TPiMEA #059 - April/May 2026

Bahrain’s Ultimate Entertainment Destination.

Incredible Artists That Have Played Our Stage

André Rieu | Backstreet Boys | Bill Burr | Bruno Mars | Calum Scott | Cassandra Coleman | Central Cee | Charlie Puth | Disney On Ice | Ed Sheeran | Emotional Oranges | Eminem | Eric Clapton | Gabriel Iglesias | Gary Clark Jr. | Glass Beams | Ghostly Kisses | Greta Van Fleet | Guns N’ Roses | Halsey | Imagine Dragons | Jack Harlow | Jeremih | Jo Koy | Khalid | Kevin Hart | King Bach | Kings of Leon | Lil Jon | Lionel Richie | Linkin Park | Majid Jordan | Maroon 5 | Martin Garrix | Maz Jobrani | Metallica | Michael McIntyre | Metro Boomin | OneRepublic | Paul Tonkinson | Pitbull | Plastic Boys | Post Malone | Russell Kane | Russell Peters | Saint Levant | Scorpions | Stephen Wilson Jr. | Steve Vai | The Smashing Pumpkins | The Yussef Dayes Experience | Tiesto | Trevor Noah | Tyla | Westlife | 50 Cent

SHORTLIST ANNOUNCED & VOTING OPEN VOTING CLOSES EVENT

THURSDAY 2 JULY

THURSDAY 2 JULY

THURSDAY 2 JULY

THURSDAY 30 JULY

THURSDAY 13 AUGUST

THURSDAY 10 SEPTEMBER

Welcome to TPiMEA

Peter Iantorno Editorial Director

I tried my best to think of a way to write this introduction without referencing the elephant in the room, but the unfortunate truth for the live events industry in the Middle East is that right now, everything must be viewed through the prism of the conflict in the region. It seems churlish to bemoan the timing of a war that has inflicted real-life consequences on so many, but the fact is, alongside the tragic loss of human life, the conflict has also resulted in the loss of one of the busiest periods in the Middle East’s live events calendar. Many events have been forced to cancel or postpone – including our very own TPiMEA Awards, which will now take place on 10 September – and there’s no doubt that the enforced downtime will have a knock-on effect for businesses throughout the region.

It ’s not all bad news, though. Amid the uncertainty, there are early signs of recovery. The UAE Ministry of Education has announced the return of children to schools – a development that will no doubt be much appreciated by working parents. There have also been plenty of examples of resourcefulness among the live events community –some of which are highlighted within these pages.

While nobody can be sure exactly how or when normality will return, one thing that can’t be denied is that the industry is extremely resilient and, one way or another, it will bounce back. My certainty of this is based on the talent and drive I see among the people who create the events that we feature in TPiMEA month after month, year after year. These people will always find a way to succeed.

Ou r cover star for this issue is an example of what can be achieved when talented teams unite behind a common goal. The largest mass-participation sporting event the region has ever seen, the Open Masters Games brought together more than 25,000 athletes of all skill levels for 10 thrilling days of competition. Read all about the production behind the spectacular Opening Ceremony, delivered by People, on page 48

Elsewhere, I was fortunate enough to be invited behind the scenes of Linkin Park’s From Zero World Tour, spending the day with Tour Director Jim Digby and the crew ahead of their show at the Etihad Arena. The resulting article is not just a profile of the technical aspects of the band’s production, but also an insight into the importance of mental and physical wellbeing on the road (page 30).

We also have an in-depth profile from the Joy Awards in Riyadh (page 58), MEI’s Maria Kyvernitis shares her story (page 10), we hear from the Group CEO at Alsayegh Worldwide, Alex Bendiouis (page 76), and much more.

Enjoy the issue.

First Look

10 Maria Kyvernitis

From an early career in the beauty industry to running a backline and orchestral rental services company that caters to the region’s biggest shows, MEI's Head of Operations shares her story.

Event Focus

18 LIV Golf Riyadh

Lasers, lighting, projection, LED and water effects combine to produce spectacular scenography.

24 The Sixth Sense Festival

A projection mapping triumph in Bengaluru.

26 AFCON 2025

Performers turn into moving pixels at Rabat’s Prince Moulay Abdellah Stadium.

Production Profile

30 Linkin Park: From Zero

Crew welfare is front and centre as an 80-strong team support a new-look Linkin Park on their return to the road. TPiMEA reports from Etihad Arena…

48 Open Masters Games

The Open Masters Games kicks off with a stunning Opening Ceremony in Abu Dhabi.

58 Joy Awards 2026

Local and international suppliers come together to deliver a sparkling spectacle packed with creativity and technical excellence at Riyadh’s ANB Arena.

Interview

70 ES :ME talks rope access

There's a difference between rigging and high ropes...

72 Eoghan Gill, JAM KSA

JAM's Saudi MD explains how his global experience is set to benefit the company's offering in the Kingdom.

74 From ambition to execution

Why system thinking matters – with 3 Monkeys and Beckhoff Automation.

Feedback

76 Growing in unity

Alex Bendiouis of Alsayegh Worldwide on why longterm relationships always override short-term gain.

78 Public safety in KSA

ESM Operations discuss how to navigate public safety at large-scale events in the Kingdom.

80 Designing for your audience

Pop-Up Global's Creative Operations Director, Dan Clift, talks creating shows that people connect with.

82 Gear Heads

Clear-Com's FreeSpeak ICON and Starway's new SUPERFAST WET fixture go under the microscope.

86 Regional Round-up

The latest MEA news, including Energie Entertainment strengthening despite market uncertainty and a new LED partnership for DWR Distribution.

Editorial Director

Peter Iantorno

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7763 233637

e-mail: p.iantorno@mondiale.co.uk

Managing Editor

Stew Hume

Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk

Contributing Editor

Jacob Waite

Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk

Contributing Assistant Editor

Alicia Pollitt

Mobile: +44 (0)7508 441986 e-mail: a.pollitt@mondiale.co.uk

Commercial Director

Fran Begaj

Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk

Senior Account Manager

Matilda Matthews

Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk

Account Manager

Tom Dyson

Mobile: +44 (0)7306 505230

e-mail: t.dyson@mondiale.co.uk

Account Manager

Molly Cummins

Tel: +44 (0)161 476 8360 e-mail: m.cummins@mondiale.co.uk

Digital Content Manager

James Robertson

Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk

Marketing and Event Manager

Alice Clarke

Mobile: +44 (0)7752 392465

e-mail: a.clarke@mondiale.co.uk

Marketing and Event Assistant

Charlie Moore e-mail: c.moore@mondiale.co.uk

Chief Executive

Justin Gawne

Mobile: +44 (0)7768 850767 e-mail: j.gawne@mondiale.co.uk

Mondiale Group Chairman Damian Walsh

Graphic Design & Production

Dan Seaton: d.seaton@mondiale.co.uk

Jez Reid: j.reid@mondiale.co.uk

Accounts

Lynette Levi / Sarah Miller: ar@mondiale.co.uk

Cover Photography

Open Masters Games by People

Printed By Buxton Press www.buxpress.co.uk

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@TPiMEA_Magazine

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Maria Kyvernitis, Head of Operations, MEI

As MEI finalises its expansion into Saudi Arabia, Head of Operations Maria Kyvernitis sits down with TPiMEA to share her story, from an early career in the beauty industry to running a backline and orchestral rental services company that caters to A-list international artists and the region’s biggest shows.

Growing up in a family synonymous with the Middle East’s AV and live events industry, it would be easy to assume that success in the family business came easy to Maria Kyvernitis. However, while family ties have provided a natural connection to the industry, there’s no doubt that every inch of success has been hard earned. “I grew up in a household where both hard work and music were part of everyday life,” she told TPiMEA. “My parents founded NMK Electronics and Melody House, so from a young age, my siblings and I spent a lot of time at the office while they worked.”

The constant exposure to the business brought with it a natural connection to some of the original trailblazers of the industry. “As kids, we would often be given tasks to help out, and everyone got to know us,” Kyvernitis reminisced, adding that the real battle in her early career was showing those same people that she was no longer the kid they remembered doing odd jobs in the NMK office.

“That was certainly a factor in the beginning,” she laughed. “My father is a huge character, and he formed some amazing long-term relationships well before my time that I will always respect and appreciate.”

Now 14 years into her journey as a founding partner and Head of Operations at backline and orchestral rental services company MEI, it’s safe to say that Maria Kyvernitis has more than earned her stripes on her own merit. “I have always been firm in my convictions over the years, and I put 100% effort into everything,” she stated.

In this interview, Kyvernitis shares her story, from growing up within the industry, to the early days of MEI, the

development and regional expansion of the company, and her ambitions for the future.

How did your upbringing prepare you for a career in the live events industry?

I was never a musician myself, but music was a constant presence throughout my childhood. My father played the trumpet in his school marching band and later during his time in the army, my older brother is a multi-instrumentalist, and my younger sister plays some piano.

Be ing surrounded by music from an early age made the industry feel both familiar and accessible. Over time, that exposure evolved into a deeper understanding of its operational and commercial dynamics, which naturally led my siblings and me to find our own place within it.

To day, I’m proud to contribute to the live music and entertainment sector in this region, which shaped much of our upbringing, supporting the ecosystem from a different, but equally meaningful, perspective.

Tell me about your early career...

Although I may have always had an interest in the live events industry, it took some time before I entered it full-time. After high school, I chose not to follow a traditional academic path. I’ve always leaned more toward the creative side, which led me to pursue a course and qualification in beauty therapy and make-up – my first real passion.

Having been born and raised in the UAE, I was eager to experience life abroad and gain a sense of independence and real-world perspective. I spent time living in both

Cyprus and South Africa, working in the beauty industry. While that chapter of my life is not directly related to what I do today, it was a formative experience for me in many ways. It pushed me beyond my comfort zone, exposed me to different cultures and working environments, and ultimately helped me recognise that it wasn’t where I saw my long-term future.

Re gardless of the industry, I’ve always approached my work with full commitment. After several years of investing my energy into other businesses, I reached a turning point and realised that the same level of dedication would be better placed in building something of our own. That led me back to Dubai, where I became involved in launching MEI.

Talk me through the history of Melody House and how that later became MEI...

Melody House was established in 1993 and has been a cornerstone of the UAE’s music scene for more than three decades. It built a strong reputation as both a distributor and retailer of musical instruments, and that foundation ultimately paved the way for what would later become MEI.

As the regional live events and entertainment sector began expanding rapidly across the UAE and the wider Gulf, we recognised a gap in the market for professional backline rental services.

At the time, structured backline rental was not widely available in the region, and many touring artists often had a hard time sourcing reliable, high-quality equipment

locally. So, in 2012, we began developing the concept of a dedicated rental division within Melody House.

Th e demand grew quickly and, by 2014, MEI was established as a standalone company focused entirely on backline and instrument hire for live shows, concerts, and touring productions.

From the outset, our goal was to raise the standard of backline services in the region. We started small, with a modest inventory and a small team, but over the past decade, we’ve grown significantly, expanding both our inventory and operational capacity. Today we support major international artists, festivals, and large-scale productions across the Middle East and North Africa.

What are your memories from the early days of MEI?

In the beginning, it was just my brother Dino, one of the original founders of the company, Jasim, our Finance Manager, Alex, our Head of Technical, and me. We moved into our first warehouse in Deira in 2013 and stayed there until 2020. As our inventory and operations grew, the space quickly became too small, so we took the risk of moving to a much larger facility in Al Quoz during COVID. It was a bold move considering the circumstances at the time, but a necessary one, as it landed us the Expo 2020 contract.

Those early days were about figuring things out as we went. We often took on one-off shows and gradually built our inventory based on rider requests. I remember one distinct show around 2014 where the artist requested a

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few vintage workstation keyboards, models that had long been discontinued. We had just started working with a leading entertainment company and were eager to make a strong impression. After a lot of searching, we managed to locate the instruments in the US, coordinate their purchase and shipment through a freight forwarder, and I personally picked them up at Dubai Airport, cleared customs, and drove them straight to the venue in Abu Dhabi – just in time for the show.

Th ese days, (I’d like to think) we’re much more organised, with structured systems in place, but there’s still a thrill in pulling off last-minute or unusual requests. The UAE and wider region are notorious for last-minute changes, which isn’t ideal for planning – but for me, it’s all about going the extra mile to help our clients deliver incredible events and push the region forward.

What does your day-to-day schedule look like as MEI Head of Operations?

No two days are the same in this role, which is part of what makes it so dynamic. I take a very hands-on approach, prioritising time on-site with the team to oversee operations firsthand rather than working solely from behind a desk.

My focus is always split between two key areas: delivering excellence for our clients and empowering our people. From office and operations coordinators to technicians and logistics crew, our team is the backbone of MEI’s success. In operations, I’m constantly

balancing execution with strategic planning for upcoming requirements – sometimes weeks or months ahead. In this industry, meticulous preparation is essential, but so is agility: last-minute changes are inevitable, and the ability to adapt quickly is critical.

I’m fortunate to work with a highly experienced team who consistently deliver world-class results under pressure.

Equally important is client relationship management. Every show requires flawless execution, and we treat that responsibility with the utmost seriousness. We view our clients as partners, and their success is our success.

Th e most rewarding aspect of the role is ensuring that every show we deliver runs seamlessly, providing artists and promoters with the confidence that they can deliver their vision to audiences across the region.

What have been some of your biggest milestones with the company?

One of the most significant milestones for us was supporting Expo 2020 Dubai. Providing backline services for such a large-scale global event required an enormous level of planning, coordination, and logistical execution.

Expo 2020 pushed our operational capabilities to another level – managing multiple stages and productions simultaneously while maintaining the standard our clients expect. It was a huge learning curve, and I barely slept from the time we received the tender to the day we loaded out and left site after Expo finished, but it proved to be a

defining moment that demonstrated both the capability and resilience of our team.

To manage the volume of performances taking place across the site, we established an operational office and a temporary warehouse directly within the Expo grounds. At the same time, we continued servicing our regular projects and events across the region. It was an intense period, but also an incredibly rewarding one for our team, which demonstrated our ability to support and service projects of any size and scale.

We also grew our team massively to accommodate the project, going from 12 people to just under 40. The onboarding and training process was a significant challenge in itself, but it has proven to be invaluable in the long run. Our team consistently represents the company at the highest level, and we’re thrilled to receive such positive feedback from the tours and promoters we work with.

Anyone can buy the product, but that is just the starting point. What truly sets you apart is how you service, deploy, and support your clients. In this business, it is the quality of service and the strength of relationships that truly define your reputation.

