The hugely popular Filipino indie-folk act headline Coca-Cola Arena for the first time
DefectedDubai
Defected Records takes over Dubai’s Soul Beach for a nonstop, three-day rave
World Combat Games
The world’s top martial artists witness an Opening Ceremony that celebrates the culture of KSA
Shelley Frost
The Fridge’s Founder and Director gives an exclusive, in-depthinterview
Duncan Riley
‘It’s all about the people’ for the man behind South African institution, DWR Distribution
Enrique Iglesias
The Latin pop sensation makes his debut at Dubai’s Coca-Cola Arena
Martin Garrix
The superstar DJ plays to a capacity crowd in a purpose-built venue at Atlantis The Palm
TPiMEA at 50
A selection of industry leaders celebrate our special milestone
Welcome to TPiMEA
Peter Iantorno Editorial Director
Welcome to the 50th issue of TPiMEA! Working on this special edition has given me plenty of opportunity to look back over our previous 49 issues, and what jumps out is that while many event IPs and companies have come and gone over the years, the one constant – the driving force behind the industry – is the people. The region has seen some extraordinary events with world-leading levels of production over the past decade, and none of that would have been possible without the incredible talents of those pulling the strings behind the scenes.
In c elebration of our 50th issue, we spoke to a few of the people who have been there since issue #1 (and for a long time before that, in some cases), reflecting on their personal highlights and getting their take on how the industry might look by the time we reach 100 issues. The list of contributors to this article is far from exhaustive – we could have filled an entire magazine with this feature – but I would like to thank everyone who has contributed to TPiMEA in some way, shape, or form over the past 50 issues.
Se rendipitously, the First Look interview for our 50th edition happens to be a man who celebrated his 50th birthday earlier this year, Managing Director of DWR Distribution, Duncan Riley. Fittingly for this especially people-focussed issue, DWR is a company built entirely around the motto ‘It’s all about the people’ – a fact that became immediately apparent when Duncan and the wider DWR family cleared their calendars to show me around Johannesburg during my first ever trip to South Africa last month. As well as taking me on a safari, sharing some incredible steak dinners, and providing introductions to some of the country’s leading industry figures (many of whom will no doubt be appearing in future issues of TPiMEA), Duncan also took the time to sit down and share his fascinating story (page 10).
Also in this issue, we hear from the Protec team about their delivery for Martin Garrix’s Atlantis Live show (page 36); we chat to the team behind Aegis Festival, which provided a sanctuary for the people of Batroun, Lebanon (page 44); we check out Creative Technology’s CONNECTME24 event showcasing their new Dubai facility (page 20), and lots, lots more.
Enjoy the issue.
www.tpimeamagazine.com
First Look
10 Duncan Riley
Fresh from celebrating his 50th birthday with the company’s first-ever mini expo, DWR Distribution’s Duncan Riley shares his story with TPiMEA…
Event Focus
20 CONNECTME24
CTME welcomes the industry to its new state-of-theart Dubai facility.
24 Enrique Iglesias
Clair UAE and Sound Image facilitate the Spanish singer-songwriter’s debut at Coca-Cola Arena.
28 Onyx Arena
MDLBEAST opens Saudi Arabia’s hottest new venue with a bang, with lively Jeddah audiences treated to epic performances hosted over three consecutive weekends in August.
32 5th World Nomad Games
The audience at the Astana Arena, Kazakhstan, are transformed into a giant LED screen.
Production Profile
36 Atlantis Live: Martin Garrix
The popular concert series makes its return, as the Dutch DJ plays to a capacity crowd in a purpose-built venue at Dubai’s Atlantis The Palm.
44 Aegis Festival
A sanctuary and an opportunity for self-discovery through music for the people of Batroun, Lebanon.
50 50th Issue Special
As TPiMEA reaches half a century of issues, we hear from some of the companies and individuals who have been there from the start.
Interview
72 Live Nation: Making its mark at Maraya
Live Nation Arabia President, James Craven, discusses the company's latest venue deal.
74 Robert Hayden, TM
Tales from the road with James Blunt's TM.
76 Feedback
Flash Art proves that fireworks can be eco-friendly; and Valerie Gard partners with Sennheiser and The Fridge to empower women in the industry.
In Profile
82 Rock-it Cargo Middle East
The company launches its regional presence.
84 The Event Verse
The tech-focussed events company born in KSA.
86 Gear Heads
ShowTex Middle East reveals all; and MEGA lite discusses its new mirrored fixture, M-Sphere.
Fresh from celebrating his 50th birthday with the company’s first-ever mini expo, DWR Distribution’s Duncan Riley shares his story with TPiMEA…
Company slogans don’t always align with the values of an organisation or the people behind it, but in the case of DWR Distribution, the company’s motto, ‘It’s all about the people’, resonates from top to bottom. This people-first ethos that values relationships above all else is driven by the company’s founder, Duncan Riley – a man who embodies the slogan in everything he does.
TPiMEA got to witness the extraordinary generosity of Riley first hand recently during a trip to Johannesburg, where we were introduced to the great and good of the South African events and entertainment industry, with Riley and the wider DWR family clearing their calendars to play tour guide for the week.
In b etween safari trips, steak dinners, and introductions to some of the country’s leading industry figures, we sat down for an in-depth conversation, charting Riley’s long and successful career to date, hearing about the highs and lows, and finding out how he stuck to his morals to grow DWR into the powerful force for good that it has become today.
How did you get into the industry?
My dad was in the theatre side of the industry for Strand Lighting in early days back when the brand was called Rank Strand. I was taken to the theatre a lot as a child, and we would always get the chance to go behind the scenes and meet the backstage crew, which was a great early introduction to the industry. I always loved the technical side of the industry, so after studying a degree in electronics, I got a job working with my dad as a technician, shadowing him when he was called out to installations or repair jobs. In 1994, I joined Calite, which is where I really started my career in the market. After a short stint at a local TV studio working as a technician on a soapy called Egoli, I returned
to Calite, and it was around that time that I first met Gavin Olivier, who was working for Electrosonic. Around 1998, Gavin invited me to join him at Electrosonic, which I did, and it turned out to be one of the best decisions I made in my career so far.
How did you come to start DWR Distribution?
I spent around eight years at Electrosonic, becoming a director and a shareholder in the company. In that time Martin had started producing some amazing products like the MAC 2000 range, and we helped to grow the Martin brand into something very special. Business was great, but eventually both Gavin and I decided that we wanted to start doing things our own way.
So, in 2004 Gavin took the plunge and started his own company called Digital Fabric, which is still thriving today. It took me a little longer, but by 2006, I had also resigned, launching DWR in May that year. With a young family to provide for, it was a huge risk to leave a good stable job with a decent salary to start on my own, but thankfully, I can look back now and say it was a risk worth taking.
What were the early days of DWR Distribution like?
DWR’s first employee was my wife, Sherryn. She has always been there for me and has backed me all the way since. Right from the start, we needed a technical support person. Enter, Nick Britz, who was instrumental in the growth, training and leadership of DWR. We started in the garage of our house. We took out the cars, put in shelving for a workshop and had a little storage area. We wouldn’t say ‘no’ to anything. Our first job was a 4D theatre for Gavin and all we did was the cabling and infrastructure. I miss those days sometimes. Building anything from the ground up is always
difficult, but the good relationships I had formed in the industry over the previous decade certainly helped us get the company off the ground.
Ou r first two suppliers were Robe and Avolites. The Robe deal came about after Mike Jones of MJ Lighting, who was a pillar of support to me during this transition, introduced me to Harry von den Stemmen from Robe. After a chat with Harry, I borrowed R50,000 and got myself onto a flight to the Czech Republic to meet Josef Valchar [CEO, Robe] at the factory, which was tiny at the time. Josef was humble and welcomed me. He trusted a three-person company and knew we could do something together. On the way back to South Africa via the UK, I called in on Koy Neminathan, who was with Avolites at the time. Koy and Steve Warren [Business Development Director, Avolites] were so welcoming and we did a deal to represent them.
How did the company grow from there?
As Robe and Avolites took off in the country and the business started rolling in, we eventually outgrew the garage and moved into an office in Strijdom Park, and the DWR brand grew from there.
The more business we did, the more companies started to approach us, and it was a snowball effect. MA Lighting came next. Gearhouse South Africa had just invested into the grandMA platform but there was no local representation in the market. Gearhouse approached us and introduced us to the MA Lighting team. The rest is history... MA is the industry standard in South Africa today.
My b rother, Bruce, who was a freelancer at the time, joined us, and then Robert Izzett, who I’d worked with at
Electrosonic, came to join us, too. Bruce and Robert today are my partners and shareholders in the business. Nick Britz, who was also a partner, decided to pursue a career in the United Kingdom.
I be lieve strongly that this is a people-based business; we came up with the slogan, ‘it’s all about the people’ right from the start, and we have based our business around it ever since. Everyone inside DWR is handpicked because they not only have the right skills and experience, but they are the right kind of people who have inbuilt values and personal traits that cannot be taught. It’s great to have the best products, but without the right people to build relationships and support, there would be no DWR.
How do you maintain the people-first ethos as the business grows?
It gets harder the bigger you get. We’re at 85 staff now with offices in Durban and Cape Town, which are slick operations run by great people, as well as our Johannesburg headquarters. Our staff are our lifeblood, but the larger the company grows, the greater the chance becomes of dropping the ball somewhere along the way.
Th e key thing for us is when things go wrong, it’s not about fighting over what happened or whose fault it is, it’s about fixing the problem and maintaining the confidence of our clients. I believe that relationships are defined by how you react when things go wrong. If you’re faced with a really bad situation and you deal with it in a positive way, it can bring you closer to your client.
Re lationships are important and we have fantastic relationships with some of the top lighting, audio and video
designers around. People who started as customers have become my friends, and I love to spend time with some of the wonderful people who make this industry great along with their families.
What led to you expand into audio?
We were a lighting-only company until around 2016 when Ian Staddon was looking for a new South African distribution partner for DiGiCo. After many of his end clients recommended us, he got in touch to see if we would be interested in taking them on. I could see the opportunity immediately, but we weren’t geared to cater to an audio brand back then, so it was important that we were able to hire the right staff who could provide the same level of support that we offered to the lighting brands. Thankfully, Kyle Robson, who is passionate about DiGiCo, agreed to come in and fulfil that role, and we haven’t looked back.
L-Acoustics, overseen by Richard Smith, came next, and that has been a wonderful relationship from day one. Once we had those two brands, more soon followed and we scaled up our audio department accordingly. All our sales teams are masters of their trade with extensive industry experience, which means they can talk to end users directly and understand them on their level.
How do you keep all the brands happy?
It’s about being open with all the brands and not doing anything behind anyone’s back. We’ve now grown to 55 brands in our portfolio across lighting, LED display, projection, audio, trussing, and SI products to the corporate market, but we never collect brands for the sake of it.
We always try to market every brand properly, and that’s where hiring the right people who are passionate about the brands is so important. I’m a big believer in trusting the right people to get on with what they are good at, and I know that our clients are being looked after and getting the best advice from our team.
What have been your biggest challenges?
The COVID-19 pandemic was easily our biggest challenge. We were badly affected here in South Africa, with extremely strict and long-lasting lockdowns and next to no government support for companies or individuals. The whole company were on massively reduced salaries, and ultimately, we were faced with no choice but to retrench 27 staff to save the company. Even though all those people were paid out in full and most of the 27 are now back with the company, it was the hardest thing that I have ever had to do and something I don’t think I’ll ever be able to deal with.
Tell us about the SOS Charity…
When visiting South Africa back in 2016, Ian Staddon of DiGiCo made our team aware of a charity that operates in England, which was established to assist individuals working in the entertainment industry during difficult times. The charity was not designed to pay out massive amounts or play the role of insurer, but rather to enable humble gestures that provide immediate relief for industry people in their hour of need. As soon as we heard about this, it was immediately clear that an organisation of this nature was needed desperately in South Africa, and the SOS Charity was born.
Th ere are regular fundraising initiatives, including our annual event where we invite the entire industry to come together, set aside any differences they have, and unite to raise money for the cause. The charity does some amazing work that helps so many people who need it most.
How important is training to DWR?
Training is a hugely important part of what we do. Our product training is big for us, but we also put on generic training such as sound and lighting design, which is brand agnostic. It’s the best investment we can make. One thing that is vital for us is to make our training accessible to a wide
“The market in South Africa has grown significantly since the pandemic and the country in general is also improving. I’ve travelled a lot and there’s something about the warmth and genuineness of people here that is special and worth fighting for…”
Duncan Riley, DWR Distribution
demographic, and we do that by offering sessions at hugely discounted rates – for example, around R250 ($15) instead of R2,500 ($150) per day. This includes lunch, training material and a T-shirt.
With the history of South Africa, there are many people who haven’t had the same start in life that we have had, so we want to do what we can to help them get trained. Whether it’s Vectorworks, MA Lighting, L-Acoustics or any of our other brands, the people who complete the courses leave with new skills and a certificate backed by the brand, which is massively helpful to their prospects within the industry. It not only helps the progress of individuals, but it also raises the standard of the industry here in general, which can only be a good thing.
How much of a focus do you place on building the industry in South Africa?
The market in South Africa has grown significantly since the pandemic and the country in general is also improving. I’ve travelled a lot and there’s something about the warmth and genuineness of people here that is special and worth fighting for. We use the company as a vehicle to grow individuals, which will raise the standard of the industry.
It ’s an honour to see someone start from the bottom and rise through the ranks to a position that pays five times what their starting salary was. A great example is Phumi Mncube, who joined us in 2008 as a housekeeper and has since been through numerous courses, first becoming a receptionist before being promoted again to Workshop
Administrator. As a result, she has been able to put her daughter through university, buy a house, and she recently bought her first car. DWR has been genuinely life-changing for her.
Th ere’s always the risk that you invest into training a person and they could move on at the end of it, but it’s a risk worth taking, and we must accept that if a person decides to move on, at least we have been part of their growth.
Tell us about your 50th birthday party…
We had a big party 10 years ago for my 40th, with 300 or so people from all over the industry coming together, so, I thought why not do the same again for my 50th but even bigger? We had the idea of putting on our own mini tradeshow, inviting all our international brands to exhibit for two days, before a big Back to the Future -themed party on the final evening.
We weren’t sure what the take up would be, so we sent out some feelers to see who would be up for it, and the reaction blew us away.
Exhibitors included: Barco, ChainMaster, DiGiCo, Doughty Engineering, DSpecialists, FENIX Stage, L-Acoustics, Layher, MA Lighting, Neutrik Group, Prolyte, Quest Engineering, RCF, Robe Lighting, Sennheiser Electronic SA, Sharp NEC, Theatrixx, RAM Mountaineering, Special Industrial Supplies, and Visual Productions.
We had just under 500 people there – many of whom hadn’t seen each other for years – so to bring everyone together was better than I could ever have imagined.
What do you do in your downtime?
I do a lot of long-distance trail running. I train six days a week from 4.30am in the morning, which can get intense but it’s something that I enjoy and a nice way to escape the hectic nature of the industry, temporarily at least.
Apart from that, my weekends are hallowed, and I try to spend as much of them as possible with Sherryn and our two children. Family is what life is all about, and they are everything to me.
