering
enablesustainablegrowth,whilealsostrengtheningourcommitmenttotalentandinnovationinthe audiovisualsector,"saysPedroMagalhães,CEOofEuropalco
HIVE NUCLEUS
Mark Calvert, Management Lead and Founder, lifts the lid on HIVE’s new ‘greener, robust and affordable’ media control system chassis.
Words: Mark Calvert
Photo: HIVE
What inspired the creation of the Nucleus?
“The inspiration for the Nucleus came from listening to the industry and designing a product that fits both fixed installations and live entertainment.”
How does the compact 1U chassis balance durability and performance for touring environments, and why was machined aluminium chosen?
“Beeblade products are among the smallest high-performing media engines in the market. Their size enables very powerful audiovisual playback, mapping and show control to be easily toured and installed, providing customers with a significant advantage compared to much bulkier and heavier competitor products. The other reason we work with aluminium because it is fully recyclable.”
How does the modular Beeblade system enhance flexibility and performance, and how does it integrate with other equipment in live event setups?
“Our Beeblade product uses the SDM typology – enabling it to fit inside display technologies such as video projectors and displays. This provides end users and customers with clear advantages including ease of use, elimination of video signal distribution requirements, zero additional footprint on-site for control rooms, low power consumption and minimal shipping costs. These factors also lower the cost of purchase, shipping, installation and maintenance for customers and end users. In addition, the modular Beeblade system prides itself on ease of use – enabling a larger global audiovisual workforce to learn and operate all of our equipment.”
How has feedback influenced the Nucleus’ design to ensure reliability in demanding environments like live tours and festivals?
“We listened to our friends in the touring and fixed installation markets, such as 4Wall Entertainment, Creative Technology, PRG, Electrosonic, TDC, Zeal, and many others, to determine what they needed from our products. Based on this feedback, we designed the Nucleus to suit their needs.”
How does the Nucleus handle the physical challenges of touring, including heat dissipation and ease of setup in tight spaces?
“The Nucleus is built for touring. Its chassis is rugged, it has ample fans for heat dissipation, and, like all our products, it features a plug-andplay design for ease of use.”
www.hive.run
THE SHOW WILL GO ON
Vision 2025 reaches 75% of its funding goal for the 2030 Outdoor Event Sector’s Climate Transition Plan campaign.
The £100K Funding Campaign for 2030 Outdoor Event Sector’s Climate Transition Plan has hit 75% of its target. Wide support from across the sector has secured production of the Show Must Go On Sector transition plan, which strives to set ambitious climate plans for the festival and live outdoor events industry.
“T he working group is delighted by the widespread support from an industry struggling against the economic backdrop in 2024. This is an acknowledgement that now is the time to show leadership and ambition in taking action, meeting the urgent challenge of climate breakdown, and coming together as an industry to chart a clear path,” stated Chris Johnson, Vision 2025 Chair.
Vision 2025 is working with the Association of Independent Festivals (AIF) and other industry organisations to raise the final 25% to reach the £100K target. The remaining funds will underpin the promotion and distribution of the Show Must Go On transition plan, and engagement with the government to secure support for the sector.
The proposed £75K target was a minimum viable budget to enable cross-industry working groups including A Greener Future, Association for Independent Festivals, Betternotstop, Cheltenham Festivals, Festival Republic, Hope Solutions, Julie’s Bicycle, chaired by LIVE CEO Jon Collins, to work with the industry through consultation, significant research, data analysis and with experts, to build a clear and bold 2030 climate vision for the sector, creating an
evidence base for action, and advocacy for government support on policy and funding. The funds will also support the development of clear industry approaches, standards and alignment on carbon reporting and best practices, benefiting everyone to prepare for future regulatory changes.