How are you bringing the music community together with The Music Shed?

The Music Shed is a community initiative we launched in 2021 with the aim of creating a full ecosystem for musicians – a hub where they can hang out, shop, attend and participate in live, open-mic performances.

It was built as a collaborative partnership: MEI manages backline and rentals, Melody House provides the space, and MNK Studios offers live sound, rehearsal, and recording services. The goal has always been to foster a creative environment where musicians can rehearse, record, collaborate, and develop their craft.

I be lieve that great performances start long before an artist steps on stage. Through The Music Shed, we can support musicians across multiple stages of the industry, from supplying instruments and professional backline for major live events to providing spaces where artists can prepare and refine their performances.

It ’s a collaborative approach, and for me, it’s rewarding to see the community come together and thrive through these shared experiences.

What were some of your highlights from the past year?

The 2025/2026 winter season was extremely busy for our team, with projects taking place across Saudi Arabia, the UAE, Egypt, Oman, and Morocco.

Highlights included supporting Casablanca Music Week in Morocco with Mary J Blige performing, the Opening Ceremony of the Grand Egyptian Museum in Cairo, providing backline support for The Lion King at the Royal Opera House Muscat, and multiple MDLBEAST events including Soundstorm and Balad Beast.

Live events rarely go exactly to plan, so our ability to mobilise quickly and solve problems in real time is something we’re very proud of. In one instance this season, we received a last-minute client request that required immediate action, and we arranged for our crew to fly to Saudi Arabia the same day to resolve the issue. That level of responsiveness is something we take great pride in.

We s ee ourselves as more than just the local rental provider – we’re part of the international production team. Our clients have placed so much trust in us to deliver to an exceptional standard time after time, and we will never take that trust for granted.

Tell me about your expanded Saudi Arabia operation... Over the past eight years, Saudi Arabia has experienced remarkable growth in the live entertainment sector. Cities such as Riyadh, Jeddah, and AlUla have become key destinations for large-scale concerts, festivals, and cultural events. With Saudi Arabia quickly becoming one of the most

dynamic entertainment markets in the region, establishing a dedicated warehouse and operational presence in the Kingdom was therefore a strategic decision for us.

This expansion will directly benefit our clients, as having a local base allows us to provide services more efficiently and offer pricing that is more competitive than shipping equipment from the UAE to Saudi Arabia.

We’re naturally cautious with any expansion, but this move has been a long time coming and I believe it will open the door for us to be involved in many projects in the Kingdom that we would have been part of earlier if we would have had a local presence.

While we’re expanding to Saudi Arabia, we also plan on doubling down on our offerings in the UAE and other surrounding countries, working with new and up-andcoming companies in the region, and strengthening the relationships that we already have.

What are your aims for the company in the short, medium, and long term?

At this point, our primary focus is on finalising the launch of our Saudi Arabia branch, MEI Arabia for Entertainment Events, which we anticipate will be fully operational just before the next season.

In the medium term, we’re looking at expanding our Dubai warehouse capacity and increasing our inventory and operational resources to support the continued growth

of the regional events market. When it comes to musical instruments, you can never have enough.

As for the long term, we have a clear strategic roadmap for the company with several exciting developments planned. The live entertainment industry in the region is evolving rapidly, and our goal is to continue to grow alongside it. For now, though, some of those plans will remain under wraps.

What do you do to switch off outside of work?

Anyone who knows me will tell you that I spend a lot of my time at the office. It is a place where I genuinely enjoy being, both during the busy seasons and when navigating the challenges that come with running a business.

Wh en I step away from work, I focus on spending time with my family, my husband, my parents, my siblings, and my three pups, who I affectionately call my girlies.

Ru nning a business like this can be all-consuming, but spending time with family helps me reset and keep everything in perspective.

In truth, I never really fully switch off. Even when I travel with my husband, I always make a beeline for the nearest music store to see what instruments they have available. Of course, I always look to maintain a healthy balance, but I love my work, and it is never far from my mind.

Photos: MEI www.meinnovate.com

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Lasers, lighting, projection, LED and water effects combine to produce spectacular scenography for the season opener at Riyadh Golf Club.

When you think of sporting events that set pulses racing, golf is not the first sport that immediately springs to mind. However, having gained a reputation as something of a disruptor to the sport since its first season in 2022, LIV Golf provides an all-action antidote to the clichéd, buttoned-down perception of golf.

Throughout the season, some of the world’s top players compete in 14 locations around the world, backed by engaging entertainment and spectacular scenography that brings the game to new generations of fans.

With the season opener held in Riyadh in early February, the event took place at night, providing an unusual opportunity to put on an audiovisual spectacle that would be simply impossible to produce during a regular daytime event. Having worked with LIV Golf since its inception, Behind The Volt was entrusted by LIV Golf with what the company’s Managing Director, Alan Muller, described as “redefining the visual language of live sport”. Catching up with TPiMEA

after the show, Muller recalled the ambitious brief: “Our mission was to transform a championship golf course into a fully choreographed night time entertainment environment that felt more like a cinematic experience than a golf tournament,” he commented. “We didn’t just light a golf course; we built a 1 sq km scenographic ecosystem.”

Moving beyond simply lighting the venue, Behind The Volt aimed to create a unified design language that purveyed the whole event, where lasers, lighting, projections, LED and water effects operated as one coherent system.

A c rucial undertaking in this endeavour was the establishment of a well-planned and robust fibre network throughout the site. “We are well versed in installing high-end networks for live events, including covering broadcast requirements,” commented Muller. “This is always the starting point so everything can be controlled from one timecode.”

With the network established, the Behind The Volt team set about placing the vast arsenal

of lasers and lights throughout the 1 sq km course. “We even lit over 1,000 palm trees, each with a light in warm white, which looked great on camera alongside the green grass,” Muller recalled. “We could then control the tree lighting, so it pulsed, creating a wave effect along the course and making the trees come alive.”

Pa rt of the remit was to produce the world’s largest ‘shotgun start’ – a timecoded audiovisual spectacular synchronised across the entire site to mark the start of play, with all groups of players teeing off from each hole simultaneously. “The shotgun start came with its own set of challenges,” Muller remarked, recalling how the team had to adapt the laser and lighting show timecode to fit in with last-minute changes to the video content and audio track.

Lasers were a prominent feature of the show throughout, with the Behind The Volt team adopting a three-tiered approach to their use within the overall design. “We looked at the laser deployment in terms of three levels –

“Anyone can dump a load of technology onto a golf course, but the real skill is in bringing it all together to create something that makes sense in its environment.”

Alan Muller, Managing Director, Behind The Volt

high altitude, mid-level and lower-level,” Muller commented, describing the setup.

Kvant lasers were deployed throughout. Four Architect W500B fixtures were positioned to create a high-level pyramid of beams directly over the 18th green. “Architects must be used correctly,” Muller noted. “You can’t use them like you would use a normal laser. They’re designed to create massive effects at high altitudes.”

Six Epic 280W lasers were used to create a large frame grid, firing “juicy” beams from four main locations around the course, while a further 17 Atom 60W and 43 Atom 42W lasers filled the space on a lower level close to the action.

Th ere were also 84 of Kvant’s new 600 Prestige Beam moving head fixture specifically placed across the site. Muller recalled the first time he witnessed the fixture in the flesh: “When I saw it in action for the first time being used on the Burj Khalifa, I had a silly grin on my face and I thought ‘this is going to change everything’,” he smirked. “The images don’t do it justice; seeing the power of this fixture in person is simply breathtaking – and is why Behind The Volt acquired an initial 24 of these lights to have exclusively in the Kingdom of Saudi Arabia.”

A long-term Kvant user, the Managing Director was pleased with the ongoing partnership with the company. “Not only could Kvant deliver the additional quantity and quality of lasers we needed, but they also brought in a great team of riggers and laser programmers to ensure that the process was smooth and comfortable for everyone,” he stated. “It’s that kind of flexibility that we value in a partner.”

Be hind The Volt’s General Manager, Tim Manton, agreed: “We want to partner with people and companies who share our vision, have good work ethic and strive to deliver to the very high standards that we set ourselves,” he added, also

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praising the other suppliers who supported the operations, including the event’s power supplier, Aggreko: “They provided a dedicated project manager for the laser power supply, which enabled smooth collaboration considering the complexity and scale of the setup.”

In a ddition to the lasers, a further 1,000 lighting fixtures were spread around the site, including Cameo Zenit SMD Pix Bars, which were used to light every tee box. Muller recalled the “constant consideration” that was required to ensure that the rigorous broadcast lighting requirements were met.

“Golf is generally lit from behind, but cameras are facing the players, so that leaves them in silhouette. To combat this, we had to uplight and sidelight all the surrounding branding,” he explained. “We also had to always consider where the players would be when placing any lighting or laser fixtures. It’s all good and well to light the palm tree, but if that light spills through and is blinding a player trying to take a tee shot then you have a serious problem.”

A gigantic 145m by 6m LED screen served as the backdrop for the Fan Zone, with Behind The Volt providing scenography services to sister agency Reddoor Live that included producing content – including several anamorphic videos that created the illusion of the content jumping off the LED canvas – designed to attract the audience’s attention and maintain engagement.

He nre Pretorius, Creative Lead at Behind The Volt, explained the brief: “The Fan Zone had to draw the crowd and keep their attention,” he stated, noting the client’s desire for an immersive experience. “We see immersive experiences as activating as many senses as possible, so it was important that everything from our audio track to the video content, lighting, lasers and special effects were all on point.”

Content was produced in Adobe After Effects in half scale, before being scaled up to full size. Some was filmed in 360 and digitally ‘unwrapped’ to suit the rounded V-shaped screens before being run on Dataton WATCHOUT media servers.

Lo oking back on the project, Muller recalled the challenge of a load-in conducted under a typically compressed timeframe. “There was still heavy construction in the build-up, so we installed the cabling but decided to keep the fixtures packed away until as late as possible,” he revealed, noting that Syncronorm Depence was helpful in the previs stage while the fixtures were being held back. “We also had to be off the course within 48 hours following the event. It was intense, but everything was down and back in the compound within just 36 hours, before being cleaned and prepped for the next job.”

Th e most pleasing aspect of the project for Muller was the way the Behind The Volt team utilised technology to create a cohesive production. “Anyone can dump a load of technology onto a golf course, but the real skill is in bringing it all together to create something that makes sense in its environment,” he commented. “We are practicing scenography here – every piece of technology was used for a specific reason and was pulled together to create an experience for the audience and set the stage for the sport to play out.”

Photos: Behind The Volt www.livgolf.com https://behindthevolt.com

The Sixth Sense Festival

Synergy Technologies deploys a range of Christie solutions for indoor and outdoor projection at India’s first immersive art festival in Bengaluru.

Spanning more than 200,000 sq ft of industrial space at Bengaluru’s trendy Alembic City art district, The Sixth Sense Festival brought together digital art, spatial audio, interactive environments and live performances. Organisers Swordfish engaged Synergy Technologies to deliver a range of large-scale projection mapping installations across three flagship zones: the Immersive Room, the Silo and the Live Performance Arena.

Synergy Technologies’ Founder, Chirag Patel, described the collaboration as an opportunity to help realise an ambitious creative vision. “Swordfish are true visionaries,” he

commented. “Their ideas were bold, genrebending and uncompromising in scale. India has never witnessed anything of this magnitude in immersive art before. For us, it was about enabling a cultural milestone that could redefine how world-class immersive experiences are perceived and produced.”

Planning for the project began months in advance, with Synergy working closely with organisers and artists to define technical requirements. However, the full deployment of systems was completed within a 72-hour window, requiring careful coordination and redundancy planning. Equipment, including additional

projectors, bespoke lenses, media servers and signal distribution systems, was transported from Mumbai to Bengaluru to ensure resilience on site.

Across all three zones, Synergy standardised on laser projection technology from Christie Digital Systems, selecting different models based on the specific demands of each environment.

“Every space demands its own philosophy of projection,” Patel said. “Brightness, pixel density, throw distance, ambient light and geometry all dictated different solutions. Our job was to balance artistic intention with optical physics.”

In the Immersive Room, a 2,500 sq ft enclosed environment, the Synergy team

deployed a total of 14 Christie DWU2400-JS laser projectors from the Jazz Series, each delivering 23,750 lumens. The system created full-surface projection across walls and floor, supported by customised optics to maintain consistent brightness and geometry.

With only around 12 ft of ceiling clearance, ultra-short throw lenses were specified for the floor projection, while additional customised lenses ensured accurate mapping across irregular wall surfaces.

The installation was driven by Dataton WATCHOUT 7 media servers, with signal distribution handled via Lightware HDMI20-OPTJTx/Rx90 fibre extenders to maintain low latency and signal integrity. “Within the Immersive Room, clarity, vividness and uniformity were paramount,” said Patel. “The customised ultra-short throw lenses were a game-changer, allowing us to maintain geometry without compromising resolution. When you’re projecting across every surface, even microseconds matter.”

The Silo installation presented a different set of challenges, with projection mapped on to a curved exterior façade surrounded by trees and natural obstructions. With access limited, projectors were positioned through narrow gaps,

requiring precise alignment. For this environment, Synergy deployed six Christie D20WU-HS laser projectors alongside a Christie Griffyn 4K50-RGB pure laser projector, delivering up to a whopping 50,000 lumens.

All units were fitted with specialised lenses to maintain sharpness and colour accuracy across the curved surface, with Resolume Arena media servers managing the mapping workflow.

“The curvature of the structure meant we had to account for geometric distortion across multiple axes,” Patel noted. “The Griffyn 4K50RGB gave us the brightness and colour volume needed for outdoor projection, allowing us to create a layered visual narrative that transformed the building.”

In the Live Performance Arena, projection formed part of a 180° visual environment incorporating stage backdrops, side walls and a transparent mesh screen positioned between performers and the audience. This enabled a dual-layer projection effect, including holographic-style visuals, which were integrated into live shows.

The setup used four Christie DWU23-HS laser projectors with BoldColor+ technology, each delivering 23,650 lumens. One unit was dedicated

to the mesh screen, with others covering the stage and surrounding surfaces. “Performance environments demand reliability above all,” Patel said. “The holographic mesh required exact brightness calibration – too little and the illusion fails; too much and the transparency collapses.”

Despite tight timelines, environmental constraints and highly complex signal requirements, Synergy maintained consistent delivery across all zones. “This project tested human endurance as much as technical expertise,” Patel reflected. “Delivering a flawless experience under such pressure reflects the discipline and cohesion of our team.”