What are your ambitions for DWR?
One ambition that I have for the company is to increase our business in the continent of Africa. Doing business outside of South Africa can be challenging at times, but there is certainly plenty of potential for growth – and not only from our immediately surrounding countries, but also as far north as Nigeria. We’re doing well at it already, but there is still room for improvement there.
Apart from that, I don’t want to change too much. We have great products, but our biggest asset is our people and our relationships.
Competition is increasing, which pushes us to up our game. We have lost our fair share of important deals in the past, but it never affects our relationship with the client.
Th ere are many great products out there, but it’s all about the service, support, and genuine relationships between people. It really is ‘all about the people’.
Photos: Chris Duys, DWR Distribution www.dwrdistribution.co.za
Adamson Systems Engineering proudly announces its 40th anniversary, celebrating four decades of ground-breaking advancements in sound reinforcement. Founded by Brock Adamson, the company has consistently redefined audio technology, establishing itself as a leader in the industry with numerous patents and iconic products. From the legendary MH225 to the latest VGt Line Array system, Adamson's commitment to quality and performance has made its loudspeakers the trusted choice for top touring engineers and prestigious venues worldwide
The company’s dedication to in-house manufacturing ensures that every component meets the highest standards of performance and durability. As part of its ongoing evolution, Adamson has invested in advanced manufacturing technologies, including a new $4 million electronics facility, enhancing production capacity to meet growing demand. With a legacy built on passion and innovation, Adamson Systems Engineering is excited to continue shaping the future of audio technology, reinforcing its commitment to excellence as it embarks on the next chapter of its journey.
CONNECTME24
CTME welcomes the industry to its new state-of-the-art Dubai facility with an innovative event that shows off groundbreaking technology and the talented team of professionals who make the magic happen. TPiMEA is on site to see what all the fuss is about…
Here at TPiMEA, we’ve walked around more than our fair share of dusty warehouses over the years, and while it’s always a privilege to be allowed access to the innerworkings of any organisation, after a while, the novelty can wear thin. However, as soon as the invite came through for CTME’s CONNECTME24 event, there was no doubt that this would be an occasion well worth the trip. A multiday showcase of the latest tech presented by the highly skilled CTME team in the company’s brand-new Dubai facility, the event set the standard for the industry across the region.
From the moment we entered CTME’s new facility through the LED-clad doorway replete with smoke and lasers, we were treated to an immersive tour that demonstrated the impressive capabilities of each department, showing off some of the latest technology in the process. As well as providing the opportunity to wander freely around the impressive 85,000 sq ft space, the event was structured around six special
activations that showcased the power of the technology at the CTME team’s disposal.
First was a journey into the company’s immersive experience capabilities, with an interactive presentation from inside an LED room equipped with a Modulo Pi Kinetic system that created generative content. Hosted by Peter Herring, the presentation detailed some of the latest tools and techniques that CTME has deployed at global events and installations.
Next came a demonstration of some of the capabilities of AI future technology, where guests were encouraged to download the Mixhalo app, which unlocked several immersive experiences including ultra-low-latency, AIdriven real-time multilingual translation directly to our smartphones. The demo explained how the technology can be utilised for dynamic environments such as conferences and lectures and taken to the next level when paired with cutting-edge keying technology and advanced facial recognition for automated camera tracking.
CTME’s audio department then excelled itself with its interactive audio demonstration, which led attendees on a journey of sound through an auditory labyrinth, from cable to processors, mixing boards, and loudspeakers.
The voice-guided interactive tour introduced a selection of the latest technology from the likes of d&b audiotechnik and L-Acoustics, including the reveal of the new L2, as well as DiGiCo, DirectOut, Shure, and many others.
That wasn’t all for the audio team, as for the first time in the GCC, the Holoplot X2 was on display and being demonstrated to full effect. Stepping inside a specially designed sonic precision showcase area, attendees were treated to a demo of the system’s immersive directional auditory capabilities and given the opportunity to learn more about the cutting-edge scientific principles, advanced software, and state-of-theart hardware behind the system.
Next up was a glimpse into the future of event management, as CTME invited guests into
the nerve centre of its technological innovation showcase, the control room.
In a nother first for the region, the entire event was orchestrated via a groundbreaking Kairos 2110 data-driven system, which served as the hub that processed real-time data from across the venue, ensuring seamless coordination of each innovation.
Not to be outshone, CTME’s lighting department put on an impressive demonstration of its capabilities, with XL on LX – the big reveal of its massive recent lighting investment comprising everything from back end and control solutions to follow spot and moving heads, including the new Ayrton Kyalami.
Th e grand finale of the event, Cube of Light, displayed the combined capabilities of the entire CTME team. Utilising immersive audio, video and lighting programmed as a symphony of the latest AVL technology, the final activation was a masterclass in how to catch the attention
in a world where audiences are increasingly discerning and demanding.
Reflecting on the landmark event, CTME’s Managing Director, Andy Reardon, was delighted with the turnout: “What an unbelievable two days of meeting clients, manufacturers, and competitors from across the Middle East, showcasing not only the latest advanced technology but also a brand-new space. We hope we wowed everyone who attended and raised the standard for AVL rental across the region,” he commented.
“While our primary focus is always towards our clients and delivering their visions to the highest standard, I also wanted to support the education of the next generation of industry professionals by hosting a day dedicated to students from the foremost UAE colleges and universities. Education is a subject close to my heart, so it was gratifying that CTME was able to support and inspire young people studying all
aspects of media and the performing arts. The team and I really enjoyed sharing our knowledge and experience to a receptive and inquisitive audience of people that we hope one day will go on to pursue a career in our wonderful industry.
“We ended the busy week with a day dedicated to our wider CTME family and giving them opportunity to see what their other halves and parents do at work.
“It’s a true honour to have talented people working for this business and so it was fantastic to meet the team behind the talent, the unsung heroes of our lives – the families! Watching the partners and children of our team members going from bouncy castle to focusing cameras to light shows and popcorn was great fun and made for an unforgettable end to a great week of CONNECTME24. Thank you to everyone who made this incredible journey possible.”
Photos: CTME www.ct-group.com
Enrique Iglesias at Coca-Cola Arena
Clair UAE and Sound Image facilitate the Spanish singer-songwriter’s debut at Dubai’s Coca-Cola Arena.
Latin pop sensation Enrique Iglesias returned to Dubai in September for his debut sold-out concert at the Coca-Cola Arena with local audio solutions from Clair Global UAE and support from touring partner, Sound Image.
With 180 million worldwide record sales to his name, Iglesias has a huge live following, and his recent performance in the Middle East was met with palpable excitement. An artist accustomed to high-level touring, the singer’s crew relies on Sound Image, a Clair Global brand, for international audio solutions, and with one-off performances such as this, Clair UAE picked up the rider locally, ensuring environmental goals were met where possible.
“It’s always much easier to advance a oneoff concert when the artist uses a Clair Global company to provide equipment and crew. In essence, having the intracompany contacts enables us to streamline the advance and preparation of the equipment,” explained Clair Global UAE COO, Al Woods. “The standard of
equipment and crewing we have here in the Middle East is on par with every other Clair Global office,” he added.
“We may have a smaller setup, but we follow company packaging standards and have a team who turn out every job impeccably as we would a tour. Our in-house engineers are also highly skilled and understand how to advance and look after incoming artists and their every need.”
Wo ods explained how Clair Global’s locations, highly trained personnel and stateof-the-art equipment available all over the world makes the company unique: “Dubai is no exception to this rule – we are well-stocked to cover incoming requests and, on this occasion, supplied practically everything needed for the control package,” he commented. “While the artist brought a couple of pelican cases, a rack, and three audio personnel, the rest was provided locally. The ability to do so in-country enables artists to perform one-off shows by drastically reducing the commercial aspect of delivery.
“Clair is also mindful of the carbon footprint caused by flying tonnes of equipment for one-off events. This is a prime example of our corporate and social responsibility to try to reduce emissions where we can.”
FO H Engineer, Brad Divens has specified JBL PA systems from Sound Image for years, which is coincidentally the Coca-Cola Arena’s in-house system. “Brad’s preferred system is the JBL A12,” Woods revealed. “This worked out very well as Coca-Cola was promoting the event directly and we were consciously using as much of their in-house system as possible to deliver the audio solutions required.”
Malc olm Giles, Director of Technical Production for ASM Global Middle East at the Coca-Cola Arena, was on hand to lend his venue expertise and vast experience to the production.
“Malcolm is an ex-touring audio engineer, and he understands exactly what high-calibre artists expect,” Woods stated. “He made the whole process of utilising the Coca-Cola Arena house system seamless.”
Clair UAE provided a Yamaha RIVAGE PM10 console at FOH, which the tour supplemented with outboard effects and processing from a US rack, integrating flawlessly with the local package. In ‘monitor world’, an Avid S6L 32D with a Titan Waves package was provided by Clair UAE for Monitor Engineer, Eddie ‘El Brujo’ Caipo.
Stage IEM Shure PSM 1000 TX units and the full JBL PA, Drive and Systems Engineers were provided by Coca-Cola Arena, led by Senior Audio Technician, Luke Brookes and his team.
Sound Image Account Executive for Enrique Iglesias, Josh Swart, was pleased with
the delivery: “Both engineers were extremely impressed with not only the way the gear is maintained, but how well it was prepared,” he reported. “They both commented that the console package in Dubai felt like it had come straight out of one of our US shops.”
Th e Clair Global UAE team was completed by Audio Project Manager, Dana Beaudin; FOH Audio Technician, George Forsyth; Monitor and RF Audio Technician, Clinton Hattingh, and Kate Lee, a Clair Global touring Stage Tech.
Next up for Enrique Iglesias is a performance at Dodger Stadium in Los Angeles for Besame Mucho Festival this December.
Photos: Coca-Cola Arena, Clair Global UAE www.enriqueiglesias.com www.clairglobal.com www.sound-image.com
Jeddah Season at Onyx Arena
MDLBEAST opens Saudi Arabia’s hottest new venue with lively Jeddah audiences treated to epic performances hosted over three consecutive weekends in August.
When TPiMEA visited Onyx Arena prior to its opening [TPiMEA48], we were promised a state-of-the-art, multipurpose venue capable of hosting “anything from conferences and sporting events to concerts and everything in between”, and sure enough, the arena got off to a flying start, with MDLBEAST bringing a trio of shows over consecutive weekends, starring the likes of Don Toliver and Axwell, Jack Harlow and Salvatore Ganacci, as well as Bebe Rexha and Afrojack.
Th e design concept for the shows was created by the MDLBEAST creative and production teams, led by Creative Director, Quentin Greyling and Production Director, Jonny Gaskell, alongside Event Manager, Raad Amro, with Colour Sound Experiment, MediaPro International, ER Productions and All Events Services (AES) among the technical suppliers.
All lighting, video and rigging was supplied by Colour Sound Experiment, headed up by Project Manager, Abu Bakar.
The lighting design comprised five overhead lighting trusses, five sub hung trusses per side running upstage to downstage as well as a substantial floor package. A further four lighting trusses spanned the audience area, following the contours of the VIP decking to create a ‘superclub’ aesthetic within the arena, making it feel less cavernous and more intimate.
Several layers of fixtures were utilised to create a diverse range of looks over the course of the shows. The rig included 32 CHAUVET Professional STRIKE Array 2 LED blinders and 58 COLORado PXL Bar 16s, 16 Ayrton Karif-LTs, 160 Martin VDO Sceptron 10s, 136 Light Sky AQUAPEARL-PRO washes, 177 AQUABEAM 400s, 27 PROLIGHT Spectra Q40s, 48 Endura LED pars,
and six Robe BMFL spots with RoboSpot control. Additionally, over 500m of RGBW dmx-controlled LED tape, recessed into the contours of the VIP platforms, was controlled by the house MA Lighting grandMA3 console to synchronise the colour of the trim of the architecture to the main show lighting.
More than 368 sq m of 6.9mm LED was utilised for the rear onstage screen and IMAG screens, which were shaped to follow the curvature of the arena ceiling to maximise their size while achieving the required aesthetic. This was controlled using Resolume and Disguise media servers to manage content and camera feeds, with MDLBEAST’s Erik Pearson overseeing the operation and integrating with incoming VJs and their playback systems.
Au dio, cameras and video control was supplied by MediaPro International, with the
project led by Crew Boss, Reynol Dsouza. The audio system comprised L-Acoustics K1 and K2 for the main left and right, outer hangs and delays, with KS28 subwoofers providing the low end and six clusters of KARA II covering front fill.
ER Productions, led by Jonathan Prassad, supplied a substantial special effects, lasers, and pyrotechnics package for the shows, consisting of 15 AT-30W, 12 BB4 and 16 Beam ER laser heads, eight Galaxis Flame XL, eight Explo X2 Wave Flames and eight Showven Sonicboom Jets. Six Magic FX Stadium Blasters and six Magic FX Stadium Shot Extremes were utilised in the pit to deploy streamers and confetti during the performances. Production and stage management was expertly taken care of by Andy Head and Dave Meek respectively, ensuring all artists needs were taken care of.
All structural support for the show and VIP platform builds and finish was supplied by AES, which created beautifully curved VIP platforms, helping to give the event the clublike feel that was desired, managed by Crew Bosses, Andy Buist and Kris Piper.
Th e MDLBEAST team worked hand in hand with the Onyx Senior Management and Project teams, from venue booking, to planning, to operations, to technical support, execution support, ground support, client servicing, site management and maintenance, and facility management, taking into consideration all event touch points, guest journey and experiences from beginning to end.
Th e project was led by Imad M. Bitar, General Manager, supported by Anthony Frost, Head of Operation, Maram Badawi, Venue Client Communication & Support, as well as a project team of trusted freelancers.
Onyx Arena facility suppliers included Arkaz, Colour Sound Experiment, Al Taqaa Power, WeClean966, ESM, and Full Cycle. “These suppliers are the backbone support of the venue’s excellence, and we work with them in tandem and in proximity to ensure we provide our client all the needed support and services in a timely, effective, and efficient manner,” commented Bitar.
Reflecting on the venue’s opening shows, the GM was delighted with the reaction from the typically lively Jeddah crowd. “The vibe and sense of unity everyone experienced at the shows was unique,” he commented. “The crowd were left flabbergasted, nobody wanted to leave, and a strong sense of community was felt. This was a remarkable milestone in the entertainment and events market, and the Onyx team is very proud to be part of this success along with the wider MDLBEAST team.”
Up n ext for the Onyx Arena is a massive Halloween Night spectacular from German DJ and producer Boris Brejcha on 31 October, and if the blockbuster opening shows are anything to go by, this is one not to be missed.
Photos: MDLBEAST
www.mdlbeast.com www.onyxarena.com
5th World Nomad Games
The audience at the Astana Arena, Kazakhstan, are transformed into a giant LED screen for a spectacular opening ceremony.
While the Olympic Games in Paris grabbed global sporting headlines this summer, in September, Kazakhstan hosted its own sporting spectacle, the fifth World Nomad Games – a celebration of traditional sports and cultural identity from across central Asia. Held in the country’s capital, Astana, the Games began with a grand opening ceremony attended by over 2,500 athletes from 89 countries and featuring a parade of nations and cultural performances to the backdrop of a spectacular multimedia stage show.