Specialists in their fields are collaborating with Vision 2025 to review data and information, establish benchmarks, consider trends and opportunities, engage with industry, and shape a vision for 2030. An important element of the work is to develop evidenced requests to the UK Government for policy change and sector funding to unlock potential. The work will build on important recent research in the sector such as The Super Low Carbon Music Report by Act 1.5 Presents... and the Tyndall Centre for Climate Change Research supported by Massive Attack, the More Than Music Report, produced by Betternotstop, assessment data from A Greener Future, and new data collected in 2024.
Vision 2025 has secured £50K in grants from Earth Percent, Events Industry Forum and Arts Council England, with the aim to match the amount raised from the industry.
Promoters supporting the project so far include, Festival Republic, AEG Presents, Boomtown, Kilimanjaro Live, Shambala, From the Fields and DHP Family. In addition, industry bodies such as NCASS and other suppliers across the chain are also contributing. www.vision2025.org.uk
Vision 2025 Chair, Chris Johnson
Photo: Vision 2025
THE UNTAPPED GOLDMINE
Founder and CEO of bootleg.live, Rod Yancy highlights how artists and labels overlook the value of live recordings…
Words: Rod Yancy
Photo: bootleg.live
In the age of streaming, live performances remain one of the most powerful ways for artists to connect with their audiences. A live show isn’t just music — it’s an experience, filled with the energy of the crowd and the spontaneity of the moment. Yet most artists treat live shows as one-and-done events, overlooking the lasting value that can be created by capturing and memorialising emotions for fans.
Jam bands have understood this value for decades, encouraging fans to record and share their performances. While this built a devoted fanbase, it also normalised the idea of giving away live recordings for free.
Today, when many artists rely on touring and merchandise to make up for streaming’s razor-thin margins, it’s time to think about how artists can maximise the impact of their live performances by doing what has long seemed impossible: monetising bootlegs.
Today, technology makes this possible. It allows for high-quality recording, rapid distribution, and yes, selling live recordings.
Ar tists, managers, and labels of all types can profit, but they must shift out of the old
paradigm and embrace the future. They need to understand how much fans value recordings of the concerts they attend. Fans want to remember the unique banter between songs, the noise of the crowd, the varying setlists, and even minor imperfections that make each performance special and collectible.
These elements transcend genre and hold as much value for fans of country, indie rock, and electronic as they do for fans of jam bands. Most venues already have the technology to capture high-quality audio, and many engineers record shows as a precaution.
The infrastructure is there — it just needs a platform to allow it to be fully utilised for the benefit of all parties involved. Meanwhile, fans are already demonstrating their demand for this. How many times have you seen someone holding up a phone to record a concert?
They’re desperate to preserve the memory, even if the result is shaky video and distorted audio. Imagine giving them the option to buy a polished version of the same experience – one that supports the artist directly.
Offering live recordings at the merch table and online taps into nostalgia and exclusivity
while fostering fan loyalty. The music industry has historically undervalued live recordings, but they represent an untapped goldmine. Major artists may occasionally release live albums, but even more potential lies with small to midtier musicians monetising these recordings to grow their fan bases. For emerging artists, this can be particularly powerful.
Earlier this year, Chappell Roan played to 1,700 fans at the legendary Cain’s Ballroom in my hometown Tulsa just months before performing for 100,000 people at Lollapalooza. Imagine how many fans would pay for a highquality recording of that intimate show — not to mention the rest of her epic 2024 festival run.
The music industry has historically overlooked live recordings as a viable business model, but it’s time to wake up. By capturing and distributing these moments, artists transform the ephemeral magic of live shows into enduring works of art — offering fans something truly unique while creating an entirely new revenue stream.
It ’s a win-win, and it’s time to start tapping into this goldmine.
www.bootleg.live
Ian knows live event technology. He knows his products & customers and sees & creates the future.
We work with world-leading Audio, Video and Lighting brands and suppliers to help find top talent for their business and engineering teams in the UK, EMEA, North America and APAC.