Beyond the technical execution, the festival also aimed to support the development of India’s immersive technology ecosystem, including hosting TouchDesigner sessions in collaboration with The NODE Institute.

“We want to be associated with initiatives that build ecosystems, not just events,” Patel concluded. “The Sixth Sense Festival was not just a spectacle; it was a statement that our industry is ready to lead.”

Photo: Synergy Technologies www.thesixthsensefestival.com www.christiedigital.com

AFCON 2025 Opening Ceremony

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Delivered by Avant Scene in collaboration with Balich Wonder Studio, the Opening Ceremony for the 35th edition of the Africa Cup of Nations combined large-scale LED infrastructure, integrated lighting systems, and audienceresponsive technology, punctuated by headline performances from the likes of Davido, French Montana and RedOne, to create a tribute to the unity, identity and resilience of African football.

Th e stage design for the Opening Ceremony was a fusion of tradition and technology. Inspired by Moroccan zellij tilework and the official tournament logo, the field of play became a living canvas, transformed by a black-and-white graphic field cloth and a central LED-embedded stage, which radiated out into a sea of LED bracelet-wearing spectators.

Th e production put the concept of light front and centre, starting with a minimalist blackand-white cinematic countdown that traced a glowing beam of light to reveal the ceremony’s protagonists, who took spectators on a journey through the tournament’s six host cities, forming glowing hexagons that connected the country before eventually exploding and illuminating the field of play.

Rather than relying solely on fixed scenic structures or large-format LED screens, the production introduced wearable visuals as part

of the choreography, turning performers into moving pixels across the stadium floor.

To d eliver this vision, PRG Projects deployed the second generation of its Hex Panels system, deploying 160 Hex Panel Gen Two tiles, each behaving as part of a unified visual sequence while performers moved continuously across the performance space.

To p ower the wearable system at scale, PRG Projects partnered with HIVE, deploying 160 HIVE Beeblade Minima media engines, each integrated into a custom performer belt pack. This decentralised approach placed media playback directly at the endpoint. Rather than relying on a small number of central servers and complex distribution infrastructure, each tile had its own dedicated playback device running content locally at the point of display.

PR G delivered content as a single master 4K video canvas, with each Beeblade assigned a specific sampling region. This allowed PRG to deploy and manage visual sequences as one unified piece of content, while still delivering unique playback output to each wearable tile, reducing asset management complexity and supporting fast updates and validation during the production period.

For Frederic Opsomer, CEO at PRG Projects, HIVE was the natural solution for the project.

“With 160 media servers, wireless, synchronised like a philharmonic orchestra – who else to charge with the task other than the HIVE team?” he posed. “Thanks again for another Mission Impossible perfectly executed.”

Ma rk Calvert, CEO, HIVE, added: “PRG Projects set the bar extremely high for this project. Driving 160 wearable LED tiles in a live stadium environment demands a playback platform that’s reliable, scalable and operationally simple for the crew on the ground. The team delivered an outstanding opening ceremony in Morocco, and we’re proud HIVE could support the deployment with 160 Beeblade Minima engines and wireless timecode synchronisation.”

As the Ceremony came to a close, the LED panels that had been moving independently were brought together and locked into their final formation, showing the flags of the 24 nations competing in the tournament across the field, before transitioning into the TotalEnergies CAF Africa Cup of Nations 2025 logo, while the sky above was filled with pyrotechnics for a powerful finale befitting the celebration.

Photos: Avant Scene www.avantscene.ma www.balichwonderstudio.com https://projects.prg.com www.hive.run

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Linkin Park: From Zero World Tour

Crew welfare is front and centre as an 80-strong team support a new-look Linkin Park on their return to the road. TPiMEA is on-site at Etihad Arena to find out more…

As comebacks go, it doesn’t get much better than Linkin Park’s. After seven years away following the tragic death of lead singer Chester Bennington, the band returned to the road in 2024 in support of their eighth studio album, From Zero. With the addition of vocalist Emily Armstrong and drummer Colin Brittain, the new-look lineup has been wowing soldout stadiums and arenas all over the world, backed by an 80-strong crew of production professionals, all performing to the highest level night after night.

While many of the Linkin Park crew joined the tour at the start of the cycle, the man leading the team, Tour Director, Jim Digby, has a history with the band dating back 25 years. “Over time you build relationships that run deeper than the gig,” he told TPiMEA. “Our history together is such that the way the band does business is aligned with how I present the job; that’s part of the reason why that longevity exists.”

With a gruelling schedule that will see the band play more than 100 dates in every continent around the globe by the time the tour is scheduled to conclude in summer 2026, Digby explained that the health and wellbeing of the crew and general operating atmosphere

of the tour is paramount. “The artist requested from the outset that the experience back on the road needed to operate like family, with no toxic behaviour and a strong sense of unity,” he commented. “The culture of who we are is just as important as delivering the show 100% every night, and that ethos was paramount as we shaped the team.”

Catching up with TPiMEA backstage at Etihad Arena ahead of the band’s Abu Dhabi show, Digby recalled the intentionality of assembling a team and engaging suppliers for the band’s comeback, all while ensuring that the project maintained secrecy. “Discussion began nearly two years before the first show – the runway was long,” he reflected. “I spent around a year examining and shaping the roles, at that stage we didn’t know whether there would be success or how long it would last, so we were asking people to take a leap of faith with us.”

The level of secrecy surrounding the tour added significant stress to the way we worked and, according to Digby, it was only after the intimate launch show in LA that “the stress was lifted”. He commented: “I had underestimated how much keeping the secret would impact us. Nevertheless, we managed to keep it locked

down right up to the moment Emily took the stage on that first performance; people were blown away.”

Aside from her incredible vocal abilities, Armstrong’s addition brings an element of newness and excitement to the band –something which is echoed in the crew. “We’re seeing young girls at the show who are inspired by Emily, which is exciting,” Digby stated. “We also have expanded the dimensionality of the crew with outstanding humans of all kinds and age from all over the world, which we’re proud of.”

Sitting inside the production office at Etihad Arena just a few hours before doors, the atmosphere was remarkably calm, with various members of the production team popping in intermittently to catch up with the leadership team and no shortage of banter being thrown around. “What I’m most proud of is that we’ve nailed the culture, prioritising professionalism and a healthy work environment,” Digby stated. “The band is having fun playing their music again; they’re loose on stage and ready to share that with the audience, which permeates into the crew and vice versa.”

Sitting alongside Digby in the production office is Production Coordinator, Tori Merrick,

Production Assistant, Emma Hunter, and Production Manager, Joe Skarzynski.

Af ter first meeting Jim Digby in Riyadh while working for productionglue on MDLBEAST Soundstorm, Production Coordinator Tori Merrick joined the Linkin Park team in July 2024.

“It has been a whirlwind ever since,” she commented. “Jim has such a special relationship with the band – they trust him implicitly; and he has that spunky mentality that keeps morale high among the crew.”

Me rrick described how the responsibilities are divided between the team in simple terms. “Jim does the big-picture stuff, Joe does the nuts and bolts of production and crew, and my role is to be across everybody’s movements – from flights and visas to hotels and ground transport,” she explained. “My job is to make sure the rest of the team can perform the roles they have been hired for to the best of their ability without having to worry about anything.”

With around 80 people to take care of, Merrick and Hunter see themselves as the first port of call for crew welfare. “These people are away from their families for months at a time, and they need to know where to come if they need anything,” Merrick stated. “Ensuring that

everyone is taken care of is empowering. I love that what I do has a direct effect on everybody. Once everything is running as it should be, we’re in the groove, and the machine is in motion, it’s very satisfying.”

De scribed by Merrick as the tour’s “get-itdone” person, Production Assistant Emma Hunter has had an affinity for life on the road for as long as she can remember. “I always knew I wanted to tour since I was a kid,” she stated, sharing her journey from “selling merch on rinky-dink local tours” to now being out with Linkin Park. “I love being on the road – it gives me a lot of purpose and so many opportunities to learn new things.”

Noting her focus on “the here and now”, Hunter explained how her remit is based around making sure that the crew are where they need to be and have whatever they need to do their jobs in a comfortable and happy environment.

“While Jim, Joe and Tori are all often looking ahead sometimes months and years in advance, I take care of a lot of the day-to-day logistics,” Hunter noted, adding that this can comprise anything from handling crew ground transportation to sourcing tambourines, which she had to do in Abu Dhabi. “Emily has taken to throwing her tambourine into the crowd, which

is really cool, but means we needed to find some crescent-shaped tambourines at short notice.”

Up From the Bottom

More than a dozen years into his touring career, Production Manager Joe Skarzynski has worked through almost every production role on the circuit, from Production Assistant to Production Coordinator and now Production Manager. “I remember the first time I met Jim; I told him that my ambition was to one day come and work for him on the Linkin Park tour,” he reminisced, recalling how he got his first taste of the tour when the band was coming through his local amphitheatre in New Jersey. “Jim put me in as Production Assistant, and I made it my mission to help wherever I could and learn as much as I possibly could.”

This breadth of experience stands Skarzynski in good stead when it comes to having an overview of the expectations placed on each department now under his leadership. “It’s healthy to know as much as possible about every department,” he commented. “With this knowledge, I can manage in a way that I would like to be managed and never ask anyone to do something that I would not be willing to myself.”

The PM oversees an extensive roster of suppliers for the From Zero World Tour, including: Solotech (lighting, video and rigging); Sound Image, a Clair Global brand (audio); ER Productions (lasers and SFX); All Access Staging & Productions (staging); CES Power; Autobus (US bussing); Beat The Street (UK and Europe bussing); Upstaging (US trucking); Transam Trucking (Europe trucking); and Earlybird Visual (design support); among many others.

“C ES Power is honoured to work on the power for the From Zero tour, helping to deliver memorable experiences for global audiences,” stated Mitch Margolin and Vinni Campion, CES Power. “Jim Digby is LP’s fearless leader with decades of knowledge and a strong sense of care for everyone on the tour. Joe Skarzynski is Jim’s co-pilot and his impressive follow through ensures that no details are missed. We’ve been powering tours for over 25 years and working with such a passionate team makes the work a joy for the whole crew. Thank you to the Linkin Park family for inviting us to be a part of it.”

Skarzynski explained the process behind deciding what kit to freight and what can be picked up locally: “Our production has some

bespoke elements that are vital and must be carried with us all over the world, while some elements are more readily available globally,” he stated. “We make smart decisions when coming through Asia or the Middle East, where trucking isn’t an option. The main thing is that we can come into every venue, and the band has everything they need to put on a show that the audience deserves.”

With this ethos at play for Abu Dhabi show, the production called upon PRG Middle East to provide a turnkey technical solution for the Etihad Arena. “This project delivered a full 360° technical solution across lighting, video, audio and cameras for a major international touring production, demonstrating PRG Middle East’s capability to support complex arena shows in the region,” stated Account Manager James Speirs, who worked alongside Project Manager Terence Collings and OSM Bradley Stokes, who oversaw delivery across all four disciplines. “It was also a pleasure working with Jon West, Production Manager, Peter Green, Senior Promoter, and the wider Live Nation team as always,” he added.

Live Nation Middle East President, James Craven was delighted at the turnout. “Bringing

Linkin Park’s return to the region has been a truly special moment for us. This tour represents not just the comeback of an iconic band, but the power of live music to unite generations, as well as audiences from different demographics and backgrounds,” he commented. “We’re proud to work with world-class artists to deliver experiences at this scale, and Abu Dhabi was no exception with a completely sold-out show.”

The Catalyst

The show is designed by Mike Carson and his studio, Thank You 92, directed by Emile Frederick, and with technical direction by Earlybird Visual. The stage design is built around massive LED cube structures, which act as visual canvases and also house an arsenal of lighting fixtures.

Video Crew Chief, Will Stinson, explained how the tour has been able to navigate several iterations of the show design to accommodate different room configurations. “We’ve done quite a few versions of this show,” he commented. “We can do it in the round, in an end-stage format, and as a full stadium show. The fluctuation in quantities and configurations of LED certainly keeps it interesting.” Whatever the format, the

cubes, normally made up of ROE Visual CB5 LED panels in Twenty Three frames, has remained the focal point throughout.

For the Abu Dhabi show, PRG Middle East provided two half-cube structures positioned stage left and right, each built from 500 INFiLED AR4.6 LED panels, including 10 corner panels per cube to maintain consistent image wrap. Processing was handled via NovaStar MX40, with independent 4K outputs for main screen content and IMAG. PRG’s Head of Video, Jordan McMahon, supported system integration of the tour’s media servers and show control.

Sc reens Director, Ciara Hegli talked through the media server setup under her control. “We use four Disguise GX 2C media servers – a director, two actors and an understudy for the failover system,” she described, noting that the servers are controlled via Sockpuppet from an MA Lighting grandMA3 in MA3 Mode.

He gli praised the “rock solid” Disguise system. “The main benefit I see from Disguise is the number of different 4K outputs, all synced to Genlock so they’re never off time,” she commented. “Content is perfectly matched everywhere, and it has plenty of horsepower to handle heavy Notch integration seamlessly.”

Du ring the show, Hegli is in constant communication with the Lighting and Video Directors, controlling the brightness outputs to ensure that the screens are reading to their “most beautiful”, and balancing how they look in the room with what the cameras receive.

Th e Screens Director cited The Catalyst as well as Heavy is the Crown, as her favourite looks. “The interaction between lighting and video is beautiful,” she said of the former, while noting that the latter features an epic 18-second scream from Emily. “We trade visual solos throughout that scream, with the video strobing full-intensity yellow, then all the lighting strobing, then lasers,” she described. “It’s super impactful.”

With the screens originally programmed by Mike ‘Hank’ Hankowsky, Hegli described herself as “standing on the shoulders of giants” in her role on the From Zero World Tour. “I learn a lot every time I interact with him, and it feels like every gig I do is a step up from the previous one,” she commented.

Having worked across several roles in Linkin Park’s camera department – including as an on-stage handheld camera operator, and a Ross Furio Camera Operator – TJ Lievonen knows the band’s setup better than most. Now in the position of Video Director, Lievonen believes that the broad range of experience set him up well for the role. “Being on the tour in various positions across the department helped me become a better Video Director,” he stated. “It helped me learn the show inside and out.”

Every night, Lievonen starts the show by reaffirming to all the camera operators and video team his belief in them and their ability. “I tell them: ‘It’s going to be a great night; let’s have fun; let’s crush it,’” he stated. “I say that because I want our operators to have a good time and give it their all. When all of us come together, it shows in the end product of the video.”