Th e show featured vibrant visual effects including a massive lighting display, which included 13,500 Enjoygalaxy Torches installed next to every seat, transforming the Astana Arena into a giant LED screen.
Th e lights were synchronised with each segment of the opening ceremony, displaying the Nomad Games logo, showing the names of participating countries from 89 nations, and
expanding the video content from the main stage. According to Ada Chen, General Manager at Enjoytech, battery life was the biggest challenge the company faced on the project.
“E ach Galatorch had a battery life of 30 hours, but we had to cover three nights of rehearsals, one three-hour opening ceremony, and two concerts, each lasting four hours,” she explained. “Nearly every segment of the opening ceremony and concerts required the lights to be on, and we only had one opportunity to recharge the devices.”
Th e Enjoytech team calculated the usage time, adjusting the brightness of the torches, ensuring that no power was wasted. They focused all the energy on the critical moments, which ensured the smooth execution of both the rehearsals and the ceremony.
Lo oking back on the delivery, Chen recalled the effect created during the drum segment of the opening ceremony as among the most
impressive looks. “As the drums resonated on stage, the Enjoygalaxy audience wireless screen and other traditional lights synchronised perfectly, transforming the sound waves into light waves,” she described.
“The lights vividly portrayed the subtle variations of the drumbeats – sometimes they were intense and powerful, sometimes deep and sombre, and other times light and lively. The audience could see the sound waves rolling towards them from the stage, creating an unprecedented immersive experience.”
This marks another significant international event where the Enjoygalaxy wireless lighting system was featured, following its participation in the ceremonies of 2022 Beijing Winter Olympics, the 2023 Hangzhou Asian Games, the 2019 WorldSkills Competition, the Asian Carnival, and the Southeast Asian Games.
Photos: Enjoytech www.enjoyvote.com
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Atlantis Live: Martin Garrix
The popular concert series makes its much-anticipated return, as the Dutch DJ plays to a sold-out 6,000-capacity crowd in a purpose-built venue at Dubai’s Atlantis The Palm.
Atlantis The Palm has hosted some epic live shows over the years, with the stunning seaside location nestled on the tip of the Crescent and the hotel’s iconic arch providing the perfect backdrop and atmosphere for some of Dubai’s most memorable nights of live music. The latest big name to grace the venue was Martin Garrix, whose show in early May marked the long-awaited reintroduction of the Atlantis Live series, returning to the hotel for the first time in a decade.
Re calling the origins of the show, Protec’s General Manager Matt Allen, who served as Project Director, explained how the company got involved: “Back in February, our team responded to a tender for a tour rider-driven Martin Garrix show hosted at Atlantis The Palm. This project marked the return of Atlantis Live for the first time since 2014 – a project I had experience with between 2012 and 2014,” he described. “The tender requested a turnkey solution, including design, technical production, fabrication and staging and structures, which perfectly aligns with our strengths and in-house resources.”
Over the past 24 months, Allen and his team have been on what he described as “a real journey” to re-establish Protec as a major player in the industry.
“A major part of our strategy was to redevelop the concert side of the business – our team is passionate about this sector, particularly the dance music segment. We love delivering live shows with international artists, which naturally brings a high level of job satisfaction and
fulfilment, knowing our work is having a positive impact on the audience,” he stated.
This strategy has seen Protec gain a strong foothold in the UAE’s dance music sector, bolstered by its successful collaborations with major events like Tomorrowland, Elrow, Defected, Mayan Warrior, and Saadiyat Nights, which represented a range of genres.
“This feel-good factor and experiences have helped energise the team and act as one of many platforms to drive the company forward,” Allen stated. “Additionally, being associated with live concerts, festivals, and globally recognised artists provides excellent exposure for our brand.”
Inspired by the prestige of working with one of the world’s top DJs and the opportunity to kickstart Atlantis Live at a world-renowned resort, Protec threw everything at the project to close the season with a bang. “Utilising our newly structured in-house divisions of Technical Production, Fabrication and Scenic, Structures and Staging, and Design, we controlled the quality from design through to on-site execution,” Allen commented.
Protec’s initial proposal included a fully integrated technical design in Syncronorm Depence, created by Project Manager/ Production Designer, Gintas Valuntonis, and HOD Design, Sam Churzin. “The official response featured our own traditional EHD Concert roof and Layher staging,” Allen revealed.
“While satisfied with the initial designs, we also brainstormed ways to elevate the experience given the magnitude of the occasion.
I suggested an alternative design featuring an openair overhead structure to create a comprehensive immersive experience.”
The updated design saw the impressive 70m by 38m structure flanked with two 70m by 8m VIP platforms on either side of the general admission area. “The idea behind this was to create a more intimate, ‘club-like’ atmosphere – especially with the event being capped at 6,000 attendees,” Allen explained. “Gintas and Sam channelled their creativity to develop a masterpiece that we believed would resonate with both the Atlantis and Martin Garrix teams, as well as the well-versed Dubai audience who have seen many large-scale productions pass through the region.”
De pence renders for the original and alternative designs were supplied, followed by a video flythrough for the elevated concept including real-time lighting and special effects, which incorporated the DJ’s official rider and the overhead house system.
“These visual tools were crucial in effectively communicating our concept to the Martin Garrix and Atlantis teams,” Allen commented. “The quality was such that they were later used in the pre-
event online promotional material.” Both projects were meticulously created in Vectorworks first – a standard practice for many of Protec’s special projects. The team used Braceworks for detailed calculations and rigging plans, streamlining the transition from the design phase to preparation in the workshop.
“The Atlantis team eventually shared our elevated design with Martin Garrix’s team, which they loved and approved over the official tender response with a roof,” Allen recalled. “After confirmation, this led to a collaborative effort with the Atlantis team, involving considerable back-andforth to ensure the layout was 100% functional and provided a seamless guest experience for both VIP and GA attendees.”
With the designs and plans approved, the Protec team entered the preparation phase, leveraging the detailed plans created in Vectorworks, preparing equipment, coordinating crew and logistics, and finalising technical details to ensure everything was in place for installation.
“O ur team coordinated the load-in process with Atlantis, with Site Manager, Pieter Smuts on-site for
Top: The Protec team on site; Above: The project was meticulously created in Vectorworks.
13 days,” Allen commented. “This involved setting up the overhead structure and the VIP platforms with the Lion deck system, ensuring all elements were correctly positioned and securely installed.”
Th e Protec team later installed a multi-tiered Layher stage with dedicated VIP tables recessed into the stage.
Protec engaged Al Laith to deliver the arched structure, with one of the primary engineering challenges being to ensure the structure’s stability and load-bearing capacity. “Each arch needed to support up to eight tonnes, resulting in a total load capacity of 88 tonnes,” Al Laith revealed. “This required precise engineering and rigorous testing.” The dynamic loads from the energetic crowd during the concert also had to be factored into the platform designs, especially considering the impact of people jumping in unison when the beat drops.
Th e VIP elevated platforms were designed to provide an optimal viewing experience while ensuring accessibility for all attendees. Tiered platforms were included to offer a clear vantage point for VIP guests. “Accessibility was a priority, so we integrated ramp access into the initial design, making the entire site POD (Person of Determination) friendly,” Al Laith added. “This thoughtful planning ensured that all guests, regardless of their mobility needs, could enjoy the concert comfortably.”
Th e structure was engineered using STAAD analysis and underwent a rigorous approval process by local authorities. This included multiple verification meetings and strict protocols as well as a third-party engineering design review and an as-built certification from renowned German engineering firm, TUV.
‘Seamless coordination’
Protec’s technical installation was project managed by Gintas Valuntonis, who worked directly on the design along with Sam Churzin and Martin Garrix’s production team, led by Marcel Koeter. “The flexibility of Martin Garrix’s production team allowed us to fully utilise our own inventory of equipment,” Allen recalled.
“O n the day of the event, our team arrived on-site early to conduct final checks and address any last-minute adjustments. The seamless coordination between our team, the Atlantis team, and Martin Garrix’s production team ensured that the show proceeded smoothly, and an unforgettable experience was delivered for everyone in attendance.”
Th e audio system was designed by Senior Engineer/Planner, Danila Khavtorin. Utilising the 3D Vectorworks drawings, Khavtorin mapped the L-Acoustics system in Soundvision. The main PA consisted of 14 K2s and six K1-SBs per side, with six K2s for front fill and 33 SB28s delivering low-end sound. The VIP section, meanwhile, was covered by two SB18s, six KARAs and four X15s.
Th e delay PA comprised eight K2s and two K1SBs per side, while DJ booth monitors
were covered by six KARAs and two SB18s. A DiGiCo SD10 handled control, with L-Acoustics P1 processing and four Luminex GigaCore16Xts were also deployed.
Valuntonis and Churzin worked alongside Protec’s HOD Lighting, Warren Hutchison to design the show lighting rig, which featured a range of Claypaky fixtures, including Scenius Unico, Xtylos, Sharpy Plus, Show-Batten 100, A.leda B-EYE K10 and K20, as well as Robe Pointe, SGM P-5, Q-7 and P-10, PixelLine 1044, and 2 and 4 Lite Molefay solutions.
Control came in the form of two MA Lighting grandMA3 full sizes, as well as a grandMA3 light and a grandMA2 light, an MA2 onPC Command Wing, four MA3 processing unit Ls, two MA2 NPUs, four Luminex GigaCore 16RFO switches and three LumiNode 12s. “The design was based on Martin Garrix’s rider, and both MA2 and MA3 mode were used to run the opening acts as well as the headliner,” Valuntonis described.
HO D Video, Yevgeni Karyagin oversaw the video deployment, which included 230 sq m of Absen PL 3.9W Lite LED. Content ran through 10 NovaStar NovaPro UHD Jrs (five in controller mode and five in fibre converter mode), as well
as a Barco E2 switcher, a Disguise 4x4 PRO and a Resolume media server.
HO D Rigging, Qasir Ali’s impressive production rigging supply was made up of a total of 103 CM Lodestar motors – 52 one-tonne, 43 half-tonne, and eight two-tonne – along with 706m of truss.
Protec brought in Matrix Laser to add a final flourish in the shape of eight Showven Wave Flame units as well as 16 6W and eight 30W custom-made laser system controlled via Pangolin, which combined with Protec’s own brand-new MagicFX CO2 Jets.
Reflecting on the project, Allen was delighted with the result: “Our meticulous planning, innovative design approach, and collaborative execution ensured that the Atlantis Live project was a resounding success,” he commented. “It showcased strengths across all four divisions of the company, setting a new benchmark for events in the UAE dance music sector.”
A three-day music festival that celebrates the universal language of music serves as a sanctuary and an opportunity for self-discovery through music for the people of Batroun, Lebanon.
While Lebanon has been in the global headlines for all the wrong reasons recently, if there’s one thing that the Lebanese people are famous for, it’s their unrivalled capacity to party at any given opportunity. One such opportunity that was grabbed with both hands by locals and international visitors alike was the Aegis Festival, which saw crowds of music lovers descend on the ancient northern coastal city of Batroun in July for three nights of back-toback revelry featuring a packed roster of DJs including Agents of Time, Hiroko Yamamura, Seth Troxler, and Frankey & Sandrino.
Taking place in the usually serene surroundings of Arnaoon village on the outskirts of the city, Aegis Festival was described as “a sanctuary” and “a transformational experience providing an opportunity for self-discovery through music”. Yara Temsah, Managing Partner at Beirut-based artist collective and event promoter, Retrogroove, who was responsible for designing the complete on-ground experience, was tasked with an interesting brief.
“It was quite a challenge,” Temsah reflected, recalling the conceptual stages of the production design. “Arnaoon is such a beautiful piece of land, so my goal was to create structures and in between experiences that blended in with the surrounding nature and elements instead of overpowering them.”
The main stage design was inspired by the natural landscape around it. “It was important to minimise the use of trusses or other generic metal elements, as they would have looked out of place in that landscape,” Temsah explained. “With that being said, we came up with the nine-leaf concept that creates an ensemble of curvatures and organic shapes, giving it a smooth, soft look but on a scale so big that it still gives you that grandiose, overwhelming feeling.”
She added: “We wanted this structure to encompass the space, but also to engage and foster the people, whether they are in the front row, in the lounges, in the backstage, around the DJ, or even at the back, and create that feeling of shelter and unity.”
With 2024 being the second year of the festival, it was important to the organisers that the spirit of the first edition was maintained while technical elements were updated and reimagined. “We integrated a lot of new elements this year; between the addition of greenery, light design and sound towers, the structure came to life,” Temsah told TPiMEA.
“Looking from afar, they all puzzled up to create a cohesive and unified look. I think the most interesting aspect is the way you would feel and experience the stage differently, all depending on where you stood in the space and which angle you looked at it from.”
Having worked with Aegis on the first year of the festival, Julien Yammine was once again entrusted with the lighting design: “The first edition was a great success, and it’s always a pleasure working with the team to create something beautiful and mesmerising in this exceptional venue,” Yammine commented.
The lighting designer’s main aims were to accentuate Temsah’s stage design with lighting elements that would augment rather than overpower the organic look of the stage structure and the feel of the environment around it. “I wanted lighting elements to blend in with the architecture of the stage to create a seamless and cohesive feel when looking at it,” Yammine explained. “It was very important to keep the balance between the architecture of the stage and the technical elements added to it so that no part overcame the other. Our focus together was to create an immersive feeling on the dancefloor where we have something happening for people looking from every different perspective.”
Yammine’s design merged LED screen panels placed on the centre line of scenic leaves, with a total of 110 LED tubes accentuating the shapes around the structure. “We mapped the LED screen panels and LED tubes through Resolume Arena, sending one output on both to create a uniform movement, which delivered a unified feeling from both lighting elements,”
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he recalled. “We also used the LED screen in an unconventional way to simulate the same animation and movement, thus the same feel, throughout the stage.”
Having worked with Yammine for the past year on several shows including Black Coffee and a project for the Egyptian government, Alex Douglas was once again assigned to bring his creative design to life. “My role was to program the lights on the Avolites Arena console running Version 17, video on Resolume and lasers on Pangolin Quickshow, then operate all three in beautiful synchronisation,” he quipped.
“Thankfully from my days in the clubs and experience in festivals, I already had good knowledge of all three platforms. The Avo software is perfect for creating palettes quickly and effects using the keyframe engine. I find the Playback Groups window particularly helpful to trigger between effects in groups smoothly.”
Looking back on his first ever trip to Lebanon, Douglas was full of praise for the festival and its attendees: “The festival is very down-to-earth with nature playing a big part. The crowd were incredibly genuine and enjoyed the moments in person rather than through their Instagram. Overall, being a part of this festival was a wonderful experience which I very much hope to be a part of again.”
Beirut-based Wicked Solutions provided a turnkey technical solution for the festival, supplying not only the lighting and video equipment but also extensive d&b audiotechnik audio systems for the main stage and FunktionOne systems for the smaller stages.
The main stage comprised discrete black array towers accommodating a total of 12 J8 loudspeakers running with ArrayProcessing on D80 amplifiers, as well as eight J-SUBs, with 24SD and 12S-D loudspeakers, V-SUBs deployed for front fill, back fill and out fill, and Q1 and Q-SUBs handling monitors duties.