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PSA REVEALS 2025 BURSARY AND MEMBER BENEFITS
Newly appointed Co-Chairs of the Production Services Association (PSA), Liz Madden and Tom Rees discuss some of the changes at the trade association and outline their plans for the year.
Words:
Liz Madden and Tom Rees
Photo: PSA
As we hit 2025, it’s been great to reflect on our first six months as Co-Chairs. One of our first missions was to ask members what they wanted more of from their organisation.
The top request was access to more training opportunities. In answer to this we’ve set up a training bursary scheme, which was launched on 6 January and, as well as encouraging members to expand their skills, we can even support them with some of the course costs.
It is a simple application process, and we are grateful to Precision Broking and AXA Insurance for supporting this scheme. Emails are now going out to all members with details on how to apply.
We’ve also been setting up a training page on the PSA website, sharing some of the many training opportunities available, including some provided by our own amazing company members. Any event industry organisations who want to increase exposure of their courses through the PSA, are encouraged to get in touch. Offering great member benefits
is also a priority. As Co-Chairs focussed on strengthening the PSA’s purpose, we’ve been significantly updating our internal processes and communications. As a result, we already see a substantial increase in benefits take-up.
This includes use of our business support and legal helpline plus our PSAdditions membership discounts scheme, which provides a wide range of personal purchase savings including the most popular choice currently - gym membership discounts.
While our core focus is on member support, the PSA continue to provide a strong representative voice within several industry groups, trade organisations, government liaison and working parties, including our support of LIVE and UK Events.
We are heavily engaged with our peers across the industry, campaigning on many important live event initiatives, including initiatives to save our grassroots venues, for reduced business rates, lower VAT on tickets and to make touring and logistics
easier across Europe and the rest of the world. Our collaboration with Production Futures continues with the next event at The Roundhouse on 4 March. Together with the other industry partners, we continue to promote opportunities available to young people and those looking to make their first strides in the production industry.
From apprenticeships to paid work experience, part time to full time opportunities, there is really something there for everyone –from being inspired to finding a new role.
Finally, we have our AGM coming up on 24 February and hope to see as many members there as possible. There is also an opportunity to join us online, if members can’t make it down to London.
If you are not a member, come and join our community and play your part in making our industry a better place to work and develop professionally.
Wishing you a successful 2025! www.psa.org.uk
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START 2025 WITH NAMM
John Mlynczak, National Association of Music Merchants (NAMM) President and CEO, explains why the annual gathering of production professionals is the ideal start to the year...
Words: John Mlynczak
Photo: NAMM
At NAMM, we know that we cannot represent the music industry without representing the stage itself. This is why we have focussed on ensuring the global production industry is catered to for well over a decade.
In any given year, The NAMM Show represents where the industry is going. It’s our job to create opportunities at each show that allow the industry to be successful in the year ahead. We see which areas companies are investing in, and then we create a platform for that sector to show what is possible.
We are seeing opportunities in the market for innovation in live sound and touring technology. People want the highest quality at the lowest weight because of the associated cost increases with trucking equipment from
gig to gig. There is also a push for safer rigging systems. As a result of these trends, we are seeing a lot more companies showing the innovation that is driving their technology.
One of the other aspects we have seen in the live industry is the increased pressure professionals are facing to create a perfect listening space. Increasingly, audiences are demanding flawless audio environments in venues that were never designed for live music.
Meeting those needs is another factor driving innovation in the industry, and that is one of the reasons why the pro audio halls in ACC North are once again packed with the biggest names in live events.
Of course, The NAMM Show is a platform for our member companies. We know the
innovative work they have been doing, and we want everyone to be able to experience it, too. To help with this, the 2025 NAMM Show has more demo space than ever before.
In fact, we recently sold every demo room and have created more space to accommodate this surge of innovation. We know that professionals want the opportunity to hear what equipment can do and get hands on with everything, so we have presented that opportunity to our exhibitors — and they have really taken it on.