Th e Video Director noted the “new energy” that the band has brought since making a comeback. “I’m trying to feed off that energy they’re giving out on stage and put that onto the IMAG,” he explained. “The camera ops and everyone on the team is doing a great job of

taking that energy from the band and amplifying it out into the arena.”

In Abu Dhabi, PRG supplied a full camera and PPU package comprising 14 cameras, including five Blackmagic URSA Broadcast G2, four Panasonic AW-UE160 PTZ cameras and five Marshall Mini Cameras.

Vision mixing was handled via a Blackmagic ATEM 2 M/E 4K switcher, with recording to six HyperDeck Studio Pro units.

Th ere’s also a wireless camera affectionately dubbed ‘Joe Hahn cam’, which is operated by the band member. “He runs around the stage with it during Bleed It Out,” Lievonen revealed. “We keep that shot live for the whole song, which is a really fun change-up.”

Lievonen also increases crowd engagement by keeping an eye out for audience members with a connection to specific songs – crowd members wearing suits during Two Faced, and anyone holding a ‘Directed by Michael Bay’ sign during What I’ve Done, for example. “We try to

capture small moments like that and, as a result, we’re seeing it more and more.”

Th e Video Director needs “a fast brain and faster fingers”, to ensure that the performance is showcased in its best possible light. “I’m cutting two different busses on some songs, which means that sometimes we have multiple screens showing different things,” he stated. “It is a nice challenge to be able to show multiple elements at the same time.”

In c losing, Lievonen paid tribute to the strength of the team. “Every member of this crew was brought onto the tour to share in the band’s vision, and I believe we’re doing a great job of showcasing that energy,” he concluded. “We’re fortunate to have an excellent team on this tour, and I love working with every single one of them.”

One More Light

Lighting the show from an MA Lighting grandMA3 was Lighting Director, Mikhail Wingate, who was introduced to the tour just before the

first US leg by the team at Earlybird Visual to take over for its original Lighting Designer, Céline Royer, who had other touring commitments.

Working with Lighting Programmer Tyler Santangelo, as well as technical vendor, Solotech, Wingate’s main charge has been to ensure that the various show files for each configuration of the show are in order. “This show has been adapted for seven different versions, so wrangling every show file for each has been a major technical undertaking,” he revealed, noting that the lighting team has now managed to condense this into two main show files for either in-the-round or end stage. “It took a lot of bandwidth but we’re in a really good spot now.”

Instead of the conventional overhead trusses so often seen on show designs, the only source of overhead lighting comes from fixtures that are positioned on the underside of the LED cubes. However, there’s no shortage of firepower for Wingate to call upon, with an extensive inventory including CHAUVET Professional COLORado

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Curve and Color Strike M and Robe Spiider and FORTE fixtures, contributing to a “hazy, bright and heavy strobe” look.

“It’s cool having an overhead rig that isn’t based on the same sticks of truss you usually see,” said the Lighting Director. “We’re not lacking any firepower – there’s enough to blow your socks off during the bigger moments in the show. However, there are also plenty of moments when it’s very cool, calm and theatrical. It’s great to be able to pick and choose what we want to use for each situation.”

Wingate picked out the CHAUVET Professional PXL Curve as a highlight of the rig, owing to its ability to produce what he described as “a crazy wave effect”. He added: “On songs like The Catalyst, we copy what the video is doing with the lighting, and we have a colour chase running at the same BPM that the video is changing colour. It’s a beautiful moment. Whenever we do elements in the show like that, I think it looks awesome.”

PR G supplied the lighting system for Abu Dhabi, comprising 383 fixtures including: 80 Robe Spiiders, 175 GLP JDC1 strobes, 82 GLP impression X5 Bars, 34 Ayrton Domino Profiles

and 12 Domino LTs. Follow-spotting was delivered via 11 Ground Control RoboSpot systems, controlling eight Ayrton Domino Profile S and three Vari-Lite VL3600 fixtures. All followspots were operated remotely from the ground.

Control was via two MA Lighting grandMA3 Full Size consoles running over a Luminex fibre network. Atmospherics were handled using two MDG Atmosphere APS and two MDG The One units distributed via four Martin AF-4 fans.

While the bulk of the lighting remains faithful to Céline Royer’s original design, Wingate explained that it’s always open to interpretation, with the band often watching the shows back and giving notes on what they would like to see changed. “M ike and Joe Hahn in particular give us a lot of feedback; it’s great that they are so tuned into the process of the showand care so much about it,” Wingate commented.

Th e Lighting Director closed by giving praise to lighting vendor, Solotech, which he dubbed “the best I’ve ever worked with” as well as laser and SFX supplier, ER Productions, which he said “does a fantastic job” on the tour.

“A lot of the credit should go to people who are working hard behind the scenes,” he stated.

“I’m so thankful to everyone who has made this possible and allows us to do the job to the best of our ability.”

Lasers play a significant role in the visual spectacle, with ER Productions supporting the tour all over the world. For Abu Dhabi, the company deployed four AT-30 lasers either side of the stage on the downstage edge, five upstage on Wahlberg Motion Design Lifting Columns, one overhead centre stage, and a further two at FOH used for mapping the video screens. Pangolin is the main control software, while all the SFX and Lifting Columns are controlled via DMX.

Having started with the tour in 2024 before handing over to Harry Boyde and Aydin Ponce, Seth Griffiths was back with the team in Abu Dhabi. With roughly a third of the songs in the set utilising lasers, he was pleased to see the medium playing such an important role in the overall aesthetic.

“There are a lot of lasers throughout,” he commented. “It’s a futuristic-looking show, with lots of bright, beamy and glitchy looks.”

Griffiths’ favourite use of lasers on the show is the tracing effects fired from FOH. “We map the lasers with the video content, so it looks like the

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lasers are burning into the screen,” he described. “It’s a very strong look.”

Ma rc Webber, Project Manager and Managing Director of ER Productions, said: “ER Productions has been incredibly proud to support Linkin Park across their global touring activity. For the Middle East shows, the project has been delivered through our regional office in Riyadh, which reflects the strength and capability of our team on the ground in the region.”

He a dded: “It’s always a privilege to work with artists who place such importance on production value and audience experience. The creative and production teams behind the tour are exceptional, and being part of a world tour of this scale is something we are very proud of.”

Let You Fade

“I had no preconceived notion of how I was going to mix Linkin Park. I just started from scratch, put the faders up and got to work,” stated FOH Engineer, Jim Ebdon, who started working with the band ahead of the “super-secret” comeback show in 2024. Having toured with the likes of Aerosmith, Sting, Maroon 5, Justin Bieber and most recently Sam Smith, Ebdon was put

in touch with the Linkin Park camp by Jesse Adamson, President of the tour’s audio supplier, Sound Image. “He was adamant that he wanted me for the tour, which was fantastic,” he recalled.

Af ter meeting with Tour Director Jim Digby, Ebdon set about the challenge of developing a mix while the whole operation was still in secret mode ahead of the band’s comeback.

“B ecause we had to be so secretive, I couldn’t turn up the PA during rehearsals, so the first time I heard my studio rehearsal mix through a large sound system was the afternoon of our first show,” he revealed. “I was flying by the seat of my pants at first, but I was very pleased with how it turned out in the end.”

Th e FOH Engineer started by listening to all the old Linkin Park records as well as From Zero. “I try to mix it as close to the record as possible. I love starting from a blank canvas and I’m open as to how I hear and how I achieve my mix,” he commented on his mixing process. “It was important to me to give the older music the attention to detail it needed as well as the new songs, which sound very different.”

De spite his extensive touring experience, Ebdon remains open to learning new things. “I’ve

always been teachable, and I’ve learned a lot from working with Mike Shinoda over the past two years,” he stated. “Mike is such a talented individual – a great songwriter, but also a great mixer and engineer. He knows exactly what he wants and exactly how to achieve it. It’s so nice to have an active participant and get that feedback.”

Th e tour carries Adamson VGt for dates in Europe and North America. However, it has also worked with both d&b audiotechnik and L-Acoustics systems for some dates in South America and Asia, depending on availability. “The different PAs have slightly different qualities, but they are all big and loud and fill up the room nicely,” Ebdon stated, dubbing the VGt box as “spectacular” before going on to praise PA Systems Engineer, Bill Chase. “Bill does such a great job,” he added. “He hears the mix the same as me, and I do very little EQ to compensate for the slight differences.”

Having started with the tour in August 2024 as Audio Crew Chief, before moving into the PA Systems Engineer role at the start of 2025, Chase knows the audio setup inside-out. “My day usually starts by verifying the venue, double checking my room file is correct, points are in the

right location and that the design will work as we need it,” he explained from FOH at Etihad Arena. “We do everything in our power to make the room as uniform as possible.”

For the Abu Dhabi show, PRG Middle East provided an L-Acoustics PA, featuring 14 over four K1 and K2 for the main hangs, with 12 KS28 also flown and 16 K2 for side fill, as well as 32 KS28 ground stacked in a cardioid formation, with Kara stacked on each block of four across the front. The audio team also tied into the Etihad Arena’s in-house delay system of five hangs of six Kara boxes to hit the upper bowl.

“E ach system has its quirks, but we’re all experienced enough that we can manipulate them to get what we need out of them,” Chase commented. “This team has been put together extremely well; we’re all good at what we do, and everyone is always willing to jump in and help where they can.”

Eb don mixes from a DiGiCo Quantum 852 at FOH. “I’ve always been a DiGiCo user,” he commented, running through his favourite pieces of outboard gear, including the TUBE TECH CL 1B and the Universal Audio Teletronix LA-2A. “I tend to put those on vocals at the end,” he noted. “I also travel with a couple of Bricasti M7s, and a Universal Audio API 2500 with the mix knob.”

FOH System Tech and Network Engineer, Ricki Cook explained that the system has “evolved a lot” during the past couple of years of touring. “Off stage, we have a lot of input to digital,” he stated. “We take a Dante and analogue split. A lot of the inputs come from the band-owned DirectOut PRODIGY.MPs in the playback system and in Mike’s keyboard rig. Those inputs jump into a Dante network, and then an analogue version of that plugs into a DiGiCo SD-Rack, which provides us with an Optocore version. Both networks run in parallel, and all consoles receive both networks.”

Co ok redesigned the system that way at the start of 2025 to accommodate the use of Rupert Neve RMP-D8 preamps on specific inputs. “We ended up doing them on all the inputs except for those that were already contributing to Dante,” Cook revealed.

Alongside Ebdon’s Quantum 852 are two Fourier Audio transform.engine units – main and backup – which are both always on. “We use DirectOut PRODIGY.MX to do failover between engines A and B, and then that takes care of the I/O between the Fouriers and the console as well as ProTools and the console,” Cook explained. “Everything is built with ultra redundancy in mind. All the failover is automated. If at any time we

switch from engine A to B, all the PRODIGYs resync, their clocks reset, all the MADI fails over.”

Co ok described the crew as “the best” he has ever toured with. “Everyone looks out for each other and there’s a lot of love and respect,” he said. “This is a tour that feels like family. When we take breaks, I genuinely miss these people.”

Eb don concurred: “It’s a young and diverse crew, so it’s nice for me to have that mentor role within it,” he stated. “The team is incredible. I get the easy bit at the end, but a lot of the hard work goes on long before I get into the building. I’m grateful to be a part of this team.”

Cut the Bridge

Helsinki-born LA resident Pasi Hara presides over the band’s monitor mix from a DiGiCo Quantum 338. “My good friend Kevin ‘Tater’ McCarthy recommended me for this gig as he was busy with another commitment,” he said, recalling how he got involved with the tour during the secret comeback phase. “Tater is still our rep with Sound Image, and I’m indebted to him for endorsing me.”

Ha ra ran through his setup, starting with his Quantum 338 console, which features a Pulse upgrade, giving it 156 input channels. “I have over 128 live sources plus effects to about 40

END-TO-END VISUAL EXPERIENCES

destinations currently,” he stated. “Some go straight to mixes, but most go through a KLANG 3D in-ear system before being fed back to the mixes. I have a bit of Waves on the side for some colour, a few inserts on some selected channels, and not much more outboard apart from a Bricasti M7 reverb for Emily’s vocal.”

The Monitor Engineer records the multi-tracks for every show to use for virtual soundcheck. “We also use WaveTool software, which is great for monitoring both audio channels and RF at the same time,” he added. “This is all on an OptoCore loop with FOH and playback world, where we have another DiGiCo rack on stage right, plugged into guitar world.”

Th e band are all on custom Jerry Harvey Audio in-ears, with Ruby headphones driven by a Pearl tri-amp speaker management system. “The ears don’t have any passive crossover; they’re wired straight to the drivers – we actively drive them with the modified packs, and it terminates

into a 10-pin LEMO connector,” Hara explained. “It’s been quite the change from a regular setup. It has a lot of head room, a lot of low end, and can achieve much more that you wouldn’t necessarily expect from an IEM.”

Th ere are also a couple of d&b audiotechnik M2 monitors covering both lead vocalist positions on stage – “mainly for a little backup, feel and guitar sustain,” Hara noted. “The M2 has been my go-to wedge for quite some time,” he added.

Hara has gradually been adding more crowd noise into the band members’ mixes as the tour has gone on. “I have a DPA 5100 microphone stage centre in the pit as well as shotgun mics stage left and right to pick up crowd noise, which are all blended in KLANG,” he stated. “There’s no low or high-end – it’s just a mid-range that I can drive in and out, and I do that manually based on what Emily and Mike are doing with the crowd. Some rooms are easier than others and you’ve got to be careful with how much you push it.”

DPA d.facto II microphones on wireless sticks are used for lead vocals, while the Shure KSM8 used for backing vocals doubles up as talkback without the need for special switches. A selection of mics cover the drums, including DPA 4055 and Shure 91A BETA on the kick, Shure SM57, Sennheiser 441 and AKG 414 on snares, sE Electronics V BEATs on toms, and Austrian Audio A18s for overheads.

Tasked with wrangling the “beautiful maple mahogany” DW Drum kit night after night is Drum Tech, Yoshi Muto. “I make sure the drummer can walk on and off without thinking about anything else,” he commented. “Nowadays there’s a lot more to it than setup, tuning, maintenance, and cleaning – there’s a lot more digital sampling and triggers to programme,” he added, noting the use of two Roland TD-50X Sound Modules set up in a redundant system.

Joining the tour at the start of the current cycle, the Drum Tech spent time listening to the

early 2000s sound when thinking about how to tune the kit. “Back then, piccolo snares were super popular,” he noted. “That high-pitched sound has been brought down over the years and now the band enjoy a mid-high tuning. We use Bell Brass, which already cracks with a low tuning. Colin wants to be able to do his ghost notes and hit the dynamics on the snares, so I make sure he has enough tension on the head.”