The Funktion-One system for the alternative stage comprised six Res 2 tops and 10 F121 subwoofers, while the afterparty stage was covered by four Res 2 tops and six F121 subs, all running through Full Fat Audio amplifiers.
For Wicked’s Woody Naufal, the project was a source of pride. “To see the area turned from what it usually is into a full-blown rave was very impressive,” he reflected. “We worked hard on the pre-production side to ensure that the load-in was smooth without any drama. Overall, we were very pleased with the delivery, and we look forward to working with the client again.”
Photos: Eyedia Production www.aegisfestival.com www.wicked-me.co
TPiMEA at 50
As TPiMEA reaches half a century of issues, we hear from some of the companies and individuals who have been there from the start – reflecting on their personal highlights and speculating on what we can expect for the region over the course of the next decade…
JJ Trichardt, Founder and Managing Partner, All Events Services
Since TPiMEA was launched in 2015, All Events Services (AES) has been privileged to experience growth driven by advancements in technology, shifts in consumer expectations, and an increased emphasis on sustainability, not to mention the amazing work from our dedicated team.
We’ve grown in number, moved to bigger premises in Dubai and set up in Saudi Arabia, and have been privileged to deliver temporary structures for every event imaginable across the GCC region. This year marks AES’ 12th anniversary, and that too feels like yesterday.
We’ve invested in innovative event management technologies that have not only streamlined our processes but also improved client and consumer experiences. This ongoing evolution has allowed us to foster stronger relationships with our clients, and suppliers and create more impactful events.
On a broader scale, the industry has witnessed significant changes. The rise of virtual and hybrid events, particularly accelerated by the COVID-19 pandemic, reshaped how we approach event planning, execution and strategic relationships. AES had to adapt quickly to these changes, prioritising flexibility and creativity to meet new demands.
Additionally, the focus on environmental responsibility has seen many organisations, including ours, adopting sustainable practices to minimise our ecological footprint wherever we can – a hugely important factor for AES.
As for personal highlights over the past decade, I cherish the moments when we successfully delivered events that exceeded our clients’ expectations – events such as F1 Aftershow concerts (Abu Dhabi, Saudi Arabia and Qatar), Formula E (Saudi Arabia), Coldplay in Abu Dhabi (the first time) and MDLBEAST Soundstorm. That said, all events large or small of any kind matter equally to all of us at AES.
Seeing our team come together to innovate and push boundaries reaffirms our belief in the power of collaboration from the outset, turning an event vision into an unforgettable moment. Each success has been a shared celebration, reflecting the hard work and dedication of all involved.
Looking ahead, I foresee continued advancements in technology driving personalised experiences and further integration of virtual elements in events. As for AES, we are committed to evolving our offerings to stay ahead of industry trends while maintaining our focus on community and sustainability. I believe that our ability to adapt will be fundamentally important as we navigate the future, and I am excited about the opportunities that lie ahead, both for our company and for the events industry at large. www.aes.ae
Without question, the largest transformation in our industry within the past 10 years has been the opening-up and explosion of business in Saudi Arabia. Furthermore, the UAE events industry has significantly evolved in terms of maturity, consistently attracting the world’s top event IPs and crystalising the country on the global events stage. Our incorporation into the GL events Group (2017)
Alistair McDonald, CEO, Flow Solutions and Wicked
has clearly been a significant milestone for the businesses during this period.
Flow has supported the group in establishing a global power presence, winning high-profile projects such as the Asian Games, Pan American Games, World Expo and the World Cup. Wicked had major involvement in the Expo and World Cup projects and has begun to develop products such as Q.WAD, which are now used globally by the GL events Group.
The Qatar World Cup was a huge highlight for me, and for both businesses. Handling the entire power contract (critical and overlay) alongside the provision of all hospitality service delivery, was demanding and, of course, rewarding.
In the next decade, sustainable event delivery will continue to evolve at a rapid pace. For our businesses, it will be important to continuously develop and refine our approach in this area and I expect to see far more regulation present within the industry in the medium term. www.flowsolutions.me www.bewicked.me
Matt Allen, General Manager, Protec
We have restructured Protec to emphasise our position as a production house with a one-of-a-kind in-house offering. The ongoing development of our fabrication and scenic division, as well as pushing forward our structures and staging team makes us a unique proposition operating at scale. Personally, it’s about evolving, adapting and learning from the many challenges along the way, and putting people first, whether that’s our team or clients.
Saudi Arabia coming to the fore in entertainment has created a new dynamic in recent years and the UAE is also continuing to drive forwards, making the Middle East a very exciting place to be. The ambition of the country’s leaders is unrivalled and that allows us to deliver some groundbreaking events.
It ’s been great to play a part in bringing back live music post-COVID-19. We worked with our partners to bring back Tomorrowland and Elrow, and we also delivered Martin Garrix and the Saadiyat nights festival at the start of the year, which stand out. The scene is really thriving again, and I only see it getting stronger. Also, the opportunity to lead Protec is something that I am very privileged with.
We expect more regional tour work over the next decade, whether that be with the festivals, sporting and live music events we deliver, or our corporate and luxury clients. All of them are looking at ways to put together a series of events and activations throughout the Middle East. The growth stimulated from that is exciting and we already have multiple projects under development in that way.
www.protecevents.com
Karen Beaton, Managing Director, Gulf Crewing Company
TPiMEA being launched in 2015 has pushed the ability for the Middle East to truly be seen as a world player in global events, by enabling our local network to not only advertise but to be a voice for the region, showcasing some of the extraordinary shows that the Middle East has produced and continues to produce. It adds a human element where we get to see the faces behind the names; the magazine is not just lists of dates and equipment – it is the story of what it takes to get an event from A-Z, covering all aspects of that journey.
From our company perspective, it has enabled us to shout about some of the exciting and challenging shows we are involved in. It has enabled us to take stock of some of the sheer numbers of crew we move around on a daily basis, which has, in turn, created case studies that clients can immediately identify with.
From a personal perspective, it gave me – as a new company owner in 2020 – a human voice where we were not afraid to talk about a challenging set of circumstances and how we tackled them. I am lucky enough to have had
so many highlights over the years – from delivering the first ever set of concerts in KSA with Formula E, to repairing a very well-known artist’s leather trousers mid show with my handbag, to being the Head of Operations at Volvo Ocean Race, there have been so many wonderful snapshots in a very eclectic journey. I am incredibly lucky to be in a job I love and can’t wait to get to work each day.
I think the true highlight of it all is some of the incredible and lasting friendships I have made on the way and the all-encompassing support we have for each other as an industry. I don’t think any other industry can truly say that we are a global team and miles mean nothing.
Th e region in general has changed a lot in the past decade, not least with the arrival of the two arenas – for the first time ever, we had two purpose-built, all-singing, all-dancing goliaths: no more greenfield sites! The CocaCola Arena and Etihad Arena both offered services and support that no other indoor venue could. Previously if you wanted an indoor event, vast empty exhibition halls had to be tailored to specific needs.
Saudi has already started to adapt its venues and is announcing more. From the intimate venues to the large bespoke-built arenas, they are also making it happen. BanBan is quickly evolving and is a great less semi, more permanent festival site.
Lo oking to the future, while I don’t believe we will see a huge shift in the core of our industry, we will see an increased push into sustainability, which is important from an economic and of course environmental perspective. RFPs are becoming more technical in delving into your brand identity, what you can assist with and what you bring to the table and how you can in return bring value to a show or event. The industry is becoming more aware of its financial scope, and we are seeing better value for money. Equipment will always be a fluctuating hybrid as it develops, becomes more lightweight and transportable and of course more adaptable, which enables environmental sustainability with less carbon footprint.
Th e continual development in artificial intelligence will also be a huge push for the industry and will be at the forefront going forward – Eric Prydz’s HOLO show is clear evidence of that – but at the heart of it all, will be the people who are needed to bring it all together. www.gulfcrewing.com
Eoin Sheridan, General Manager, Solas
We have come a long way since TPiMEA launched back in 2015. We have grown the company significantly, taking on bigger and more ambitious projects. Personally, I’ve shifted from being involved in the daily focus to concentrating more on the bigger picture – managing larger teams, building strategy, and making sure we’re moving in the right direction.
We’ve also invested heavily in new technology and streamlined our operations, making us more efficient and
ready to take on even more. The industry has really evolved in the past few years, especially with all the new tech that’s come out. We’ve seen things like projection mapping, LED screens, and interactive displays become the norm.
Sustainability is now a priority – clients want greener solutions, and we’re all working to make events more ecofriendly. Since the pandemic, hybrid events have become a big thing, where we mix in-person and virtual experiences, reaching bigger audiences than ever before. Expectations have grown. too, so we’ve all had to step up our game.
Th e past decade has been full of awesome moments. One of the big highlights was managing some massive international events that really pushed us to our limits. Another standout was our rebranding and the new investments we made in top-notch tech and talented people. Personally, I’ve loved seeing the team grow and mentoring up-and-coming talent in the industry. Watching them thrive and contribute to the company’s success has been super rewarding.
In the next decade, I think tech is going to dominate even more. AI and automation will likely take over some event processes, making things smoother and faster. For us as a company, I see us expanding even more – not just in terms of size but in terms of the creativity and complexity of the events we produce.
We’ll also be pushing hard on sustainability and finding ways to make our events more eco-friendly. Industry-wide, I expect hybrid and virtual events to keep growing, and with VR and AR advancing, we might start seeing events that blur the lines between physical and digital worlds.
I want to take a moment to personally thank the TPiMEA team for bringing their platform to the Middle East. It has given companies like ours a vital space to promote business and showcase the incredible events happening in the region. The platform has been instrumental in helping the industry grow and thrive, and I truly appreciate the opportunities it has provided for us and many others. www.solas.ae
Thomas Ovesen, CEO, All Things Live
A lot has changed for me business-wise since TPiMEA was launched in 2015, but perhaps it’s easiest summarised as my business in that period having benefited from the increase in new and purpose-built entertainment venues coming into the market and a region that now includes more markets, destinations and ticket-buying music fans than ever before. It’s a region that now rewards a committed investment in building a region-wide business and one that utilises the various venue options, fan demographics and unique country-bycountry opportunities and promotions, which is exactly what I hope to do for the next decade.
Th e pool of promoters has changed from what was once a small group of individuals with ability to secure the investment required for relatively expensive event promotions to now – with many more purpose-built venues on offer – a mixed bag of bookers, promoters and media companies that, along with most major cities’ tourism teams, book and promote shows.
It has become noticeably easier to put shows on (many of the new venues offer a plug-and-play scenario) and we see more events selling out their venues than in the past.
On the technology and overlay side, we have pretty much anything we need for any kind of live events available in the region, which wasn’t the case 10 years ago. That is partly the benefit from the strengthening of Saudi Arabia’s corporate events business.
I’ve had many personal highlights over the years, but 2015 was when we were fortunate enough to do a few shows with Prince (London and Dubai) and that was one of the absolute highpoints of the past 10 years. Another was the One Direction sold-out Dubai show from the same year (breaking the ticket sales record for an international concert back then) and indeed the work my team then did on the Dubai Design District launch event.
Th e reunited Guns N’ Roses sold-out Dubai show was also fantastic, as well as incredible Ed Sheeran and Justin Bieber shows and most recently the two record-breaking Dubai 2024 Ed Sheeran shows were unforgettable.
Lo oking ahead to the 2025 season, we have already announced a 30,000-capacity Green Day and The Offspring Dubai Expo City show as well as a Ludovico show at the Etihad Arena, Abu Dhabi.
In terms of the future, we will no doubt see Saudi picking up a big chunk of the regional live events and entertainment business, adding more volume and options to our industry and with that I would assume more of the global live entertainment players will want to have a presence in the region. I assume that will also include a consolidation of promoters region-wide and as the volume of shows on sale increase, we will see promoters unable to pick the ‘winning’ events, with less market space and share than what is the situation now.
Event promotions-wise, I expect the mix of touring content to develop and expand to include more digital content, new formats and types of entertainment to be toured or even produced regionally.
I also think we will now see more local talents establishing themselves as performing artists and a career as a musician will become a real choice for many more talented artists across our region than ever before. It would be very rewarding to start seeing feature shows promoted by regional artists and eventually a sizeable percentage of all ticketed shows in the region being put on by and for homegrown talents. www.allthingsliveme.com
Michael Clark, Director of Operations, Al Laith Group
Since 2015, our company has undergone significant changes, the most notable being our new ownership under the CG Tech umbrella. This transition has enabled our expansion into several new markets, including Saudi Arabia, Qatar, and Uzbekistan, alongside strong local growth. We have also seen significant advancements in our operational systems, with a company-wide push towards embracing technology to enhance operations across the board.
Th e most transformative shift has been the opening up of the events market in Saudi Arabia, which continues to have a substantial impact on the industry. Additionally, the industry’s focus on safety, improved systems, and an increasing level of bureaucracy has evolved considerably, particularly since Expo 2020. This evolution has raised standards, making processes more regulated and refined, which is crucial for the industry’s sustainable growth.
On e of the most exciting aspects has been working on dynamic, creative projects across various sectors, including sports, music, and ceremonies. The Red Bull projects (in the early days) remain particularly close to my heart for their vibrancy and energy. However, the high-light of my career would undoubtedly be the 50th Union Day in Hatta Dam – a floating, ambitious, and truly wild project that stands out as a remarkable achievement in our industry.
I b elieve technology will increasingly shape the events industry, from ticketing and data collection to advancements in the lighting, sound, stage and special effects realms. We’re already seeing more sophisticated tech in automation, and this trend is only going to grow.
Th e industry is moving towards more sustainable practices, especially when it comes to temporary structures. The focus on sustainability is becoming more prominent, especially at large-scale global events. For example, upcoming Olympics and other international events are placing more emphasis on using temporary structures
as opposed to building permanent ones with little postevent use. Temporary structures can be disassembled, stored, transported, and reused, making them a more environmentally conscious choice.
We’re also likely to see industry standards and codes continue to improve, both in terms of safety and environmental responsibility. As the world demands more sustainable solutions, events will increasingly lean towards practices that reduce waste and carbon footprints.
Su pporting this outlook is the growing trend towards circular economies within event planning, where materials and structures are repurposed and reused, avoiding the need for new resource extraction.
This trend aligns with global sustainability goals, which aim to reduce waste and promote long-term reuse of event infrastructure. Events like the Tokyo 2020 Olympics embraced this approach by utilising temporary venues, and future events will likely follow this model to ensure environmental responsibility and legacy value. www.allaith.com
Bruce Mac Lean, Vice President Middle East, PRG
The market dynamics have changed significantly from when TPiMEA launched back in 2015. I think that has been driven mainly by the developments of Saudi Arabia, with several large-scale activations, as well as the UAE government, which is continuing to push forward and make progress with landmark events such as Expo 2020 and COP28, and of course Qatar with the FIFA World Cup 2022. These massive global events were phenomenal for
the Middle East as a region, and they really put us on the map and made the rest of the world sit up a take notice.
Th e past decade for us in the business has been a journey into the world of PRG and the client base of PRG, understanding how we can best leverage our global sales pipeline into something that is manageable from a local point of view.