As a result, the Anaheim Convention Center will be three floors entirely dedicated to brand experiences. This will give us three days of non-stop activity for our exhibitors to join the two solid days of educational opportunities and events before the exhibits open.
We understand that NAMM has a unique position in January that serves as the kick off to the year for the entire industry. We have worked to get back to this window since the pandemic and we will remain in January now for the foreseeable future. We know that a lot of the conversations that people have at The NAMM Show will help to shape the strategy they are taking for the year, and we will always do our best to tweak the show to provide every opportunity to do this.
I would like to invite the whole global production industry to come and join us in Southern California from 21 to 25 January. You are vital to everything we do, and we want NAMM to provide you with the best possible start to the year.
www.namm.org/thenammshow/attend
OLA MELZIG
PRODUCTION MANAGER
M&M PRODUCTION MANAGEMENT
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MIKE BLACKMAN
The Managing Director of Integrated Systems Europe (ISE) previews what lies ahead for 2025…
What can we expect at ISE 2025?
“We have made several strategic changes to the layout of the halls to enhance the attendee experience and streamline the flow of traffic. One of the most significant changes is the relocation of the Lighting & Staging Hall to create a more cohesive and logical arrangement of the halls – aligning related technologies and solutions closer together. By relocating the Lighting & Staging Zone to Hall 6, we can better integrate it with other complementary sectors such as the Audio Zone in Hall 7, AV Broadcast & Digital Signage Zones in Hall 4 and it is closer to the Audio Demo Rooms in Hall 8, and the new Hall 8.1 – creating a more intuitive experience for attendees. Additionally, the new location offers expanded space, allowing us to accommodate more exhibitors and showcase a broader range of innovations within the industry. This move also provides an opportunity to introduce the all-new Live Events Stage.”
How will the Live Events Stage contribute to the tradeshow experience?
“The Live Events Stage will bring an element of real-time interaction and engagement, offering attendees the chance to witness cuttingedge technologies in action. The programme features industry discussions and thought leadership sessions, providing valuable insights and knowledge sharing opportunities. It will be a vibrant space where professionals from various sectors can come together to explore the possibilities of live event technology and discover new ways to enhance their own projects and productions.”
What other new elements can ISE 2025 attendees expect?
“ISE 2025 is set to debut a range of exciting new features aimed at enhancing the attendee
“The Live Events Stage will bring an element of realtime interaction and engagement, offering attendees the chance to witness cutting-edge technologies in action.”
Mike Blackman, Managing Director of Integrated Systems Europe
experience and offering valuable insights into the latest industry trends.
“A longside the Live Events Stage, we’re thrilled to introduce the Innovation Park – a dedicated space in Congress Square designed to support and amplify the efforts of startups and emerging businesses; an expanded Content Programme, curated by AVIXA, CEDIA and ISE as well as flexible ticketing options, including the new Content Day Pass, providing access to ISE Summits and Track Sessions at no extra cost.
“In line with ISE’s enhanced focus on innovation, startups, and entrepreneurship, ISE 2025 will host its first-ever Hackathon. Over two days at Fira de Barcelona, teams of students will collaborate to tackle three realworld challenges in sustainability, innovation, and cybersecurity – working alongside professionals from education and other industries, fostering a unique environment for learning and problem-solving.”
What are you most looking forward to?
“I am most looking forward to seeing the interactions and connections that take place at ISE 2025. There is a unique energy that comes from bringing together so many passionate professionals from around the world. Witnessing the exchange of ideas, the forging of new partnerships, and the collective enthusiasm for innovation is truly inspiring. I am also excited about the new features and changes we have implemented for ISE 2025. The Live Events Stage promises to be a highlight, offering dynamic and immersive experiences that will captivate our attendees. Ultimately, ISE 2025 represents an opportunity to celebrate the advancements and achievements within our field, and I am honoured to be a part of it. I look forward to welcoming our exhibitors, attendees, and speakers to Barcelona, and to another successful and groundbreaking edition of ISE.” www.iseurope.org
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