Muto described Linkin Park as “gear heads”. He commented: “They want the best and are willing to go the extra mile for it, which makes my life easier. This tour is a special organisation and I’m grateful to be a part of it.”

Stage Patch Tech, Scarlett Phares added her thoughts: “Yoshi is a perfectionist and that makes me a better tech,” she stated. “Every single cable is the exact length that is needed – it’s so neat it looks like it hasn’t even been wired up yet.”

With more than 100 inputs including playback to handle, Phares works closely with the whole backline team. “I have my own rack, Scarlett Island, and all my cable paths from each of the backline racks are close. That gives signal and power to all the backline techs on either side of the stage,” she described. “This is my first tour of any kind after being in the audio world for 10 years. It’s wonderful to be surrounded by supportive people who are professional and also want everyone to succeed.”

On e of those professionals who have supported Phares in her first touring experience is Audio Crew Chief and RF Tech, Katlyn Mountain. “I come in the morning before everyone else and check things like power, cable paths, sides of the stage, and see if there’s anything that could cause a problem,” she stated, talking through her day-to-day. “I start setting up ‘monitor world’, wireless scans, communicating with the team once they get in and making sure that everyone gets what they need.”

Mountain paid tribute to Jim Digby and the band for the positive atmosphere in the camp. “The crew is so kind,” she stated. “Every single person in every department is approachable, and that trickles down from the very top.”

Comms Technician Caelin Moore oversees the communication network comprising a Riedel Bolero Standalone system including 15 antennas and 50 beltpacks, ensuring that all departments are in constant communication.

“There are a lot of people communicating different things at different times and it’s essential that they can all be in touch with each other whenever they need to be,” she commented. “It’s a finely tuned comms system now, which is important as we need to get it loaded-in as quickly as possible for every new venue.”

Sh e added: “This has been by far the best tour in terms of how great the people are. Everybody is not only on top of their game but handpicked good people. Being part of a team that wants to help young women enter the industry is really cool. It’s a pleasure to be here.”

Heavy is the Crown

With the palpable sense of positivity that purveys the Linkin Park camp, it would be easy to paint the picture that the tour has been sunshine and rainbows throughout.

However, back in the real world, it’s important to note that the harmonious atmosphere among the team doesn’t come without hard work. “We bring mental health resources to the team,” Digby

stated, noting that the tour has been working with touring mental health specialists Amber Health for the past year.

“The folks at Amber Health have really found the formula,” he added, explaining how the company embedded itself into the tour. “We had two of their counsellors come out on the road, meet the team face-to-face and make connections to collect a baseline of what the feeling is among the team.”

Af ter getting to know the team over the course of a couple of shows, the Amber Health team stepped back and made themselves available for online therapy sessions for those who needed them.

Am ber Health Co-founder, Dr. Chayim Newman, explained how his company’s services work. “The care we provide splits into two types: we provide support for individuals that will not only help get them through the tour but also provides tangible skills and mechanisms to help in life after the tour; and we also work with the tour holistically, seeing how it operates as a whole and helping to optimise the system.”

Th e second part of that offering is where conflict resolution comes into play – something that was utilised to great effect with the Linkin Park team. “This industry is diversifying, and

people of different generations, cultures and backgrounds are having to figure out a way to work with each other,” Newman described, noting a particular case within the Linkin Park camp that required his team’s assistance.

“Whenever two parties within a tour are not getting along, our role is to provide almost like family therapy. How do we bridge that gap and get people to understand and empathise with each other?”

Newman recalled how the quarrelling parties were invited to sit in a room together and lay out all the issues on the table. “We listened to everyone concerned, encouraged them to find common values, and helped them understand what they needed from each other to be able to work together,” he recalled. “Everybody wants the tour to go well and wants to have a good experience along the way, and this process made a real difference in that.”

According to Newman, this approach to conflict resolution is only possible if several conditions are met: “You need high-level clinicians to navigate this correctly,” he stated. “You also need extremely strong, values-driven leadership from people who care enough about their teams, as well as crew who care enough about the tour to commit to the process.”

He added: “People in tour leadership roles can be divided into those who care deeply about their crew’s experience and wellbeing and are willing to advocate for their crew, and those who don’t. Jim is very much in the first camp.”

In today’s results-driven and fast-paced world, the commitment of the Linkin Park team to persuing a holistic approach to touring that prioritises crew welfare above all else is truly commendable. “This is not how we used to behave as an industry – it used to be ‘if you mess up, you’re gone’,” Digby concluded. “However, we care enough about our people to invest in them and challenge them to heal and grow. I believe strongly that this direction is the right one not only for the individuals on tour but also for the touring entity, and I hope that this new wave of momentum for quality-of-life considerations on the road continues to grow.”

Photos: Chady Awad & TPiMEA www.linkinpark.com www.livenation.me www.amber.health www.er-productions.com www.prg.com www.cespower.com www.solotech.com www.sound-image.com

Open Masters Games 2026 Opening Ceremony

The Open Masters Games kicks off with a stunning Opening Ceremony at Abu Dhabi’s Zayed Sports City Stadium, with People at the helm to create and deliver the production alongside a dedicated team of trusted technical partners. Fran Parry reports…

Bringing together more than 25,000 athletes of all skill levels across 37 sports, the Open Masters Games Abu Dhabi was the largest mass-participation sporting event the region has ever seen, aligning with a national push to encourage a healthy, active lifestyle and sport for all in the UAE.

Th e National Projects Office and Abu Dhabi Sports Council, organisers for the event, enlisted People to create and deliver the Opening and Closing Ceremonies for the event, with Tim Elliott leading the project as Artistic Director.

Elliott and his team set to work to build out the initial narrative for the show. Malia Johnston came onboard as Creative Director, having previously worked with People on the FIFA Women’s World Cup in New Zealand, to create and choreograph the show. She worked with the technical suppliers to bring everything together.

Josh Zangen came in as Production Designer and Stephen Page as Lighting Designer. Zangen previously worked with People on the Eid Al Etihad production, bringing his experience of large-scale stadium productions to this event.

Ka rl Jenkins came onboard as Technical Director, with expertise in delivering large-scale international ceremonies and productions.

The key focus was to tell the local UAE story on the global stage, marrying tradition with a contemporary, modern edge.

Th e main story was centred around the ‘Original Athlete’, focussing on the history of the Emirati people, who travelled on foot across the country throughout the year, and the ‘Modern Athlete’ that we relate to today who has to battle with the constraints of modern life to develop their athletic prowess.

Th e story revolved around the two distinct characters learning from each other, bridging the past and future with a mix of traditional and modern choreography, culminating in a headline performance of the Games’ anthem Rise Up by Leona Lewis, Rita Ora, Carole Samaha and Rashed Al Nuaimi.

Pe ople were also given an exciting side quest – designing the Games’ mascot. They enlisted the help of world-renowned theatrical puppet maker Michael Curry Design, and settled on a Gazelle who was featured in the Opening Ceremony and throughout the Games.

“M ost mascots are often a fluffy teddy, but this one was a world-class puppet. It was exciting to work with Michael Curry and produce something a bit different for this event,” Elliott commented.

The event was held in the Zayed Sports City Stadium, which was a last-minute venue change that meant the team had to scale up their production to match the scale of the venue.

“Adapting to that scale and making it feel right in that stadium was the most challenging part,” Elliott said. The change also added pressure for the creative and technical partners, with installation and rehearsal times compressed and equipment limited to forklifts and telehandlers for the build due to the site restrictions.

“The stadium was brilliant to work with,” Elliott continued. “We’ve worked with them before on many projects and all the staff were fantastic.”

Ahead

of the curve

The main stage centred around a semi-circular, concave LED screen that represented the desert sun, surrounded by an arch of lights and the outside structure used as a projection surface. It included a thrust, multi-level ‘dunes’, side wings lined with lights and a healthy amount of pyro provided by Stage FX.

Creative Technology Middle East provided the complete video, lighting and projection package for the event. “Integrating the various layers of technology into what was quite an ambitious

visual concept, was the most challenging aspect of the stage and scenic design,” said Karl Jenkins. “Screens, lighting, automation, and performer access all had to coexist within a clean and cohesive aesthetic, which required a lot of coordination and iteration. It was a delicate balance between maintaining the integrity of the overall creative vision while ensuring everything was technically robust, safe, and achievable within the timeframe.”

Pe ople brought in VK Exhibitions and Decor to deliver the stage scenic and other elements across the event including the main stadium and VIP Majlis. The stage was finished in a black gloss to reflect the lights and the video content, bringing cohesion to the large stage area.

“The biggest challenges centred around balancing a compressed production schedule with ongoing design refinements,” said VK’s Sachin Chikhodrawala, Project Director – Special Projects. “Material availability and finish approvals required coordination, and ensuring seamless integration with other contractors on site added another layer of complexity. The collaboration between design, fabrication, and installation teams was smooth. The final result showcased the standard of workmanship we aim to deliver.”

Enjoy Technology supplied LED wristbands for attendees as well as LED seating pixels, ensuring the stadium was lit in support of every athlete.

Another impressive feature was the 29.5m ‘revolve’ that wrapped the curvature of the LED screen, designed and delivered by Stage One. Throughout the show, cast members and scenic elements rotated through the main stage, tracing the story of the Original and Modern Athlete.

Pe ople came to Stage One with the initial visual renders and movement requirements, which the experienced Stage One design team translated into the final piece – designed and manufactured from their offices and warehouse facilities in Abu Dhabi. With only 15 days to commission and install the revolve, the team opted for off-the-shelf motors and control that could be integrated into the modular design, allowing for efficient manufacturing and seamless installation within the site limits.

Driven by six 11kW Sew motors and controlled by Stage One’s Qmotion software on a Galileo control desk, the revolve could make a full rotation in 85 seconds including acceleration and deceleration ramps, with a top speed of 1.25m/s.

“Programming the revolve can take a lot of time,” Elliott said. “However, Stage One got to

grips with the show really quickly. The revolve ran seamlessly through every rehearsal and every show. To have the resilience and security with stage automation was amazing.”

Pitchblack supplied production rigging, including all flown truss throughout the stadium, PA towers as well as custom cantilevered truss structures for the spider cam system and a large projection platform on the roof of the stadium.

With the curvature of the screen to work around, lights to surround it on an arch and other elements needed to be hung throughout the stadium, Pitchblack’s Mark Hammond and his team had to bring together all their expertise to make a workable plan in a short amount of time.

“The on-stage curve came with a few challenges,” said Hammond. “Firstly, how do you integrate the lighting fixtures into the scaffold structure, keeping the curve shape consistent and maintaining the correct spacing? Secondly, how do you physically install the lights, bearing in mind, we can’t get MEWPs to the top of the structure as they are cantilevered out and have to fit in a tight slot, so the LED cladding isn’t fouled?”

Working with the production managers and suppliers, Hammond created a large, faceted and angled flown truss, with an 8mm laser-cut

aluminium plate that coupled to the truss face. The plate was slotted and versatile enough to ensure no truss or node clashes, as well as ensuring both the top and bottom rows of lights were evenly spaced throughout the rig. The turnaround time had to be lightning fast, with final designs, structural calculations, cutting and final delivery to the warehouse completed with a mere 24 hours to go before it headed to site.

Th e team also had to get creative when fixing the lights to the arch truss to keep in line with the vision for the show. “It can be a hard task pitching a solution, when the solution involves removing all of the standard hardware from the moving lights and physically bolting them to a plate on site,” Hammond admitted. “But Stephen Page and the CT team were on board and helpful as ever.”

Lifting the curve was no mean feat. To achieve the trim height while maintaining the low-profile design, 19 trusses had to be cantilevered out, the chain hoists rigged, then the curve structure lifted to the trim height with the weight bypassed to lower profile steel beams. The top structure had to be built higher up to accommodate the initial lift, then knocked back down to achieve the final shape. All this, while maintaining the highest levels of precision and accuracy. “Hats

off to Jozef and the Al Laith team,” commented Hammond, praising the structural supplier.

Beneath the desert sun

“From the beginning, we had this really strong vision for the opening shot of the Original Athlete in this desert sun,” Elliott stated, describing the striking concave screen shape that defined the stage design.

Th e central LED screen stood at a whopping 16m high and 55.5m wide with a 3.9mm pixel pitch. Built from 1,400 LED panels and weighing in at 19 tonnes. The arch of lights followed the curved perimeter of the screen. The outside structure of the screen was also used for projection mapping, creating a fully cohesive visual plane. “The arch projection surface was a highlight for me,” Jenkins commented. “It became a central visual feature of the show, and achieving clean, high-quality mapping on that scale was a real technical success.”

Th e desert theme continued with three multilayered ‘dunes’ lined with DMX-controlled pixel tape. These were set inside the donut revolve and revealed performers throughout the show. Additionally, the thrust and wing stage elements were lined with further lighting fixtures.

For video control, Creative Technology provided a double stack of Barco Encore3 processors to manage the screens and a suite of 10 Disguise VX 4+ media servers to process nearly 60 million pixels. The full fibre and video signal distribution spanned around 14km across the stadium.

For projection, 14 Panasonic PT-RZ31K laser projectors were deployed, covering the outside of the screen and other scenic elements. Detailed pre-production was vital to deliver such a key piece. The scaffold system was precisely CNC cut to ensure all panel angles were correct and followed the exact curvature.

For programming, the CT team split the screen into clear sections and created custom test panels to allow the crew to easily identify and resolve any signal issues. The system ensured reliable playback of large media files, and allowed the team to manage complex cue structures throughout rehearsals and the show.

Creative Technology also supplied dedicated control positions and workstations, as well as a network of CCTV cameras, which were used for show and site monitoring.

Content played a huge role in the narrative storytelling of the show. People enlisted Luke Halls Studios to design the video content for

the ceremony, including large-scale motion graphics, filmic sequences, athlete procession and transitions. Halls and his team worked with Elliott to shape how the story of the Original and Modern Athlete was experienced, aiming to bring clarity and emotional weight to the visuals.

“Luke treated the show like a narrative arc rather than a list of segments,” explained Charlotte Wilde, Producer at Luke Halls Studios. “Where does it build, where does it breathe, where does it land? Once that spine was clear, the content naturally found its role within it.”

Th e brief was about real people – the athletes. “The show had a mix of elite performance and personal stories, so it was important for that duality to come through,” Wilde explained. “Our ambition was a blend of contemporary sports presentation and more human, documentaryled storytelling. We wanted moments of graphic precision, but also space for texture and emotion. Not everything needed to shout.”