We’ve learned how to work as a global organisation across multi-business units, using the relationships that exists within the rest of the PRG network and then figuring out how to best leverage those into local deliveries here in the Middle East.
I think a lot of what the foreseeable future brings is further growth within different market segments. Today we are, as a market, still very reliant on government-funded projects to fund the large-scale deliveries.
However, there will be a maturing of the market, and as the market matures and relies less on government spend, events will increasingly have to start paying for themselves. So, the client base is going to morph into a more promoter style, return-on-investment-type of events. www.prg.com
Alexander Wuerfel, CEO, ES:ME Entertainment Services
A lot has changed over the past decade. We’ve grown from a small company of 10 employees to a medium-sized business with over 50 staff members. Market trends have also shifted, especially with Saudi Arabia’s rapid development and the increasing number of major events in the region.
On e of the biggest changes for us as a company was merging Even2 The Rigging Specialists into the ESME Group, along with a full rebranding. Today, we operate in Saudi Arabia, Qatar, and the UAE, offering full event production services while continuing to support our partners with specialised expertise.
COVID-19 had a huge impact on the industry, and regional tensions haven’t made things easier. However, Saudi Arabia’s emergence as a major market, fuelled by Vision 2030, has presented new opportunities for everyone.
One of the biggest challenges has been the rising costs of logistics, but this has also encouraged clients to rely more on local and regional resources, fostering greater collaboration, even among competitors.
We’ve been involved in some incredible events over the past decade, from flying performers to setting up massive LED walls on trailers, and working on national days and opening ceremonies in the UAE, KSA, and Qatar. I’m particularly proud that we continue to be asked to
contribute to large-scale events like the Olympics and World Cups. Another highlight has been navigating the challenges of COVID without losing any of our valued employees.
It ’s hard to predict the future, but we’ll likely see a shift in job responsibilities, with more roles being automated through artificial intelligence. As the workforce ages, there will be an increased need for developing new talent.
The rapid pace of technological advancements is something I’m especially curious about, and I expect it will continue to shape the industry. We’re also seeing a lot of mergers in the business as company owners retire and new businesses emerge, so constant change is something we can expect in the years to come. www.es-me.net
Andy Jackson, CEO, Clair Global Middle East
The past 10 years have seen huge change for me personally. Back in 2015, it was the time when Delta Sound – Dubai was at its most iconic. Up until the sale of the business in 2019, we were a small company that lived life to the full, using the adage of working hard and playing hard.
We were lucky enough to work on some of the region’s most memorable events, working with amazing clients producing some of the most iconic shows in the region. Some of the concerts included The Rolling Stones, Metallica, Coldplay, and Andrea Bocelli to name a few. Some of the special events that I have been involved with include the Burj Khalifa NYE shows, Special Olympics in 2018, the Papal visit in 2019, along with multiple Opening Ceremonies for the Dubai World Cup for 10 years.
TPiMEA launched at an exceptional time for the events industry in the UAE. It felt like both Abu Dhabi and Dubai were attracting and hosting major global events. There were many changes in the industry that included many positive changes such as the introduction of health and safety measures onsite, better environmental and sustainable practices, and general staff and crewing welfare.
Sa dly, something that has not changed much in the past 10 years is the belief from clients that late confirmation on projects will provide a better show experience with reduced supplier costs. As we all know, this could not be further from the truth.
Nothing has given me greater pleasure than being part of people’s development within the industry. I have been fortunate enough to have employed over 100 people in the past decade. I like to think that those who have shared my journey with Delta and Clair have enjoyed the challenges we have shared and are extremely proud of the achievements we have all made on the journey. I take great pleasure in remaining great friends with everyone that I have worked with, many of whom are now clients and competitors.
It is always exciting to get recognised for contributions made, whether it’s a pat on the back from an industry peer or being fortunate enough to win industry recognition awards. My greatest personal achievements are having
the opportunity to build two amazing companies in Dubai from the ground up. Both Delta and Clair were very different projects, but both extremely rewarding.
Now that Saudi is becoming a regional hub, it will mean decades of opportunities for companies like Clair Global who are always thinking beyond the current and identifying new challenges. We are all aware of the ‘visions’ of the leaderships for the UAE and KSA. Becoming part of the future framework and having a chance to give something back is where companies should be focussing. Think of this as a long game.
From a personal perspective, I am so grateful that I have been able to live and work in a region that has offered incredible opportunities for myself and so many people. It has been a fantastic place to live and bring up a family. www.clairglobal.com
Shelley Frost, Director and Founder, The Fridge
The Fridge has grown tremendously since 2015, more than tripling our team from seven to 35. It’s been a period of continuous transformation that required a lot of flexibility. We weathered the industry’s dry spell from 2016 to 2018, only to face a global shutdown like everyone else. But we’ve rebounded stronger than ever, now operating across two countries.
Ou r scope has expanded dramatically, too. We’ve gone from programming intimate venues to orchestrating arena spectacles and 20,000-strong stages and creating our own IP shows. It’s been a whirlwind, really. I’m also proud to mention that I was honoured to receive the TPiMEA Artist
Manager of the Year award in 2022 – a moment that felt like recognition of our whole team’s hard work.
Expo 2020 was a defining moment for us. We delivered 340 stage acts and regularly filled the Jubilee stage with up to 22,000 fans – a monumental achievement for our team. The Pope’s visit to Abu Dhabi was another standout moment, bringing together 80,000 people in a truly impactful event. The Special Olympics ceremonies is also dear to my heart – especially our work with the Choir of Determination, which challenged conventional notions of perfection in performance.
On a d ifferent note, witnessing the growth of artists who began their careers with us has been immensely rewarding. Watching the meteoric rise of regional bands like Noon grow from performing on our warehouse stage to opening arenas gives meaning to our work with artists.
Se eing our Festival Chorus become a regular at Dubai Opera, along with the development of the Arabian Philharmonic Orchestra is also extremely rewarding. These projects represent years of nurturing locally based talent and are strong examples of our commitment to being a voice for the region’s creative scene.
Th e industry’s resurrection post-pandemic has been nothing short of remarkable. We’ve seen Saudi Arabia emerge as a major player, reshaping the landscape almost daily. Technology has made huge leaps, with pioneering audio systems like d&b audiotechnik’s Soundscape completely transforming audience engagement.
What is also exciting is the shift in focus. Clients are craving more meaningful connections and embracing independent artists. There’s a real push to nurture regional talent. The whole industry seems to be making smarter, more nuanced choices, moving away from the corporatedriven decisions of the past.
Lo oking ahead, we see The Fridge forging deeper, more meaningful partnerships. There’s also huge potential for us to continue creating groundbreaking intellectual property in the region. In terms of the industry, AI is set to revolutionise our visual techniques; we’ll be able to turn around increasingly ambitious projects faster than ever before.
Te chnologically, we’re on the brink of a new era, but what excites me most is the continued rise of independent regional artists. Their voices are growing stronger and more influential. I believe they’ll play a pivotal role in shaping the industry’s future, pushing us all to innovate and evolve. We’re looking inwards instead of outwards for talent and representation, and I believe this approach is set to become the norm in the coming years. www.thefridge.me
Felix Erdmann, Managing Director, BeWunder
Since TPiMEA was launched in 2015, both the company and I have experienced significant transformations. Back then, we were still part of Neumann&Müller Veranstaltungstechnik, operating as Neumann&Müller Event Technology LLC. Our Dubai office was a small satellite of the Munich headquarters, with about 10 permanent staff members.
A pivotal change came in 2018, when we launched our Middle East strategy. At that time, I permanently relocated to Dubai, and together with Jens Gießler, I took on the responsibility of growing our business in the Middle East. Since then, we have seen continuous growth, with a particular highlight being our success at Expo 2020 Dubai. We delivered 10 large-scale and complex pavilion projects, which also marked the launch of our system integration business in the region, as well as delivering and operating large-scale performance venues for over 180 days with a team of more than 250 people.
Sinc e 2018, the event and entertainment industry in the Middle East has grown tremendously, and we have been fortunate to be active participants in this growth. In 2022, Jens and I acquired the international System Integration business and the Middle East business from Neumann&Müller, rebranding to BeWunder. The change in ownership has helped us tremendously by allowing us to align our operations more closely with what is required locally in the Middle East. We now have permanent operations in Saudi Arabia, with a fully functional warehouse and local equipment stock in Riyadh, as well as offices in Riyadh and Jeddah.
To day, we are over 200 permanent staff in the region, and our service portfolio continues to grow. We now offer a wide range of services, including system integration, content production, fit-out and exhibit fabrication, and turnkey technical solutions.
In the Middle East, the industry continues to show immense potential, but it comes with its own challenges. One of the most notable shifts we’ve observed is the increasingly shorter timelines for delivering projects.
As these timelines continue to shrink, it becomes more and more difficult to ensure top-quality delivery on time and within budget. However, we’ve built a strong foundation within our organisation to meet these challenges head-on and provide the best possible service to our clients.
Another ongoing challenge is the shortage of qualified and specialist talent. As the industry demands high-quality projects, having access to the right talent is crucial. One of the biggest limiting factors to our growth is the difficulty in finding the best people. Despite increasing immigration to both the UAE and Saudi Arabia, finding top-tier talent remains challenging. To deliver the best quality and value for our clients, we need the best talent working with us, which remains a priority.
I expect to see continued growth in the event and entertainment industry in the Middle East. There are already many exciting projects being planned, and the region remains a hub for large-scale, ambitious endeavours. In Saudi Arabia, the potential for growth is particularly strong, especially with mega projects like Expo 2030 Riyadh on the horizon. This will undoubtedly drive further development in the industry and create countless opportunities for companies like ours.
On the technology front, I believe we will see significant advancements. AI will likely play a crucial role, both in terms of our internal business processes and in shaping the way we design and execute events, exhibitions, and museums. Artificial intelligence will offer new possibilities to create more immersive and innovative visitor experiences, elevating the industry to new heights. It will also provide us with new tools to enhance operational efficiency and optimise the way we deliver our projects.
As for BeWunder, we will continue our commitment to delivering the highest quality for our clients and partners. Our focus will remain on broadening our range of services and increasing our footprint across the region, all while maintaining the core principles that define us – providing the best service and building long-lasting partnerships. www.bewunder.com
Edwin Cheeran, Managing Director, SLS Production Middle East
Since the launch of TPiMEA in 2015, the company has experienced significant growth and transformation. We’ve greatly expanded our operations in the Middle East, particularly in KSA, and strengthened our partnerships in other emerging markets. Our enhanced product offerings have driven sustainable growth and cemented our presence in the industry. Additionally, we’ve grown our team, bringing in skilled professionals who have introduced fresh perspectives and contributed to our innovative edge. This expansion has also led to improvements in our customer engagement strategies and operational efficiency.
On a p ersonal level, this period has been a journey of substantial development for me. Enhancing my leadership skills has bolstered my confidence in decision-making and I believe it has also strengthened my presence in the industry. Moreover, focussing on networking and building relationships has been key to attracting and integrating top talent, which has enriched our team and amplified our industry impact.
Since 2015, the industry has experienced a significant technological transformation. Advances in audiovisual technology, including ultra-high-definition (UHD) screens and projection mapping, have revolutionised event experiences by turning any surface into a captivating visual
canvas. Large-scale LED walls are now widely used for their high resolution and vibrant colours, enhancing both indoor and outdoor events with striking outputs.
Innovations in stage, video, lighting, and audio technologies have further elevated event production. Modular staging systems and automated equipment provide flexibility and precision, while interactive stages and high-resolution LED panels create dynamic visual experiences. Lighting technology has advanced with energy-efficient LEDs, intelligent moving lights, and impressive holographic and laser effects. Audio advancements include high-quality line array systems, reliable wireless microphones, digital mixing consoles, and immersive spatial audio.
In a ddition, automation, AI, and big data analytics have reshaped decision-making, offering faster and more precise insights. Cloud-based solutions have also increased flexibility and scalability, allowing companies to expand their operations with reduced upfront costs.
Globalisation has intensified competition, with both emerging markets and established players vying for market share. This competitive pressure has driven companies to innovate more rapidly and adapt to shifting market conditions. As a result, there has been a surge in mergers and acquisitions, as firms seek to consolidate and capitalise on economies of scale to maintain their competitive edge.
Over the past decade, my career has been marked by significant milestones and growth, from advancing through leadership roles to spearheading impactful projects. Highlights include my involvement in prestigious events such as the Red Sea Film Festival, IIFA, Riyadh Season, Saudi Games, F1 and various international concerts such as Backstreet Boys, Mariah Carey, Tiësto, Shaun Paul, and many more.
Bu ilding enduring relationships with colleagues and industry professionals has been incredibly rewarding, and adapting to industry changes has fuelled my personal and professional development. Contributing to our company’s success and overcoming challenges have been central to this journey, underscoring both my dedication and pride in our collective achievements.
Over the next decade, we expect substantial changes both within our company and throughout the industry. Technological advancements will drive deeper integration, boosting efficiency and allowing our teams to concentrate on strategic innovation. Personalisation will become increasingly important, as data-driven insights enable us to deliver more customised customer experiences.
We also anticipate a stronger focus on global expansion and market diversification, with companies exploring emerging economies and new growth areas. This shift will necessitate a strategic approach to navigating diverse international markets and managing the complexities of global operations. Additionally, evolving workforce dynamics will highlight the need for reskilling and developing digital competencies to keep pace with emerging technologies. Overall, these trends offer exciting opportunities for growth and transformation in our operations and for the industry as well. www.slspro.net
Terry Miranda, Founder and Managing Director, Lighthouse Productions
LHP is currently celebrating its 20-year anniversary, in which time, we have seen the industry grow across all areas. For us as a company, the big difference is the multidisciplined route we took a little over a decade ago, which has borne fruit and allowed us to move across the various design disciplines more easily.
In the earlier days, you had an AV company that would only supply gear and techs alongside an event management company. With LHP blurring the lines between an AV, event management and design company, you can see a lot of companies follow suit with their foundational expertise taking a leap further in vertical disciplines such as permanent installations and offering more than just gear and technicians, while event management companies are now more creative in content creation – podcasts and live experiences with some moving into interiors as well. Since the pandemic, I feel a lot of companies want to stay nimble and diverse as staying solely in the events industry hurt a lot of companies through the COVID-19 years.
While there is always room for improvement, I feel the main areas that have seen expansive and qualitive growth is health and safety as well as the quality of small- and largescale productions. Companies that do bad production work are becoming rarer and rarer these days and therefore events have been scaling to larger indoor venues and outdoor venues with availability of qualitative production value. It’s also allowed venue expansion, so it’s great for us at LHP as we operate in a very niche creative part of the industry and since clients are now used to qualitive experiences, their expectations allow for more creative ideas. This leap of quality has taken place in the past decade exponentially.
Th e past 10 years for me has been about moving vertically and horizontally as a designer. I’m being pulled on consultancy projects across various disciplines and hopping creatively from a launch to a theatrical production to a sport awards and then film and content creation. This freedom is a blessing because as a designer you can get stuck in a single vertical if you’re not careful, and that can really disrupt your career. My move to multidisciplinary design over the past decade and more has put me in a cherry-picking position, which I wouldn’t want to ever give up. I get bored easily if I must repeat the same thing.