Halls’ team remained embedded on site throughout the project, working with the technical teams to make refinements and adaptations to the visuals as the final show developed. “The workflow between the content designers and programmers worked really well and saved a lot of time,” said Elliott. “The amount of changes that Luke and Gwill the programmer could put directly into the Disguise system, live, without re-rendering was brilliant.”

Lighting was the final piece of the visual puzzle. “Stephen Page’s design was phenomenal,” commented Elliott. “It was instrumental in bringing the show together.”

Page’s design utilised an eclectic mix of fixtures throughout the main stage and along the edges of the thrust and wings. For beams and washes, the rig included Ayrton Rivale Profiles and Argo 6 FX; Robe iFORTE LTX, iESPRITE LTL, iBOLT, iBeam 350 and iTetra2 and Elation KL Pars.

Astera HydraPanels, AX2-50 and AX2-100 Pixelbars were used for accenting the rig, with ACME Tornados and PIXEL LINE IPs completing the lineup. MDG theONE Touring Atmosphere Generators and 12 Unique Hazers were also placed throughout the stadium.

For control, three MA Lighting grandMA3 Full Size consoles were deployed with a grandMA3 Light for focussing. The desks ran in session, with I/O Nodes allowing seamless integration.

A p revisualisation suite was included for lastminute changes. For networking, the team opted for Luminex, using the 20T and LuniNode 12, as well as GigaCore 10.

Fo llow-Me tracking was brought in for the followspots, running a main and back-up system. “Having the ability to track eight targets with any of the fixtures with this system was brilliant,” said Sam Connolly, Head of Lighting at CTME.

“We always enjoy working with People and collaborating with Stephen Page as Lighting Designer,” Connolly continued. “The team is highly professional, and the process is always collaborative, allowing us to tackle complex challenges and develop creative solutions that result in outstanding shows.”

Following the leader

Music and sound effects were the foundation for the whole production, composed by Eden Mulholland. “This was a show that relied more on music and sound than we’ve done for a long time,” Elliott explained. “We got the sound design

and track nailed quite quickly and then worked the sound effects over the top.” This created the backbone of the performance, with all other services including video content and lighting reliant on it for timings and design.

“M usic was brilliant but challenging,” Elliott continued. “There were a few shifts in the show that meant that a huge amount of sound design was needed. The whole show was completely music led, and all other services followed. A slight change in track meant changing the whole workflow in lighting and video. A small shift makes such a big difference.”

Clair Global supplied the complete audio and communication package for the event, covering the stadium, VIP platform and the field of play.

“The timeline for this project was tight,” said Al Woods, COO of Clair Global. “The systems deployed needed to be designed in-house, utilising as much in-country infrastructure and equipment as possible.”

Th e main PA featured L-Acoustics L and K Series loudspeakers for the main flown arrays with the X Series handling fill and foldback duties in the main stadium. The VIP area was covered by the more compact Cohesion CM24. For control, two DiGiCo 852 consoles managed the

FOH and monitor mixes with signal distribution handled through a combination of SD Racks, Optocore, and DirectOut PRODIGY.MP units.

A dual-redundant Merging Technologies Ovation system was used for playback, with the RF and IEM operations utilising Shure Axient systems. Both the audio and communications systems operated on a redundant converged network, minimising cable runs and eliminating any unnecessary duplication.

With so much real estate to utilise, the team decided to include an immersive element to the sound design. “We had the opportunity to play with movement within the stadium and make sound move left to right, front to back,” explained Elliott. “Sound could help direct the audience where to look in such a big space. Lighting and sound played a big part in tracking the audience’s eyes.”

Clair used four clusters of L-Acoustics K2, each consisting of an array of six enclosures, to create the movement within the system.

“B ecause of the size of the coverage area, and with the audience seated in a stadium environment, the design needed to be simple and fast to deploy, given the limited time available for the installation and programming,” said Matt

Oliver, Clair Global Project Manager. “Audience members seated on the left side of the stadium had the same experience as those on the right, with each array directed in such a way that surround sound effects could be contained within each seating block.”

A re dundant QLab system was also deployed, utilising its object-based audio capabilities. The Object Audio feature allows for precise positioning and movement of sound elements within defined speaker zones. “Rather than relying on traditional bus-based routing, individual audio objects could be dynamically assigned to specific arrays, enabling controlled specialisation across the entire audience,” Oliver explained. “This approach provided flexibility during programming, allowing the elements to be easily repositioned or automated in real time.”

This feature of the design came into its own during a climatic section of the show where the new athlete showcased several sports and disciplines that would occur in the Games. A great example was tennis, where the green streak of the ball bounced across the arch with the satisfying “thwack” sound following perfectly.

With so many moving parts all reliant on each other and multiple zones within the venue,

delivering a rock-solid comms system was vital. “The communications system was engineered for seamless coverage across the field of play, backstage, and the external rehearsal zones outside the stadium,” continued Woods.

The fully redundant design centred around two primary Riedel 1024 Matrix frame nodes, supported by multiple remote nodes for Bolero antenna and data distribution. The system comprised over 40 Bolero antennas supporting more than 100 Bolero belt packs, 30 intercom panels, and 120 Motorola R7 radios.

Masters are built, not born Aggreko provided reliable power and distribution across all elements of the project, including the main stage, back of house and catering. The company provided a total of 3.75MVA across nine generators for the Opening Ceremony and 3.3MVA across 12 generators for the Closing Ceremony. According to Craig Lamb, Project Manager – PDR, the Aggreko team’s biggest challenge was the 15km of Powerlock cable runs required for the Opening Ceremony.

“O ur main generator farm for show power of five 500kVA was placed just outside the stadium

inner ring,” he noted. “We ran multiple sets to the main stage and different levels of the stadium, but we had to run four Powerlock sets of 350m to 500m each run, to the roof of the venue. The cables had to be craned to the roof and access was limited, but our team on the ground were able to make it happen, providing power to all of CT’s equipment for the critical show elements.”

Lamb praised the “close collaboration” with People as well as all of the other suppliers on site. “It was good to see everyone on the same page and helping each other to achieve the same goal: to put on a great show,” he stated. “We were extremely pleased with the result.”

Also pleased with the reult was Tim Elliott of People. “Having the freedom to deliver the story in a contemporary way was really fun,” he commented. “The story of the two worlds came together very well, and it was an interesting mix of true theatre versus the traditional athlete parade and sport.

“We created the concept line ‘Masters are built, not born’ which gave us the momentum for the show. We did well to tell the two stories in a way that promoted tradition but was told in a contemporary way. One of the biggest

successes was keeping the show really succinct and it left the audience wanting more, which was our main aim for the opening ceremony.”

Je nkins added: “The success of the project came down to the strength of the team and the collaboration between all the suppliers. It was a complex production and everyone approached it with a shared commitment to problem-solving and delivering at a high standard.”

Pe ople has long banged the drum for local suppliers, and this event was no different, with around 75% of resources including kit and crew being sourced locally. “The more local resources we can use, the more connected we feel to the region,” Elliott explained. “The more people that we can build locally that can deliver the scale of show that we now do is really important to us.”

Photos: People www.experiencesbypeople.com www.aggreko.com www.ct-group.com www.clairglobal.com www.lukehalls.com www.pitchblack.ae www.stageone.co.uk www.thevkgroup.com

JOY Awards 2026

Local and international suppliers come together to deliver a sparkling spectacle packed with creativity and technical excellence at Riyadh’s ANB Arena.

Attracting a dazzling line-up of Arab and international stars, the Joy Awards returned to Riyadh in January to celebrate excellence across cinema, TV, music, sports, and influencer impact, with audience-voted winners announced across 19 categories.

Taking place at Riyadh’s ANB Arena, the event featured standout appearances from the likes of Katy Perry, Robbie Williams and Saudi star Ayed, Angham, Abeer Nehme, Il Divo and Liz Mitchell, as well as a theatrical spectacle and tribute to Syrian drama, Ya Sham

Le d by the General Entertainment Authority (GEA), the production was delivered by DONE+DUSTED, working in close collaboration with broadcaster MBC, with both parties contributing across all major creative and broadcast decisions throughout the show.

Zo e Cook, Executive Producer at DONE+DUSTED, commented: “Five years in, Joy Awards has become a defining moment in the global entertainment calendar. From the start, the ambition was to build a show that could stand alongside, and rival, the world’s biggest awards. Each year, that means raising the creative and

technical bar, always in close partnership with Rabih Rammal, Executive Producer at MBC, to ensure it lands powerfully for both the live audience and the broadcast.”

Also marking five years of working on the event, Black Skull Creative was once again installed as Creative Director, tasked with looking after everything from concept to on-stage direction and choreography for several of the evening’s musical performances – including Robbie Williams and Ayed, Liz Mitchell, and Il Divo, as well as directing the In Memoriam segment.

Possible Productions meanwhile led on three signature performances during the evening, including the opening featuring Katy Perry as well as Agham’s spectacular medley.

“The brief from the clients DONE+DUSTED and MBC is always to build on the successes of previous years,” began Co-Founder, Creative Director and Producer at Black Skull, Ross Nicholson. “The show continues to grow year on year and delivers a level of elegance and innovation on the global stage. The client is always looking for new and exciting moments and ways in which to elevate the performances

to further the event’s reputation as one of the world’s biggest, most talked about shows.”

Af ter an initial discussion with DONE+DUSTED and MBC, the Black Skull team built a creative deck filled with ideas and references, which was refined as updated information on artist performance became available. The process was highly collaborative, with creative development shared across DONE+DUSTED, MBC, STUFISH Entertainment Architects, and the wider show team as performance, staging and broadcast requirements evolved.

“O nce the ideas were signed off, we started working on video style frames, casting talent and developing costume designs with the wider creative team,” Nicholson recalled.

Initial rehearsals took place in December, with choreography added into the mix and music changes considered, before on-site rehearsals began in January. “This period was key to bringing everything together and integrating screen content and lighting into the staging and choreography,” Nicholson stated, also noting the importance of working through translating the creative vision to a broadcast audience.

This year’s Joy Awards saw the use of volumetric LEDs and indoor drones – deployed for a collaboration between Robbie Williams and Saudi artist, Ayed, which saw both singers perform solos before joining to deliver an English-Arabic duet rendition of Williams’ hit song, Angels

“Utilising large-scale volumetric LED, we created a striking 3D sculptural image of Robbie’s head – a bold, iconic visual that anchored the performance,” Nicholson described. “Working closely with Light Initiative, we developed bespoke content that fully embraced the depth and dimensionality of the technology, ensuring the visual felt immersive from every camera angle as well as in the room.”

Alongside this, the Black Skull team collaborated with Verity Studios to integrate indoor drones into the staging.

“The choreography of the drones was designed specifically around Robbie’s performance, forming bespoke shapes and moments that enhanced the performance,” Nicholson revealed. “With indoor drones, safety and precision are paramount, so extensive testing and coordination were key. The result was a seamless fusion of

human performance and high-end technology, where innovation elevated the emotion rather than overshadowing it.”

With world-class expectations, a tight timeline and a production spanning multiple international teams working simultaneously, the project was a significant achievement for the Black Skull team.

“What pleased us most was seeing the technical ambition deliver a breathtaking spectacle, without ever compromising the human heart of the performance,” Nicholson reflected. “It was important to us that the technology enhanced and never overshadowed the performers, the dancers and the analogue storytelling emotion of the moment. Ultimately, the magic came from striking that balance: delivering bold, world-class visuals while ensuring the humanity of the performance remained front and centre.”

‘Setting the stage’

Tasked with the design of the auditorium, performance set pieces and Lavender Carpet, STUFISH Entertainment Architects transformed Riyadh’s ANB Arena from an empty large-scale

sound stage into an immersive theatre designed to host 800 guests. “Designing for the Joy Awards is a very collaborative process,” said Senior Architect, Dionysis Toumazis. “Early on, we worked closely with the producers and creative directors to define the visual identity of the show and how the stage should support both the awards and the performances.”

Inspired by the grandeur of a traditional opera house, reinterpreted through a contemporary lens, the design was anchored by an expansive radiating golden canopy suspended above the audience. This architectural gesture integrated lighting fixtures and kinetic elements, extending towards the proscenium before wrapping the side LED walls and framing an 80-piece orchestra. The canopy acted as a visual signature and a unifying spatial element, enveloping the audience in a warm, theatrical glow.

The design also incorporated an additional closedown screen, formed by sliding LED walls and descending LED cylinders to enable concealed stage transitions. This system allowed the LED walls to open behind the central element without revealing the stage, while performance

props were loaded within. “The design evolved through constant dialogue with the lighting, video and technical teams to make sure every element, from screens to lighting positions and camera angles, worked together,” Toumazis added.

“B ecause it was a live broadcast event, we also relied heavily on visualisations, allowing everyone to refine the design and ensure the original vision translated perfectly on stage and on screen.”

One of the biggest challenges for the STUFISH team was the sheer level of detail in the scenery. “Many elements needed to look extremely refined on camera, while still being robust enough for a live show environment,” Toumazis explained, also noting the challenge presented by managing the set changeovers.

“The show included many different moments – awards, performances and set transitions – so, the stage had to transform quickly and smoothly. That required a lot of careful coordination between design, technical teams and stage management to ensure everything worked seamlessly during the live broadcast.”

The Senior Architect was pleased with how all the elements came together to create a distinctive visual identity for the show. “The stage had a strong, iconic presence, but it was also flexible enough to transform throughout the night,” he commented. “Each performance had its own scenic set pieces and visual language, so every moment felt unique and striking. That variety helped create a dynamic show for both the live audience and the broadcast. That contrast between moments helped keep the show visually fresh and exciting from beginning to end.”

Su ch was the complexity of the project, several staging and scenic suppliers were engaged to lend their expertise, including but not limited to: Al Laith, Blocks Group, Deadset, E9 Production, ShowTex, Stage One, Stageco, TAIT, and WICREATIONS.

Stageco was responsible for the complete ground support structure, consisting of four portals – three of which were reinforced – and a central span of more than 25m, reaching a height of 24m. The cantilevered downstage, weighing a total of 12 tonnes, was lifted simultaneously with

the central grid – a feat that required precision and close collaboration.

ShowTex supplied and installed the venue’s ceiling and wall fitout. The company deployed its Bannerdrape CS in gold, along with a custommade aluminium frame to create the panels that covered the entire venue, black masking fabrics in Molton CS to blackout the stage and tunnel areas and printed sheer fabrics in Voile CS for the stage performances.