Lo oking ahead, we must be aware of much more than our immediate industry surrounding as we could be affected by myriad issues ranging from health and politics to war and recession. Our industry is moving cautiously although some are bravely expanding here in UAE and into Saudi Arabia, with that market still growing. I feel that the Middle East will see a large influx of major international IPs
and licensing across sports, entertainment, and TV shows due to the tourism target of the UAE and Saudi Arabia. However, I also see a few entities monopolising most of our AV industry, which could affect the creative side positively.
I se e more new concepts coming to life which will be IP protected locally and that will help SMEs flourish in the coming years. There are some talented entrepreneurs in the industry who I hope will push the envelope and take the leap to build unique ideas that can’t be monopolised by big players easily. www.lhpme.com
Shaam Pudaruth, Chief Operating Officer, MediaPro International
A lot has changed in the region since TPiMEA was launched in 2015. Dubai has seen a massive increase in concerts, festivals, and international DJ performances during that time. International offsite conferences and corporate events also increased significantly in the region, with all hotels with large ballrooms that could accommodate 300 to 800 people booked throughout the year. As a result, a lot of small and mid-sized technical rental companies emerged in the market – many of which are still doing well today.
Th ere has been a technological boom in the exhibition industry, where more and more stands started investing in AV significantly, such as Etisalat’s giant stand at GITEX.
There was always something new in terms of event technology or automation on every year’s show. The trend was followed by many exhibitors as technology became an integral part of the big expo stand.
Ar t festivals and exhibitions have grown massively over the years, as well; D3 became a hub for a lot of festivals, and the opening of Dubai Opera introduced a completely new genre of artist in the region. If you look at the calendar of events today, there is a huge and diverse portfolio of a variety of artists.
From there, everything in the region only grew –especially in Saudi Arabia, which opened its doors to international events in 2017. We had four to five international stages set up and running simultaneously during the Riyadh and Diriyah Season for months. The scale, volume, and quality of the events that followed was unbelievable. The Kingdom became the place to be in the region for festivals and even one-day concerts.
Me diaPro believes in investing in the latest technology and products, so we can provide international standards of products to our clients, productions and artists who are touring the region or even here for a one-off. The process is never ending as the market, product and requirements are evolving constantly.
Other than Dubai, which is our HQ, we are in Saudi Arabia (with branches in Riyadh, Jeddah and Dammam), Qatar, Bahrain, India, and Singapore. We are also now present with branches in Indonesia, Cambodia, Spain (Barcelona and Madrid) and the UK, which is the latest addition.
Th e industry is without a doubt expanding in the GCC.
The movement that MDLBEAST has brought to Saudi Arabia is revolutionary, and with the Saudi Vision 2030, new destinations such as Neom and Qiddiya will be emerging very soon. The number of international freelancers that have recently moved to the region is like nothing I’ve seen in the past, which says a lot.
Amazing shows are taking place in Dubai, Abu Dhabi, Bahrain and Qatar as well. The biggest concert promoter in the world, Live Nation, plays a major role in the growth of the entertainment industry in the region, with the likes of All Things Live also joining the party.
Wh en you see the calendar of events at venues such as Coca-Cola and Etihad Arenas, it’s simply amazing. You can see the thirst from the audience and the promoters are certainly delivering beyond expectations.
Th e GCC will without a doubt be the epicentre for the live event and entertainment industry in the region and even beyond. I firmly believe more and more international shows will take place in the region where an audience will travel from around the world to attend and enjoy what the region offers with its culture and people. The future is bright and looking extremely positive. www.mediaproav.com
Dock Eiffel
Andy Reardon, Managing Director, Creative Technology Middle East
Since TPiMEA was launched in 2015, both the company and I have experienced significant changes. For the company, it’s been about scaling up – expanding not only in terms of geographical reach but also in the volume of work we handle. We’ve ventured into new business directions and extended our territories, all while building an even stronger, more capable team.
Personally, my role has evolved with much larger daily responsibilities. The reporting lines have grown, and there are now more eyes on the business, reflecting our increased scale and complexity. It’s been a journey of continuous growth for both the company and myself.
Our industry never stops evolving. One of the most significant changes has been the rapid advancement of technology. Staying at the forefront of these developments has always been a priority at Creative Technology (CT), and the pace of innovation continues to accelerate.
Another notable change is the shift in generations. We’re seeing a fresh wave of talent coming into the industry, which is exciting. Supporting and nurturing this new talent is crucial for the future of our field. Client expectations have also grown significantly. There’s a constant demand for bigger, better, and more immersive experiences, and we’re continually challenged to push the boundaries to deliver.
One of my personal highlights over the past 10 years has been witnessing CT grow into the business it is today. Seeing the journeys of the people who joined me along the way, and how they’ve flourished in their own paths, has been incredibly rewarding. I still get a huge amount of excitement from the events we deliver daily – it never gets old.
Coming through COVID and not only surviving but accelerating to new heights is another significant moment for me. Winning and delivering the Expo 2020 Al Wasl Dome project was particularly special; seeing the smiles on people’s faces and knowing that billions of photos were taken and shared around the world was an unforgettable experience. Lastly, being recognised through multiple awards, and seeing the team acknowledged for the outstanding work they consistently deliver, has been a point of great pride for me.
Over the next 10 years, we will undoubtedly witness significant advancements driven by technology. AI, VR, and 2110 technology are already reshaping the landscape, and I believe we’ll see these innovations push boundaries across all technical disciplines. In addition, I see ESG (Environmental, Social, and Governance) becoming a central focus, with companies needing to ensure compliance and prioritise sustainability across their operations.
On the events side, I anticipate even bigger and more ambitious productions, as artists and agencies continue to push the limits of what’s possible with technology, both in live events and system integration. The Middle East, in particular, is poised for significant growth, with countries in the region working to expand their market share and develop world-class infrastructure. As for our business, I’m confident we’ll experience further growth. Our footprint will likely expand across new regions and countries, and I foresee us broadening the scope of the CT offering to meet the evolving needs of our clients and the industry. www.ct-group.com
Katie Veira, Founding Partner and Chief Creative Officer, HQWS
It has been a decade of tremendous change for HQ, although, I’m happy to say, the fundamental spirit and values on which the company was founded back in 1996 remain same. In 2017, HQ became part of Worldwide Shows Corporation (now Balich Wonder Studio) and over the five years that followed, HQWS evolved steadily as we focussed on restructuring the organisation, developing new markets, exploring new industry sectors and nurturing new partnerships. Last year, in a new deal signalling the evolution of content and live event companies, Balich Wonder Studio was acquired by world-renowned content group Banijay to build a Media and Entertainment powerhouse.
Fo r me personally, the changes have been immense, and ultimately very liberating. With the appointment of a passionate new C-Suite and Senior Management Team (some newly recruited and some of whom I have worked alongside for many years), and the recruitment of some amazing talent over this period, I have (finally) learned to ‘let go’ and focus primarily on providing higher-level creative input and in my role as a HQWS Partner and Board Director, which is increasingly important as we continue to adapt and navigate forwards.
We h ave been a part of many wonderful projects over the years. One of my personal highlights was Dubai’s Official 44th UAE National Day Show in 2015. The show was set on water and staged entirely on a network of submerged platforms, and the opening scene of riderless Arabian horses galloping at full speed across the water was probably one of my favourite and most heart-stopping show moments ever.
An other personal favourite was the Special Olympics MENA Opening Ceremony in 2018, which was a spectacular, truly inclusive ceremony within which there was no distinction between people of any ability and in which people of determination stood tall and proud alongside new friends. Working with so many amazing and talented individuals and their families was a rewarding,
educational and humbling experience. For Expo 2020, HQWS, Flash Entertainment and The Fridge came together to develop, curate, programme, manage and deliver all Live Entertainment across the two main performance venues at Expo 2020 Dubai.
Th e experience of engaging with international artistic communities, regional and homegrown talent, as well as all 192 Participating Nations and a diverse pool of the world’s best artists was both enriching and invaluable. In many ways, it reshaped the way I personally think about, and creatively approach, some of the important topics and themes we explored throughout.
An other milestone for me was the expansion of HQWS into the Kingdom of Saudi Arabia, where I’m very proud that our team is led by an incredible Saudi female GM and includes some fantastic local and international talent. The energy, excitement and ambition of our clients, and everyone involved, is tangible and it’s wonderful to be a part of this.
Th e past decade has seen a huge increase in some incredible competition within the market, which is always healthy and has driven us all even harder to keep raising the bar. As the region and market has matured, we have all had to think differently in terms of how we approach things. The world is changing, mindsets are changing, perspectives have shifted, and our clients want to ensure they are always ahead of the curve. It’s generational. For us, it’s about achieving a deeper understanding of, not just the specific wants and needs in terms of the ‘events’ but also of the much broader positioning and amplification, on multiple levels. Connecting more dots, understanding the wider KPIs of the projects we are involved with and offering solutions, sometimes alternative ones, with that in mind.
Over the coming years, and when the time is right, our aim is to roll out plans for further geographical expansion, initially into Australia (where we recently set up a small office), London and then, hopefully, some other key global territories. Our recent integration into Banijay Group has presented some really exciting opportunities which we have started to explore together, and we are also discussing partnership opportunities within a couple of niche, specialty sectors.
Mo re generally within the events sphere, while the essence of what we do revolves around bringing people together for shared experiences, I think we will see a pivot towards more personalised experiences, with AIdriven data insights allowing us to understand audience preferences more deeply and enabling solutions tailored to meet the specific emotional and sensory persuasions of individual participants.
Sustainability must be a cornerstone of our operational approach, with eco-conscious designs, reduced waste production, and carbon-neutral event planning becoming standard practices. We see this not only as a responsibility but as a unique value proposition to our clients, who are increasingly seeking to align their brands with ethical and green initiatives.
As i s the case for many companies, we expect peaks and troughs so will continue to operate a business model through which we can expand and contract resource levels as needed. With, often surprising, change being the only constant in this dynamic environment, we will certainly remain driven by the market – evaluating opportunities that present themselves, adapting and evolving accordingly. www.hqws.com
Live Nation: making its mark at Maraya
As Live Nation signs a three-year partnership agreement with AlUla Development Company to operate its iconic Maraya venue, TPiMEA catches up with Live Nation Arabia President, James Craven, to find out more…
What are the main aims of the new partnership?
The partnership aims to solidify the venue’s role as a leading entertainment destination, hosting a diverse array of events such as concerts, cultural performances, exhibitions, and conferences. Live Nation Arabia will manage various operational aspects at Maraya.
This collaboration underscores UDC’s dedication to preserving, enhancing, and celebrating AlUla’s natural beauty and cultural heritage.
How versatile is the Maraya in terms of being able to host a range of different events?
Maraya can accommodate a multitude of events from small business meetings to large-scale events, in both indoor and outdoor settings.
One of the most anticipated developments is the introduction of a brand-new outdoor space. This unique feature allows the theatre stage to rotate and face outside, enabling us to host events in an open-air environment. With this innovative design, Maraya can now accommodate up to 2,000 guests. This expansion not only allows for larger audiences but also opens up the possibility of hosting a greater variety of events.
What will your strategy be in terms of programming concerts and shows for the venue?
We aim to attract a global audience by showcasing Maraya’s unique features, positioning it as an essential destination and leading entertainment hub. A diverse lineup of shows will be curated to accomplish this, featuring both international and Arab talent. Additionally, we will launch the RCU Winter at Tantora campaign, which will emphasise concerts and highlight the exciting talent coming to Maraya.
How does the unique location of Maraya affect the way you promote events at the venue, especially keeping in mind the preservation of its natural beauty?
We aim to position Maraya as a one-of-a-kind entertainment destination that celebrates the rich cultural heritage of AlUla. The venue harmoniously merges ancient traditions with modern luxury, all set against the breathtaking desert landscape. Saudi Arabia, with nearly two-thirds of its population under the age of 30, offers limitless possibilities for growth and innovation.
Maraya promises an extraordinary experience, making it an ideal destination for those seeking both cultural enrichment and entertainment in a truly remarkable setting.
Are we likely to see any new in-house equipment or facilities to cater to world-class artists?
Maraya is a versatile venue offering a cutting-edge theatre, premium audiovisual capabilities, and expansive indoor and outdoor spaces designed to accommodate a diverse range of events.
We are particularly thrilled about the innovative outdoor concept space. By opening the windows behind the stage and rotating it, we can now serve a much larger audience with the stunning backdrop of the world’s largest mirrored building. This outdoor space is adaptable for both seated and standing events, making it uniquely capable of hosting virtually any type of event.
How does this partnership contribute to Live Nation’s goals in Saudi Arabia?
Live Nation Arabia is committed to driving success in the Middle East. This collaboration aims to deliver unforgettable experiences for audiences and artists alike, setting new standards in live entertainment and establishing Maraya as a must-visit destination for both locals and tourists.
Photos: Live Nation Middle East www.livenation.me
Robert Hayden, Tour Manager
From Australia to Zimbabwe, James Blunt’s Tour Manager shares some stories from the road and explains why far-flung destinations are all part of the fun of touring for the James Blunt touring camp.
With a web of logistical headaches, ever tightening margins, and all manner of travel-related red tape to cut through, touring in today’s market is as tough as it’s ever been. It’s no surprise then, that the trend nowadays is for artists and bands to stick to the well-trodden touring routes and avoid veering too far into the unknown. However, for James Blunt and his long-serving band and crew, discovering new destinations is all part of the fun of being on tour. “James loves that aspect of touring,” commented Blunt’s long-serving Tour Manager, Robert Hayden. “The desire to play these more unusual destinations trickles down from James. He’ll put on a show wherever we are the world, and if he’s happy then then the rest of us don’t have much excuse to moan!”
With the James Blunt camp at the tail end of the Who We Used To Be Tour, which started in the UK and Europe before heading to Morocco, South Africa and several dates around Australia, Thailand, Taiwan, China, and Hong Kong, TPiMEA caught up with Hayden backstage ahead of the show at the
SunBet Arena, Pretoria, where he spared a few minutes to reflect on some of the more unconventional destinations the camp have visited over the years and shared some of the quirks that come with following the road less travelled.
“For us, it’s all about having the correct information and being realistic with our expectations,” he said, explaining his approach to advancing a tour.
“Where issues can arise is if a promoter is too eager to please and promises the world instead of giving a realistic impression of what’s going to happen. The more we go to places, the easier it becomes, because we know what to expect. If we get the correct information right from the start, we’ve just got to work with it.”
Having worked with Blunt since the early days of playing clubs, Hayden has been all over the world with the singersongwriter, including several stop-offs that don’t appear on the typical touring route. “One that immediately springs to mind is a great run we had after leaving the USA, which took us through Tahiti, Reunion Islands and New Caledonia, on the way to New Zealand and Australia,” he recalled, reminiscing about some of the most memorable places he and the team have visited over the years. “When you look on a map, they’re just tiny dots in the ocean, but they are beautiful places – and the shows were well attended with great audiences.”
Of course, each territory comes with its unique set of challenges, from flight times and visa issues to hotel arrangements and even protocol during the show. “Some countries insist on having a list of songs that James is going to play in each city on the tour, so that’s another thing that must be considered before we go,” he revealed. “If you want to play these territories, it’s something you must deal with.”