“Alongside our ongoing partnership with the Joy Awards, gold remains the signature colour running through every edition,” stated Sales Manager, Brian Aviso. “Combined with dynamic lighting design, this rich palette allows the entire venue to evolve throughout the night, shifting the atmosphere during different award moments without altering the physical set.”

‘Half a million mapped LEDs’ Light Initiative (LI) was brought in to help realise STUFISH’s stage design and deliver the largescale LED pixel infrastructure required for the evening’s performances. Working alongside

Black Skull and Possible Productions, the company aimed to bring the design to life using an extensive pixel-mapped LED system across the stage and performance extras.

While the main set incorporated more than 800m of 12v RGBW pixel LED outlining the stage edge, entrance tunnels and treads, according to LI’s Alex Varlow and Mike Burke, the performance extras were where the majority of Light Initiative’s workload was made up.

“The Robbie Williams performance featured over 285,000 pixels running across 1,840 universes, creating a dual-layered transparent screen, allowing for layered video content creating a 3D effect,” Varlow said. “The Il Divo brief centred around building a large LED environment using 1,100m of LED pixel tape, alongside over 600m of RGB integrated into scenic elements. Our work on Obits included 120m of 24v pixel tape controlled via a Luminex INTELLIFLEX personality, integrated within interlocked, revolving light boxes, all powered wirelessly to ensure smooth running of the show.”

Du ring pre-production, the LI team focussed on preparing the LED tape systems, control hardware, and networking needed to run such a large number of pixels and universes. Once on site in Riyadh, the team moved into the install phase, deploying the LED tape throughout the set and stage elements according to the design layout. “The final stage was integrating the LED using our sACN control and Luminex network systems the team mapped and tested all the LEDs via our Light Jams server to ensure everything functioned correctly ahead of rehearsals and the live broadcast,” Burke described. “The system ultimately drove over half a million mapped LEDs across 2,488 universes and 1,273,834 DMX channels.”

All performance extras had a form of kinetic element, adding to the complexity of the installation, requiring additional planning and utilising power from LI’s volt pack battery system and a robust city theatrical wireless solution.

“Another highlight was bringing the creative vision to life for the major performances –particularly the semi-volumetric curved display over two video canvases mapped through our server,” Burke added.

“The product was a high-density RGB seed pixel string, allowing for high-resolution imagery while staying semi-transparent. All this was housed within custom-built hanging frames containing all control and cabling, allowing for fast turnaround between acts.”

Va rlow concluded by praising the LI team on the project, made up of in-house technical leads and dedicated freelance Gaffer, James Phillips, as well as the wider freelance crew. “Ultimately, the success of the project was down to their dedication,” he commented. “They worked tirelessly throughout the preparation, installation, and show delivery.”

‘A moving puzzle’

With the three-and-a-half-hour live show including several elements, from large-scale performances to fast-moving presentation segments and a live orchestra surrounding the sides of the audience, the project provided a challenging environment for audio deployment.

Ma rking five years of continuity on the annual event, Auditoria was once again appointed to design and deliver the audio system and show

control, working alongside audio supplier, Clair Global. Held without commercial breaks and broadcast live to air, the brief required an audio system that could support constant momentum while remaining flexible enough to adapt to laterunning rehearsals, last-minute changes and a demanding performance schedule. At the same time, the in-room audience experience had to remain engaging and immersive, ensuring the energy in the arena translated naturally to screen.

Likening the project to “a moving puzzle”, Scott Willsallen, Director at Auditoria, explained the brief. “It’s one of our bigger projects of the year,” he stated. “Four hours live to air, a lot of moving parts, and a large team on site. What makes projects like this enjoyable is how well everyone works together. There’s a shared focus, which sets the tone for the whole production.”

Th e Auditoria team made a conscious decision to split music and presentation mixing across dedicated consoles and operators. This approach gave the team greater headroom during transitions and allowed them to work methodically through the most intense moments of the show. “The show had a lot going on,”

commented Ethan Curry, Auditoria’s Project Manager and Presentation Mix Engineer for the project. “By separating music and presentation mixing, each part of the show could be compartmentalised. It made transitions smoother and gave us a more controlled way of handling last-minute changes.”

Th e arena geometry and seating layout lent themselves naturally to a surround-based design, allowing Auditoria to explore spatial coverage more deeply than in previous years.

Th e show also saw the team’s first solo implementation of L-Acoustics Ambiance on an event project, used as an experimental tool rather than a headline feature. “For us, it was about understanding what active acoustics could offer in a temporary event,” Willsallen explained. “It turned out to be efficient to implement, extremely effective, and we learned a lot about where it genuinely adds value.”

In total, 13 Auditoria team members were embedded across the project, covering music mixing, presentation, monitors, orchestra, replay, audio editing, and systems engineering. Audio, lighting, video, staging, RF and broadcast were

closely aligned, with timing and transitions critical to both the live audience experience and the broadcast output. “Getting everyone aligned early was key,” Curry said. “That shared focus carried through the entire production. It was busy, intense and complex, but it worked because everyone understood their role and trusted each other to deliver.”

Willsallen added: “Everybody was proactive and supportive of each other. That makes a huge difference on a show like this. DONE+DUSTED are an incredibly supportive client, and that culture filters through the whole production.”

‘1,700 sq m of LED’

Creative Technology (CT) and Ogle Hog delivered a comprehensive LED package, with the CT team led by Connie Glover, Arkadiusz Wegrzyn and Artur Kurowski designing and developing the infrastructure, and Ogle Hog’s Chris Saunders overseeing control.

CT d elivered a massive 1,700 sq m of LED, with multiple elements including INFiLED ART4.6 panels forming a dramatic closing door, ROE Visual Graphite 2.6 cylindrical centrepieces,

transparent Vanish V8T behind the orchestra, and a backdrop made up of Black Quartz 4.6.

A be spoke LED staircase commissioned by Possible Productions, designed by STUFISH, was deployed by the CT Team.

Hello Charlie delivered a full-venue content package spanning projection, show screens and broadcast, contributing to the wider visual ecosystem of the event.

As well as a complete show and broadcast graphics package and bespoke performance visuals, the scope included screen content for the Lavender Carpet, with an immersive tunnel spanning 20m and more than 42 million pixels, plus building projection.

‘142 projectors to play with’

PRG was contracted to handle the technical delivery of the exterior projection mapping, which was conducted using 142 projectors, consisting of 108 Panasonic PT-RQ35K, and 34 Panasonic PTRQ50K, on 11 projection towers positioned around

the south end of the arena. Standard converters were positioned in-line with fibre receivers at the LED control location to accommodate the difference in refresh rate between the LED cuboid and the rest of the system.

For media servers, PRG deployed seven Disguise VX 4+, with three responsible for the projection onto the 121m by 35m West-facing side of the building, which had to be projected on from towers positioned across a road. The remaining four servers handled the other three sides of the venue, with generators positioned with the projectors on all sides to reduce the need for cabling across the road.

All servers were connected to an Adderlink XDIP KVM, plus two control terminals (one for each position), enabling servers on either side to be controlled from both positions.

In p reparation for the project, PRG performed a 3D scan of the building to create a UV-mapped model, which was provided to the content creators and used in projection study software to ensure that each projector could be placed accurately, maximising lux, keeping pixel sizes constant and taking obstacles into account.

PR G also supplied a significant lighting deployment inside the venue to fulfil the show’s

ambitious lighting design, which was created by Lighting Designer, Al Gurdon and Ross Williams, Lavender Carpet, Lighting Director.

Ayrton fixtures featured heavily within the design, with Kyalami, Rivale Profile, Eurus Profile, Domino Profile, Nando 502 and Argo 6 FX joining the likes of Martin VDO Atomic Dot WRM and MAC Ultra Performance solutions as well as GLP impression X5 and JDC1 on the rig.

PR G’s GroundControl Remote Followspot System handled spotting duties, while atmospherics came in the form of Antari HZ500 Hazers and AF-4 DMX-controlled fans, with overall control coming from MA Lighting grandMA3 Full Size and Light consoles.

‘A multisensory experience’

ER Productions worked with the show’s creative and production teams throughout the project, providing a range of special effects for several performances. Retained Crew Chief for ER Productions, Jay Scrivener, was Lead SFX Technician on the project, planning the installation, managing the team on site and operating during the evening’s performances.

“W ith any TV project, especially one with such prestigious attendees, the key thing is to make

everything fully integrated and looking polished with seamless changeovers,” he told TPiMEA, noting the range of effects supplied, including pyrotechnics, low smoke, petal drops, scent, and flaming torches. “You also must be ready to react to creative changes and ideas with innovative approaches at any moment.”

In terms of pyrotechnics, ER Productions provided two pyro waterfalls – one straight and one curved – for two different performances.

“When we found out Katy Perry was performing Firework, we knew we’d have to produce a worthy display,” Scrivener said. “We utilised a range of products in positions downstage and overhead to create a huge colourful and explosive look, matching the energy of the song. We also utilised pyrotechnics to emphasise the transition from Il Divo to Boney M.”

Under the stage were a network of low fog machines, with hoses and ducting popping up across the stage to create a thick and fluffy smoke, which covered the entire stage.

“We utilised pop-ups, which lifted and pumped out smoke when required and dropped again afterwards, ensuring no unsightly ducting could be seen on camera or by the audience,” Scrivener revealed, noting the importance of

maintaining the show’s “integrated and polished” aesthetic. “We also had a large amount of CO2 tanks, which were changed daily, hidden within the set to keep the smoke cold and low in the hot, dry environment,” he added.

“This was most notably used during Robbie Williams’ performance with Ayed to levitate the performance away from the black stage floor.”

On e of Scrivener’s favourite looks was during the tribute to Ya Sham, which ended with petals dropping gently over the singer onstage as well as in the audience. As the petals dropped, a jasmine scent was pumped out, giving audience members a multisensory experience.

“We used a bespoke flaming torch –designed, engineered and fabricated by FABER –to match the aesthetic of the huge set behind and set the mood during the scene,” Scrivener said. “These were controlled by FABER’s own ERI32 controllers, which allows safe and controlled operation of the flames throughout the evening.”

Da niel Eske, Research and Development and Fabrication Engineer at FABER, gave more details on the torches, describing how the creative team provided a series of renders depicting an Arabian nomadic-style camp, with several flambeaux arranged around a central campfire. “To recreate this visual on stage, we developed a mini version of our standard gas burner to serve as the torch’s flame source,” he stated.

The burners incorporated an adjustable Venturi-type air injection system to produce a clean, smoke-free flame, with high-temperature carbon fibre packing integrated into the gas diffuser to reduce flame noise. “In addition, we chose to utilise a ‘hot-surface’ type ignition system to avoid the potential for radio-frequency interference,” he added.

‘The highest level of global entertainment’ Working with DONE+DUSTED and Possible throughout the project, Matt Bateman, Senior Creative at SKYMAGIC, described how the company deployed a dual-phase drone operation designed to “bridge the gap” between live performance art and broadcast production.

“The first phase featured a 1,200-drone fleet over the Lavender Carpet, where we executed a large-scale, 3D celestial tiger,” he said. “This was a highly choreographed, augmented reality-style moment, where the drones acted as a digital extension of Katy Perry’s live performance.”

The second phase was a high-octane festival show performed during the main ceremony, which integrated bespoke drone-mounted pyrotechnics, requiring a specialised flight line to ensure the safety of the gathered dignitaries and celebrities while maintaining the tight framing required for a live global broadcast.

“B oth segments were engineered to function as visual anchors for a show that ultimately reached a record-breaking 20 billion digital interactions,” Bateman noted.

Ground-level movements and drone flight paths were highly synchronised. For example, during the ‘tiger’ sequence, the drones appeared as though they were being led by the dancers.

“Even a few seconds of drift would have broken the visual narrative for the broadcast cameras,” Bateman explained.

“We overcame this through rigorous previsualisation and a tightly integrated timecode sync between our flight controllers and the broadcast’s master clock.”

Integrating live pyrotechnics into the drone fleet added another layer of complexity. “Our engineering team developed custom firing sequences that were meticulously timed, ensuring that the pyrotechnic hits aligned perfectly with the broadcast transitions without compromising the stability of the 1,200-drone formation,” Bateman revealed. “We were particularly pleased with the seamlessness of the broadcast integration,” he added.

“I n live entertainment, there is often a disconnect between what the live audience sees and what the camera captures. For the Joy Awards, I feel we managed to bridge that gap perfectly. Delivering a performance of this scale in the presence of a global audience is a testament to our team’s professionalism and the reliability of our proprietary technology. Seeing

our ‘celestial lavender tiger’ become one of the defining images of the 2026 cultural calendar was a proud moment for the entire SKYMAGIC team, as it demonstrated our ability to execute complex, multilayered productions at the highest level of global entertainment.”

Zo e Cook, DONE+DUSTED, Executive Producer, concluded: “One of the defining strengths of Joy Awards 2026 was the level of collaboration across the entire production. Working with MBC and a collective of creative and technical talent, the show was shaped by a shared ambition to deliver at the highest level. From creative direction and performance design through to staging, audio, lighting, video and special effects, every discipline contributed to a seamless live experience that translated powerfully to a global broadcast audience.”

Photos: James Glover @panoptistry for Black Skull, STUFISH Entertainment Architects www.joyawards.sa www.doneanddusted.com www.mbc.net www.blackskullcreative.com www.psbl.co www.stufish.com www.showtex.com www.auditoria.systems www.lightinitiative.com www.prg.com www.ct-group.com www.oglehog.com www.hellocharlie.com www.er-productions.com www.faberengineering.com www.skymagic.show

ES:ME talks rope access

With uncertain times in the region putting a halt to live events, ES:ME CEO, Alexander Wuerfel, speaks to TPiMEA’s Stew Hume about how the company’s rope access capability can help prepare for tomorrow’s projects.

There is no avoiding the reality that the current geopolitical climate and conflict in the Middle East have led to the postponement of much of the region’s events calendar. With this enforced downtime, companies are increasingly looking to diversify their offerings.

On e such company is ES:ME, which is using this period to expand the wider application of its Rope Access services. Keen to raise awareness of this offering, CEO, Alexander Wuerfel, explained how these capabilities could aid production and venue organisers for future events. You’d be hard-pressed to find anyone in live events who doesn’t have

the deepest respect for riggers; the people responsible for creating the structural backbone of the world’s greatest events. However, according to Wuerfel – an experienced rigger in his own right – there is a misconception about the distinction between rigging and high-ropes qualifications.

“They are two completely different trades,” stated the CEO, who explained that many working within his team are both qualified riggers as well as qualified in high ropes.