According to Hayden, the fact that James Blunt and his band are so flexible makes touring to unusual destinations possible. “As long as we can get hold of a piano or a keyboard, we can put on a show. They’re fantastic musicians and they can make it work with what they’ve got, which is testament to their talent,” he praised. “It really is all about going into a show with the right attitude, an open mind and realistic expectations.”
Before Hayden was called away to facilitate the pre-show meet and greet, we posed the question, where’s left on the travel bucket list? “There aren’t too many places where we haven’t been,” he laughed. “We’ve done 46 of the 50 US states but not Alaska yet. I’d love it if we could get up there at some point.”
www.jamesblunt.com
Green sparks: how firework displays can be sustainable
As Flash Art becomes the world’s first carbon-neutral firework display company, TPiMEA catches up with Technical Director, Tony Samuel, and Managing Director, Jakub ‘Kencho’ Skalski, to find out the motivations and methods behind the move.
When it comes to sustainability and lowering the carbon footprint of events, fireworks are certainly not the first thing that spring to mind. However, according to Tony Samuel, Technical Director at Flash Art, that view is wide of the mark. “Many believe that fireworks inevitably come with a significant carbon footprint and that reducing their environmental impact is nearly impossible. However, at Flash Art, we are proving this belief wrong,” he began.
“As part of our Continuous Improvement Strategy, sustainability has been a central focus throughout the first quarter of 2024. Although it has been a challenging journey, the results speak for themselves. Flash Art is proud to claim to be the world’s first carbon-neutral firework display company.” With sustainability being an incredibly hot topic in
the events industry that is only going to grow in importance, Samuel was determined to change the public perception of fireworks. “When clients and audiences see fireworks, they often assume that the produced smoke and fire are an environmental catastrophe. However, that is not the case, and we can prove it,” he stated.
The company can demonstrate the carbon footprint of its displays by using specialist software that accurately measures the tonnes of carbon dioxide equivalent (tCO2e) to within 0.01kg. “Organic chemistry is a precise science, and we have calculated that the pyrotechnic product used in a typical, medium-to-large, five-minute show produces 180.5kg of carbon gas emissions,” Samuel explained. “To put that into perspective, it is equivalent to the emissions
created by 4.6kg of lamb on the shelf at your local supermarket, 77 burgers at a global fast-food outlet, or 95kg of milk on supermarket shelves.”
While these figures reflect the fireworks used in a typical display, achieving true sustainability means addressing many ancillary factors as well. “As a company, we have always prided ourselves on delivering creativity, quality, safety, and value for our customers and audiences. Now, we are also committed to leading the way in sustainability,” Samuel commented. “Our efforts have earned us the Gold Standard Certification from the Neutral Carbon Zone (NCZ), which is aligned with ISO 14064-1, 2, and 3. This certification covers: the design, management, reporting, and verification of Flash Art’s greenhouse gas (GHG) operational activities; guidelines for quantifying, monitoring, and reporting GHG reductions from specific projects; and indirect GHG emissions in our operational chain, including travel, waste disposal, and supply chain activities.”
In 2023, Flash Art took the extra step of completely offsetting all of its business activities’ emissions, guided by the NCZ report. “This includes everything from making a coffee to crew flights, hotel stays, commuting, A/C servicing, on-site consumables, boats, barges, cranes, and all logistics,” Samuel explained, noting that every firework display performed by Flash Art that year was offset through Certified Emission Reductions (CERs) with these funds dedicated to a hydroelectric project in Indonesia. “This also includes 17 firework performances from last New Year’s Eve,” he remarked.
Af ter consulting with NCZ, Flash Art decided to focus on green energy projects for its offsets rather than tree planting. “We made this decision because while tree planting is a valuable tool for offsetting emissions, it cannot replace the systemic shifts needed to combat climate change effectively. Green energy investments address the problem at its source, offering scalable, immediate, and long-lasting solutions,” Samuel explained.
“Transitioning to renewable energy sources like solar, wind, and hydroelectric power reduces reliance on fossil fuels – the biggest contributor to greenhouse gas emissions. Switching to clean energy can cut emissions immediately, preventing millions of tonnes of CO2 from entering the atmosphere. Investing in green energy can transform energy grids, benefiting millions and reducing emissions on a global scale.
“I nvesting in green energy drives innovation, creates jobs, and stimulates economic growth. It supports the development of new technologies, infrastructure, and industries essential for a sustainable future. The renewable energy sector is crucial for economic expansion, helping nations diversify their economies while addressing climate change,” he added.
“We are also proud of our primary logistics supplier, Mission Global, which has recently achieved Silver NCZ status – a significant achievement in the region and a testament to their commitment to sustainability.”
For Flash Art Managing Director, Jakub ‘Kencho’ Skalski, the benefits of the initiative are clear: “When Tony first brought up this idea, I must admit I was sceptical, to say the least. Claims of social responsibility and sustainability have become a constant element in all advertising, and yet the world’s problems seem to persist. However, once it had finally become clear to me that we can control which exact investments will be supported by our contributions, the decision became the easiest I had ever made,” he stated.
“The hydro-electric plant we chose will produce green energy for decades, and in a region which cannot boast record wealth accumulation. I will gladly do it again next year and for as long as we can.”
Photos: Flash Art www.flashart.com www.mission-global.com www.neutralcarbonzone.com
Flash Art Managing Director, Jakub ‘Kencho’ Skalski, and Technical Director, Tony Samuel.
Valerie Gard: Breaking the sound barrier
Renowned audio engineer Valerie Gard partners with Sennheiser to host a special live performance workshop for female musicians at the Fridge Dubai in honour of Emirati Women’s Day.
As much as campaign groups, major companies and industry figureheads are raising awareness and working to address the imbalance between men and women in the live events industry, it’s clear that women are still under represented – especially when it comes to technical roles. One person who is devoted to levelling the playing field is Valerie Gard, a TPiMEA Award-winning audio engineer and system technician who has been involved with some of the biggest shows both inside and outside the Middle East, from the likes of Anoushka Shankar, Christian Scott, and London Royal Philharmonic to the main stage at Expo 2020 Dubai.
“There are still so few women in the industry – both in technical roles and as musicians – so, I believe it’s important to offer guidance and be a role model,” Gard explained.
Ke en to share her knowledge with other women, the engineer recently teamed up with Sennheiser to host a workshop on the technicalities of live performance for female musicians. “Having women in these spaces helps build confidence and shows that there’s a place for them here. It’s crucial for women to have the opportunity to grow their skills and see themselves succeeding in this field, and I wanted to be part of an initiative that supports that.”
Taking place at the Fridge Dubai on 28 August, the event covered the fundamentals of sound from both a musical and technical perspective and provided the participants with the opportunity to get hands-on experience with a range of high-end audio equipment. “It’s essential for musicians to understand how sound works, what can cause issues, and how to prevent them,” Gard told TPiMEA.
“We discussed technical aspects such as microphone choice and placement, and how these factors can influence the sound significantly. By exploring various types of microphones, we demonstrated how different characteristics affect performance and the overall mix,” Gard added. “The goal was to provide participants with a solid foundation in sound – empowering them to take control of their sound on stage and go beyond just playing their instruments.”
For the hands-on portion of the day, a mix of Sennheiser and Neumann microphones were used, ranging from RF mics with different capsules to wired mics with cardioid and supercardioid patterns, as well as condenser and dynamics. “We also worked with Sennheiser in-ear monitors, allowing the participants to compare the clarity and control they offer compared to traditional wedge monitors,” Gard revealed.
“This was a key part of the day, as it demonstrated how in-ear monitors can improve a performance by reducing stage noise and providing a more accurate and consistent mix. The participants were able to experiment with all the equipment to gain practical insights.”
Gard was keen to thank both Sennheiser and The Fridge, whose support she described as “absolutely critical” to the success of the event: “Sennheiser provided us with a wide range of high-quality equipment, which allowed the participants to get hands-on experience with industry-standard gear. The Fridge also played a huge role by providing the perfect venue and creating a welcoming environment,” she commented. “Their collaboration made the event run smoothly, and I’m very grateful to both for their commitment to this initiative.”
Mig Cardamone, who heads Sennheiser Middle East, added: “As we celebrate 15 years in the Middle East this year, we are proud to be corporate citizens of the region working out of Dubai. This initiative represents our values, and we hope it is the beginning of many more women’s day celebrations in the years to come.”
Overall, Gard was pleased with the turnout and engagement levels: “The participants were eager to learn, and it was clear from their questions and the discussions we had that there’s a lot of interest in technical aspects
of sound,” she stated. “It was rewarding to see how they grasped some of the concepts and began to see sound in a more holistic way. The energy in the room was great, and I’m confident that many of the connections made during the workshop will continue to grow.”
Of course, special events like this are only the thin end of the wedge when it comes to ensuring consistent support for women in the live events industry. “Beyond workshops and special events, the industry needs to ensure that women are consistently hired in technical roles so they can be seen as a standard part of the workforce, rather than as something extraordinary,” Gard explained. “Women need to be given the same opportunities as men in live events, production, and technical roles, which means actively including them in projects and creating environments where they can thrive.
“Regular training programmes, mentorships, and visible opportunities for women in technical positions would go a long way in normalising their presence in the industry,” she concluded. “The more women are seen in these roles, the easier it becomes for the next generation to envision themselves in the same positions, which will help to further break down barriers.”
Photos: Sennheiser Middle East www.sennheiser.com www.thefridge.ae
Fira de Barcelona | Gran Vía
4 - 7 Feb 2025
CONNECTION RESTORED
The world-renowned annual tech show is back. Time for virtually impossible experiences, to discover where show meets business, to uncover tomorrow’s tech today and develop our own knowledge. Time to be inspired, reconnect with each other and drive things forward. Time to switch it back on at ISE 2025.
Rock-it Cargo Middle East
As Rock-it Cargo formally launches its Middle East presence, Middle East Manager, Bob O’Brien and GCL Middle East Managing Director, James McSweeney explain how the company is aiming for growth and building a long-term business in the region…
With a rich history of putting together the logistical operations behind the world’s biggest shows dating back to the late 1970s, when it comes to concert touring, Rock-it Cargo has always been at the forefront of the industry. From bringing Billy Joel’s tour into the former Soviet Union to facilitating Metallica becoming the first band to play all seven continents, the company has been the backbone of many a groundbreaking production over the years.
Ro ck-it Cargo is no stranger to the Middle East, having operated in the region for many years, and the company’s presence in the region was strengthened earlier this year as it opened a dedicated headquarters in Dubai following the acquisition of SOS Global by its parent company, Global Critical Logistics (GCL) Group. “Rock-it has been the leader when it comes to global live music touring, while SOS has traditionally dominated the market in the sports and broadcast industries, so it was a natural fit,” stated Middle East Managing Director of GCL, James McSweeney, explaining the thinking behind the acquisition.
Heading up the new Rock-it Cargo Middle East operation is Bob O’Brien – a touring veteran who swapped the production office for the world of logistics when he set up SOS Global’s
Middle East presence back in 2021. “What I’ve found during my time living in the Middle East is that there are very specific processes in place for movements within the region that are very different to rest of world, but the fact that our team has over 80 years of combined experience in this region is a massive plus point that gives us the edge,” O’Brien explained to TPiMEA.
Th e deal is the latest in a series of strategic acquisitions that has enhanced and diversified the GCL portfolio, with the group now growing into several complementary sectors of logistics and freight forwarding, including fine art with DIETL, film and TV with Dynamic International, and high-value vehicles with CARS (Classic Automobile Relocation Services). In fact, Rock-it and its sister companies now have offices in 18 countries and, in 2023, completed shipments in more than 115 countries.
“The really exciting thing is the breadth of the group’s offering, which is especially well suited to the demands of our Middle East clients,” commented McSweeney, who joined GCL as Middle East Managing Director after the group acquired his company, CARS, at the start of 2023.
O’ Brien elaborated: “It’s not unusual to move kit for a live event, an art piece, and a high-value car all for essentially the same client. Each of the
verticals in the group complements the other and it’s a perfect fit for the region.”
To those who would say all freight is the same, O’Brien’s response was unequivocal: “You might be great at moving six 747s for a rock concert, but your expertise isn’t necessarily applicable when it comes to moving a piece of fine art or a high-end car, and vice versa,” he commented.
“While many of the principles are the same, each vertical takes a different know how and approach, so it’s great to have all these experts in their respective areas together under one roof. There’s not much we can’t do in logistics now.”
Th e ‘under one roof’ concept is something that is important to O’Brien not only in the sense that the companies are actively collaborating and supporting each other, but also in the literal sense of everything working out of the same physical space at the Dubai headquarters of Rock-it and CARS. “The pandemic meant that we all had to work remotely for extended periods of time, which we navigated very well. However, returning to an office-based structure is certainly more productive for us here in the Middle East. This office-based structure is key to our ability to quote without delay and to strategise as a collective team. Being in the office has been hugely beneficial right across each department.”
‘A very exciting growth period’ For Rock-it, adding a touring veteran with a lengthy live events background such as O’Brien to its ranks is a huge boost to its Middle East operation. “Having someone with that length of experience in the live events space on the ground in the Middle East is hugely valuable,” McSweeney said. “The industry is making huge strides in the Middle East and for them to know that there’s an ex-touring industry veteran at the end of a phone at a moment’s notice and here on the ground – whether that’s in Dubai, Riyadh, Jeddah or anywhere else – is a huge benefit.”
It ’s no secret that the Middle East is a growth market, and Rock-it is undoubtedly set to capitalise on what promises to be an “exceptionally busy” year – powered primarily by the astounding growth in Saudi Arabia. “We are at the start of a very exciting period of growth throughout the region, but KSA is where much of that growth is forecast,” McSweeney explained. “From a logistics perspective, everything from music touring to systems integration is thriving and we are perfectly set up to service the needs of our clients in the Kingdom.”
A feather in the Rock-it cap is GCL’s exclusive commercial partnership agreement with SAL Saudi Logistics Services, which handles 99% of Saudi Arabia’s inbound and outbound air cargo, with operations at Riyadh, Jeddah, Dammam, Madinah, and many other domestic stations.
Under the agreement, SAL provides exclusive logistics services to all GCL companies inside of Saudi Arabia, while GCL supports SAL for all global logistics and freight forwarding services for projects originating in Saudi Arabia and requiring solutions into and out of the country.
Rock-it Cargo’s Operations Manager, Neville Havenga, lives in Riyadh and works closely with SAL. “Neville has over 30 years of experience in the global freight world and has been on the ground in KSA for all of Rock-it’s MDLBEAST projects over the past four years,” O’Brien stated. “He now heads up our Riyadh Operations.”
The growth in Saudi Arabia may grab the headlines, but according to O’Brien, there’s plenty to be excited about outside of the Kingdom, too. “There are huge things happening all over the GCC, the wider Middle East and surrounding areas,” he beamed. “From a touring perspective, you can see all the major promoters bringing bands over to the region for multiple dates in several territories. The Middle East, North Africa and India is now a genuine profitable touring route – and the main hub for connecting all these destinations is Dubai.”
Lo oking to the future, both O’Brien and McSweeney are excited for what lies ahead.
“We’re on a growth spurt and we’re up for the challenge,” O’Brien stated. “I’ve been in and out of the Middle East since 2000, living here for the past four years. I love the challenge in the region right now because it’s still a developing market.
We’re still only scratching the surface of the opportunities here. There’s no better place in the world to be doing what we’re doing.”
Mc Sweeney concluded: “We’re taking a longterm view and we’re not in a rush. We want to get it right. We’re experienced enough to know the importance of not running before we can walk.
The companies are integrated and it’s all about growth and servicing the needs of our clients.”
Photos: Rock-it Cargo www.rockitcargo.com
Top: Bob O’Brien (second from right) and James McSweeney (right) alongside some of the Rock-it Cargo Middle East team.
The Event Verse
Born in Saudi Arabia and with global ambitions, this tech-focussed events company is aiming to empower organisers to take their events to new heights.
TPiMEA meets co-founders Ieva Irbina and Alex Wiseman to find out more…
If a live event is done properly, all the headlines will go to the stars on stage. However, as anyone working in this industry is all too aware, behind every show is a hardworking crew operating quietly and efficiently to ensure that the artists look and sound spectacular, wherever in the world they are. As events get bigger, the logistical management behind them must also grow, with everything from crew travel and training to accreditation and artist liaison requiring constant care and attention, often in the form of painstaking manual updates to endless spreadsheets. This is a headache that Ieva Irbina and Alex Wiseman are looking to remove from productions with their new company, The Event Verse.
“The old-fashioned way of spreadsheets has worked previously for many events, but it is a lot of manual work, so if we can remove that admin, it not only reduces the capacity for human error but also leaves people more time and headspace to focus on what is happening and making the event run as smoothly as possible,” Irbina began.
On a mission to “revolutionise the event industry by seamlessly integrating cutting-edge technology with deep operational wisdom and an unwavering commitment to excellence”, The Event Verse aims to empower organisers to elevate their events to new heights.
Th e company was born in Saudi Arabia after Wiseman and Irbina’s former employer which helped deliver MDLBEAST events for several years decided against continuing in the region. “We met with MDBLEAST to discuss if we wanted to take over some of the logistics and artist scope,” Wiseman explained. “It was the ideal time for us to set up a company that is technology forward, developing systems and bringing them into the accreditation, logistics, artist liaison, hospitality and event operation side of events.”
With Wiseman heading up the logistics and Irbina controlling the artist side, the initial aim is to provide continuity to MDLBEAST. “We’ve taken over the development of the MDLBEAST Crew Hub and are pushing that forward into a new release later this year,” Wiseman revealed.
As a Saudi-based company, one of the key aims
for The Event Verse is to ensure that local Saudi talent is nurtured. “I remember back when I was starting out at 16 years old, there was someone who saw something in me and gave me a chance, and that is what we want to do here in Saudi,” Irbina stated. “There are so many Saudi nationals and Saudi-based young people who want to enter the industry, and we can offer them that leg up and help them grow.”
The company has already onboarded around a third of its Saudi-based workforce, and it’s also developing an impressive network of freelancers who can be called upon during particularly busy periods. “We are delighted to see our network growing so quickly,” Wiseman proudly reported. “We want to build a sustainable business and give back to the country where the company got its start.”
A major advancement for this year is the work The Event Verse is doing alongside travel management company, TAG, integrating their workflow into the MDLBEAST Crew Hub.
“I nitially, we only had the flights integrated, but now we have gone one step further and integrated accommodation into that as well,” Wiseman revealed. “So, flights and accommodation that are booked by TAG synchronise automatically through to our crew system so that we can both report on that data, but also the crew members have a single area to go to with all the information they need.”
With a raft of technology that is being developed and rolled out constantly, The Event Verse team believe that the Middle East, and specifically, Saudi Arabia is at the forefront of development in the field. “We’ve definitely had an advantage in terms of development because of the commitment that the MDLBEAST team, especially Executive Director of Events, Michael Jobson, has shown in making this work,” Wiseman commented.
“From the top level down, we are getting the support that we need to create a system that will work for every department, because the leadership recognise that this has the potential to revolutionise how festival sites operate.”
The Event Verse takes great pride in being able
The Event Verse co-founders, Ieva Irbina and Alex Wiseman
to offer “the perfect artist journey”, and Irbina has extensive personal experience in working with high-level artist teams – not least during Soundstorm 2023 [see TPiMEA 46], when Metallica’s Production Manager, John Mulder, singled her out for special praise. “The festival has thousands of workers, but there was one person I was so impressed with, Ieva Irbina,” he told TPiMEA. “She had 250 vehicles to take care of, yet she remained completely calm. I would say she represents the festival as a whole – calm, organised, spot on.”
Wh en presented with Mulder’s praise, Irbina reacted humbly. “John is one of the most experienced heads out there and he can tell if something is good or not straight away,” she smiled. “So, I can only be grateful that we got the opportunity to work together and demonstrate our capabilities and how good it can be to play a festival in Saudi Arabia.”
Lo oking to the future, the co-founders are excited about the potential of the business: “The company was born in the Middle East and that will always be at our heart, but we see no reason why the business can’t expand globally –especially into the United States. We are always looking into different ways that we can do that and how the technology works on the other side of the world in different conditions and for different applications,” Wiseman commented.
“Who knows? Maybe in five years we’ll have our own academy helping to train young people who want to enter the industry and become the next generation of event professionals,” Irbina speculated. “Anything is possible, but right now we’re entering a massive events season in the Middle East, and we’re fully focussed on getting that right.”
Photos: The Event Verse www.theeventverse.com
“The company was born in the Middle East and that will always be at our heart, but we see no reason why the business can’t expand globally.”
Ieva Irbina, co-founder, The Event Verse
The Big Reveal
From kabuki drops to high-speed rollups, ShowTex Middle East’s Romeo Sale provides a peek behind the curtain into the world of reveals.
Used in everything from product launches to live concerts, reveals often provide the most memorable moment of a show, building suspense and bringing the audience to the edge of their seats before unveiling the focus subject everyone has been waiting for.
“Reveal systems are the heart of suspense in any show, igniting curiosity and keeping audiences on the edge of their seats, eager to discover what’s hidden behind the curtain,” began ShowTex Middle East KSA Branch Manager, Romeo Sale.
“I n the end, when the reveal is executed – whether it’s a quick release or a dramatic reveal – this creates the magical ‘wow’ moment of the show, when all is discovered, and all questions answered.”
Th ere are many technical considerations when planning a reveal, and at the top of that list is whether the reveal is indoors or outdoors. “This detail is important as the setup approach for both situations is totally different. Each scenario presents its challenges, with
outdoor projects adding an extra layer of complexity. We, along with the other suppliers, prepare for these challenges as a team,” he explained. As Sale mentioned, there are several types of reveals, each with unique characteristics suited to different applications.
“D oes the client want a dramatic or a quick reveal? And what about fabric direction? By answering these questions, we can determine which system is best suited for the project. This also dictates the methodologies for installation and integration.”
Th e duration of the event or show is another factor to consider when selecting the fabric. “It also answers the question of whether a spare one will be needed,” Sale continued.
“For a show running an entire winter season, spares are generally recommended for both the reveal system and the fabric. We must be prepared for all scenarios – the show must go on.”
With all these questions answered the ShowTex team can employ a range of
techniques to achieve the desired effect. One option is the HiSpeed RollUp, which combines a HiSpeed Motor and a truss roller to roll fabrics up and down at dazzling speeds.
Fo r vehicle launches, the AutoReveal allows the user to unveil a curtain at the push of a button, with the fabric sliding elegantly underneath the car.
Th ere’s also the famous kabuki drop, where the curtain suddenly drops to the ground at the touch of a button. Or when paired with a HiSpeed reveal, the fabric is plucked out of the air and disappears almost magically in one smooth movement – a technique known as the Sniffer Effect.
“Throughout our presence in the Kingdom, we’ve had the pleasure of working with the greatest minds in the event industry,” Sale concluded. “We’ve done groundbreaking shows in Riyadh and Jeddah, most of which can be found on the ShowTex website.”
Photos: ShowTex Middle East www.showtex.com
MEGA lite M-Sphere
Guillermo Cabada, Marketing Director at MEGA lite, introduces the company’s unique mirrored lighting fixture set to bring a new level of innovation to events and installations throughout the region…
What are the main features of the M-Sphere?
The M-Sphere is a unique lighting fixture that features a 101 hex mirror ball on one side and a beam-reflecting mirror shaped by a Pixable halo ring on the other. This distinctive combination, along with its continuous rotation capability, allows for the creation of many unique and captivating lighting effects.
Could you talk me through the R&D process behind the product?
The M-Sphere is not just about aesthetics; it’s about safety and ease of use. The fixture is designed to be lightweight and heat-resistant, ensuring a safe and easy installation process. Our team brought this product to life within about a year of development, from conception to completion, with a strong focus on user confidence and security.
Why is the fixture well suited to the Middle East region?
The M-Sphere is not just a lighting fixture; it’s an innovation designed for the future. In the Middle East, where innovation is key, it serves as an essential tool for creating a wide range of stunning lighting effects. Its unique design and versatile capabilities make it ideal for various applications, from events to installations, inspiring new creative possibilities.
Where can Middle East customers get hold of the M-Sphere?
All lighting designers, providers, and enthusiasts can purchase the M-Sphere on the website.
Photos: MEGA lite www.mega.lighting
Adam Hall hosts Cameo open day in Dubai
The event welcomes customers and partners as the ORON H2 is showcased for the first time in the Middle East.
At the end of August, Adam Hall Group’s lighting technology brand Cameo welcomed numerous customers and partners from the Middle East and Africa to the official CAMEO DAY in Dubai. Among other things, the Cameo team presented the pioneering ORON H2 IP65 Hybrid Phosphor Laser Moving Head for the first time in the Middle East region.
Fo llowing its world premiere at Prolight + Sound 2024, the ORON H2 was showcased live for the first time in the MEA region, with CAMEO DAY participants – rental and dry hire providers, lighting designers, operators, programmers, and distributors – able to experience the world’s first IP65 hybrid phosphor laser moving head up close and personal.
In a ddition to individual presentations by Cameo Field Application Engineer, Darius Ansari and Senior Product Manager, Light Technology, Daniel Wrase, Cameo also demonstrated the full laser power of the ORON H2 by casting
widely visible beams into the open sky. Guests were also treated to a viewing of Cameo’s most powerful LED moving head to date, OPUS X4 PROFILE, as well as bestsellers ZENIT W600 and ZENIT B60, and the PIXBAR G2 series.
“We were very pleased to meet many of our existing customers and partners from the GCC and MEA region on site, as well as to talk to new interested parties,” stated Adam Hall Group COO, Markus Jahnel.
He a dded: “The response to CAMEO DAY was impressive: over a dozen companies signalled great interest in the performance and innovative power of our lights. The GCC and MEA markets are inquisitive, and we have an ambitious plan to further expand our presence in the Middle East and make Cameo a market leader in the local lighting industry.”
Photo: Cameo www.cameolight.com www.adamhall.com
Identity opens in RAK
The new office is set to support regional expansion and the company’s longterm growth objectives.
Identity Middle East has opened a new office in Ras Al Khaimah (RAK), aimed at expanding the company’s operations and enhancing its ability to serve clients across the Middle East. This new office is part of Identity’s broader strategy to strengthen its regional presence and support its long-term growth objectives.
“Ras Al Khaimah’s dynamic growth and strategic location make it an ideal base for our operations,” commented Dr Ray Tinston, Managing Director of Identity Middle East.
“The emirate’s strong commitment to sustainability aligns perfectly with Identity’s core values, enabling us to better serve our clients while contributing to sustainable development in the region.”
Ras Al Khaimah was selected for its strategic advantages, including proximity to key markets,
access to a skilled workforce and a favourable business environment. In 2023, the emirate recorded 1.22 million overnight arrivals, with a 40% increase in international visitors, highlighting its appeal as a business and tourism destination.
Th e emirate has also become a key hub for international events, hosting significant conferences such as the Arab Aviation Summit, the Pacific Asia Travel Association (PATA) Annual Summit and the World Tourism Forum Lucerne Start-Up Innovation Summit.
Ad ditionally, Ras Al Khaimah’s commitment to sustainability is reflected in its recent Silver Certification from EarthCheck’s Sustainable Destinations, marking the first such recognition in the Middle East.
Photo: Identity Global ae.identityglobal.com
Robe illuminates Wheel of Fortune
Homebrew in Cape Town, South Africa, has invested in new Robe LEDBeam 150s for the recording of the most recent series of game show, Wheel of Fortune.
Th e LEDBeam 150s were specified by Head of Lighting Daniel Louw, who oversees all things lighting related for a few productions at the film and television production facility. The 20 new fixtures were delivered via the Cape Town office of DWR Distribution, Robe’s Southern Africa distributor, and are rigged top and bottom of two large set pieces in Atlantic’s Studio for the current Wheel of Fortune production.
Louw received the set specifications from Set Designer, Michael Gill, meeting with him and Director, Geoff Butler to work on the show visuals, which have all been designed with controlled
lighting of specific areas in mind. Six LEDBeam 150s are spaced out along the top of each piece each side, with eight on the floor and these have become a workhorse throughout this series.
Having worked with LEDBeam 150s many times, Louw described the fixture as one of his favourite small luminaires that offers “a beam and a wash at a great price”.
He a dded: “LEDBeam 150 was a great solution in terms of size and functionality. They are very compact and low profile – essential to maintain the clean, modern, streamlined aesthetic of the show. The zoom is excellent, and they are punchy enough to cut through all the key, set wash and other scenic lighting.”
Photo: Louise Stickland www.robe.cz
Aggreko launches new low-emission Battery Energy Storage Systems
The new plug-and-play solutions aim to meet the constantly evolving needs of the company’s Middle East clients.
Aggreko has introduced two new mid-size commercial Battery Energy Storage Systems (BESS) for smarter energy management. The newly launched range of fully integrated plugand-play BESS solutions come in two sizes – 500KW and 250KW – to suit a wide range of industrial and commercial energy storage applications. They ensure maximum system effectiveness and deliver optimal system performance, minimise operating costs and reduce carbon footprint.
“We are excited to introduce our new midsized (BESS) to the regional market,” stated Adam Read, Head of Sales – Middle East, Aggreko. “They can be used as a standalone power source or in combination with mobile solar panels, wind or generators.”
With potential to be used in live events as well as several other industries, the new BESS units enable management of variable loads by storing excess energy for later, increasing reliability and eliminating light load periods.
They are ready-to-install units that include batteries, inverter, HVAC, fire protection and other required components. Both come with an ECO controller that provides intuitive control and monitoring for all batteries and power electronics integrated in the battery pack. The units deliver zero CO2 emissions, zero noise, and have zero maintenance needs, enabling operators to minimise environmental impact.
“To meet the constantly evolving energy demands of businesses, our BESS units are made scalable to match changing needs,” Read added. “A single unit can be easily combined into an integrated energy storage system to deliver the power and energy capacity required for any business. Incorporating batteries can be a significant step toward sustainability for any company. Additionally, battery-based solutions can provide reliable emission-free energy for specific processes while reducing fuel costs.”