Sinc e 2007, ES:ME has offered rigging, staging, lighting, audio and AV integration, but the company’s Rope Access Division extends this expertise into areas that are otherwise

unreachable. With IRATA-certified specialists and ISOaccredited systems, ES:ME can provide reliable solutions for working at height in confined or complex spaces.

IR ATA (Industrial Rope Access Trade Association) is a global authority on work-at-height training and certification. Those qualified must pass three levels of certification, the last of which requires workers to have more than 4,500 hours of working at height.

At ES:ME, all rope access operations are overseen by IRATA Level 3 supervisors to ensure safety, compliance, and operational excellence.

“This enables us to do work on shows such as the Burj Khalifa for both firework displays and lighting installations,” commented Wuerfel. “Similar to two years ago, we worked on a huge project called Dialogue for the Noor Riyadh Festival [see TPiMEA #46], where we installed hundreds of moving lights on two skyscrapers; this is only possible with our team with rope access accreditation.”

Adam Mason leads the company’s rope team. With almost two decades of experience in his field, he has worked on stadium rigging, inspection support, and live entertainment across the GCC and Europe.

In total, there are at least 10 full-time members of staff within the ES:ME team who are both qualified riggers and have high-ropes certifications, as well as a large database of freelancers to call upon.

ES:ME’s joint AV knowledge, in tandem with its rope access capability, means the company can offer a unique service in the market. “We have a thorough understanding of the technical side as well as proficiency at working at height,” noted Wuerfel.

Alongs ide delivering complex installations on sites such as skyscrapers, ES:ME also provides a service working with venues – predominantly stadiums – to best prepare for the elevated productions that often accompany large sporting events. From opening and closing ceremonies to halftime shows, the demands on these venues from a rigging standpoint have never been greater.

However, according to the team at ES:ME, rope access provides a smarter, safer and more efficient solution for venues and event environments where downtime is not an option. Unlike scaffolding or heavy machinery, rope access provides maximum reach with minimal footprint.

As stadiums become increasingly multipurpose, Wuerfel believes that investing in the evaluation of a venue’s infrastructure has never been more important. “There are a lot of stadium refurbishments going on in the MENA region at the moment,” he said, highlighting Morocco’s preparation for the 2030 FIFA World Cup.

Wu erfel is keen to speak to any venue operators who would like to hear from the ES:ME team on how to better prepare for modern productions. In the past five years, the company has worked on several high-profile shows in this capacity, including the FIFA World Cup Opening Ceremony in 2022, as well as stadium branding, screen installations, and structural inspections for the event itself the year after.

Th e team also worked on the FIFA Arab Cup Opening Ceremony in both 2021 and 2025 in Qatar. For the latter event, approximately 400 hanging points were installed using rope access technicians for this TPiMEA Awardwinning production. ES:ME also provided a dedicated Rope Rescue Team on standby for all other stakeholders and suppliers throughout the event.

Th e CEO also explained that, in addition to providing a solution for events, the high rope offering also helps venue longevity, from painting and leak detection to high-level maintenance with minimal disruption.

Even while we’re still waiting for large-scale events to be welcomed back into venues throughout the Middle East, the team at ES:ME is ready and able to assist with space maintenance or consult on future events and how they might support their execution.

Photos: ES:ME www.es-me.net

Eoghan Gill, Managing Director, JAM Event Services KSA

Six months into his tenure leading JAM in Saudi Arabia, Eoghan Gill sits down with TPiMEA to discuss how his extensive global events experience is set to benefit JAM’s offering in the Kingdom.

With a long history as a business owner and experience managing teams responsible for delivering some of the world’s largest and most prestigious sporting events, when it comes to major projects on the global stage, Eoghan Gill knows better than most what does and doesn’t work.

That experience ultimately led him to JAM, which started initially through collaboration on Expo 2020 Dubai, where the now MD supported the training of 25,000 staff and many projects thereafter.

Fast-forward to Q4 of 2025, and Gill took the “natural next step” of joining the company full-time. Now, as Managing

Director for KSA, Gill is bringing his global expertise to one of the world’s fastest-growing events markets.

What attracted you to the Middle East, and specifically Saudi Arabia?

From a business perspective, the Middle East – and Saudi Arabia in particular – offers huge opportunities within the events sector. Since joining JAM, it’s been a real eye-opener in terms of the scale and ambition of projects here.

JAM has operated successfully here since 2018, and with me and a few other key senior team members relocating permanently to Riyadh, we are able to establish a permanent senior management presence in the Kingdom. It’s important for us to continue to be seen as a local partner rather than an external supplier. We continue to invest heavily in hiring Saudi talent, particularly graduates, and contributing to the broader Saudisation initiative. That local integration is key to long-term success.

How would you describe JAM’s offerings across multiple verticals today?

JAM is an interesting business because it spans three key verticals: Safety, People, and Training.

We’re still widely known as a safety and crowd management company, but our offering is much broader.

JAM People covers both event staffing and recruitment – from entry-level roles to senior leadership. Meanwhile, our Training division has solidified itself as a NEBOSH Gold Certified Training Partner and a Highfield Gold Certified Training Centre, which reinforces our credibility in overall workforce development.

What we’re continuing to build is effectively a one-stop shop. We can provide safety consultancy, recruit staff, train both new and existing teams, and deliver workforce development through tailored training programmes. That approach is particularly valuable in today’s market.

How is JAM embedding itself locally in Saudi Arabia? Local engagement is critical. We’ve already hired around 15 graduates from programmes we’ve supported in Saudi Arabia, including MDLBEAST’s BeastEd Career Path

Programme, and we’re continuing to invest in developing local talent. We’re not just delivering services; we’re building a local ecosystem, including training, employment opportunities, and long-term career pathways in an industry that’s still relatively new in the Kingdom.

By d oing this, we’re strengthening our position as a trusted local partner while also contributing to the growth of the sector.

Given the current global climate, how do you see the events industry evolving in the region?

Geopolitical tensions are causing uncertainty, but the key consideration is how that impacts tourism and major events across the GCC.

Th e industry is resilient; historically, it tends to bounce back quickly. Promoters and organisers will adapt, and I expect we’ll see momentum return – though it may take some time.

Saudi Arabia is in a strong position because it’s not solely reliant on international tourism. There’s significant domestic demand, alongside major infrastructure and entertainment projects that will continue to drive growth.

What opportunities do you see specifically within Saudi Arabia’s events landscape?

There’s an incredible pipeline of projects – Qiddiya, Sports Boulevard, King Salman Park, and many more. Beyond Riyadh, there are many other KSA cities, which are developing rapidly.

Major events, such as the AFC Asian Cup in 2027, will bring international audiences, and all of this builds towards larger long-term ambitions, including Expo 2030. The medium-to-long-term outlook is very positive.

How does your experience working on some of the world’s biggest events translate to Saudi Arabia?

A lot of my experience comes from large-scale global events like the London 2012 Olympics, where I oversaw teams of up to 2,500 staff and thousands of volunteers across high-profile venues. Those roles involve building, training, and deploying large workforces, and ensuring every touchpoint, from security to guest services, contributes to the overall visitor experience.

That’s something we’re bringing into JAM: the ability to scale human infrastructure effectively and deliver consistent, high-quality experiences across major events.

How important is the ‘people’ element in delivering successful events?

It’s everything. The people are both the first and last impression of any event. Every interaction, whether it’s front of house staff, security, wayfinding, accreditation, or parking, shapes the visitor experience. These touchpoints are opportunities to contribute to the overall storytelling of the event. As audiences increasingly seek immersive experiences, the role of well-trained and engaged staff becomes even more critical.

What are the key challenges in large-scale events?

One of the biggest challenges is that timelines are fixed. Major international tournaments and events cannot be delayed. That means having robust systems in place for recruitment, training, deployment, and operations. There’s no margin for error.

What’s changed significantly is the role of digital platforms and social media. Today, we can engage with a network of over 100,000 people through JAM’s channels, which dramatically improves our ability to scale quickly.

How do you adapt global best practices to local markets like Saudi Arabia?

There are always universal principles – things like operational structure, training frameworks, and service standards. However, every market has its own different cultural nuances. The key is to immerse yourself in the local culture, respect it, and build your approach around it, which includes hiring locally, developing local supply chains, and also understanding varying social dynamics. Ultimately, success comes from combining global expertise with genuine local integration.

What excites you most about the future?

What excites me most is the opportunity to help shape the next generation of event professionals in Saudi Arabia. I know this has been a focus for JAM for many years.

We’re seeing the emergence of a rapidly growing industry in the Kingdom, and with that comes the chance to build sustainable career pathways for local talent.

If we can combine that with the scale of projects happening here, the future is incredibly promising – not just for JAM, but for the entire events sector in the region.

Photos: JAM Event Services www.jameventservices.com

From ambition to execution: why system thinking matters

Rudi Buchner, Chief Technology Officer at 3 Monkeys, and Benjamin Bruns, Managing Director at Beckhoff Automation, share how the companies are working together to smooth the journey from rehearsal to reality.

Late changes, unclear ownership, and bespoke control setups are a familiar source of stress in live productions. As interaction becomes more central to event design, the way these systems are built matters more than ever.

In this Q&A, 3 Monkeys’ Chief Technology Officer, Rudi Buchner, and Benjamin Bruns, Managing Director, Beckhoff Automation, reveal how a system-based approach is helping to protect both creative intent and delivery confidence in event production.

Why are some custom interactive systems often so temperamental once deployed?

RB: Most custom interactive systems work fine in controlled conditions. That’s not the issue. The problems usually show up once the system leaves a lab, workshop, or demo setup and has to deal with the real world. Many interactive

systems are built as one-off solutions. They grow out of individual requirements and clever fixes rather than a clearly defined system.

Lo gic often ends up spread across different platforms with unpredictable behaviour based on assumptions. As long as everything stays within expected conditions, that can work.

Once those assumptions are challenged, the system becomes sensitive and harder to control. Creativity isn’t the problem. What’s often missing is a clear structure for how interaction is meant to behave when conditions aren’t ideal.

How has 3 Monkeys approached this differently?

RB: We treat interaction as something that needs to behave reliably outside ideal conditions.

Instead of building a new control setup for every project, we have focussed on creating a repeatable automation backbone. Physical inputs, logic, and outputs sit inside the same control environment as media servers and show control, rather than running as a separate layer next to the show. That way, behaviour is defined upfront. When things change, as they always do, the system reacts in a predictable way instead of needing custom fixes.

What role does Beckhoff Automation play in this systemthinking approach?

BB: At its core, Beckhoff provides a real time control platform that connects physical systems and digital logic in a structured way, utilising a standardised PC-based control architecture. It’s the only control system on the market which has built-in interfaces for the entertainment industry like DMX, sACN, PSN, Art-Net, QSC, Riedel and many more.

In event and experiential environments, this means signals from sensors, operator interfaces, and physical devices are processed centrally and made available in real time to systems like media servers, lighting, show control, or custom software. Control signals can also flow back and forth, between creative or operational systems and the automation layer, to drive physical behaviour.

Bringing audio, video, lighting, and motion control into one deterministic, low-latency automation platform is

exactly how complex installations stay reliable at scale. Furthermore, this structure reduces sensitivity to real world variations and makes systems easier to integrate, operate, and adapt over time.

What changes when interaction is treated as part of a unified system?

RB: Behaviour becomes more stable. In many projects, physical systems are technically connected to the show but don’t really live inside it. Media, show control, and interaction run in parallel, with a lot of assumptions in between. Small changes can then have unexpected effects.

Wh en interaction is part of a unified system, inputs are handled consistently and outputs behave in known ways. You still have flexibility, but it’s controlled flexibility. The system defines how it adapts instead of relying on last minute interpretation.

What does this mean for agencies and production teams?

RB: It removes a lot of uncertainty. Teams spend less time compensating for fragile behaviour and more time focusing on the experience. Responsibilities are clearer. Changes are easier to assess. Technical decisions don’t need to be reopened every time something shifts.

It ’s not about making projects more technical. It’s about making them easier to deliver with confidence.

What’s the bigger takeaway for the industry?

RB: Interactive experiences are becoming more central. The question isn’t whether custom interaction can be built.

That’s already proven. The question is whether the systems behind it are designed to behave reliably once they leave controlled environments.

Re liability isn’t a constraint on ambition. It’s what makes ambition workable at scale.

Photos: 3 Monkeys www.3monkeys.net www.beckhoff.com/entertainment-industry

Growing in unity

Alex Bendiouis, Group CEO of Alsayegh Worldwide, reflects on why long-term relationships always override short-term gain, especially during uncertain moments.

Right now, the region is going through a moment of tension. Headlines move quickly. Markets react quickly. Industries like ours, built around large-scale projects and live experiences, often feel the ripple effects immediately. When uncertainty appears, many companies instinctively look inward. They protect liquidity. They question commitments. They reconsider partnerships. But moments like these are not new.

Rec ently, I watched an interview with President His Highness Sheikh Mohamed bin Zayed Al Nahyan while he was visiting individuals injured in the attacks targeting the UAE and other countries in the region. At that moment, he said something that stayed with me: “I promise everyone, we will emerge stronger than before”. Those words felt familiar, because if you look back at the recent history of this region, they have proven true time and time again.

After the financial crisis of 2008, the region adapted quickly. Policies were strengthened, confidence returned and growth accelerated in ways few predicted. The same resilience appeared again in 2020.

For a nyone working in our industry, 2020 is not easy to forget. Liquidity became the most important word in the room. Agencies, suppliers and freelancers were suddenly at the mercy of cash flow, accruals and receivables. New projects disappeared almost overnight. Many companies struggled. Some collapsed entirely.

Yet during that time, one simple factor determined who survived and who eventually thrived: relationships. When everything slowed down, the strength of relationships became the real measure of stability. The strength of relationships are what helps you grow in unity.

I ope rated from a simple principle during that period: transparency and resilience. We gave honest answers to suppliers and partners whenever they asked. If we had an update, we shared it. If there was uncertainty, we said so. In every way it reflected the transparency we were receiving from the leadership guiding this country.

That leadership is one of the region’s greatest strengths. Many of the largest projects in our industry are government backed, and the long-term vision driving this region continues to attract global capital and talent at remarkable speed. In fact, it sits between 30% and 50% growth year on year in high net worth individuals coming here and making “here” become “home”.

Of course in times of crisis, priorities must shift. Governments quite rightly redirect resources to protecting lives. That decision often creates a chain reaction. Changes began at the client level, move to agencies, and then flow through to suppliers and freelancers across the industry.

But h ere in this region, what happens next is telling. Markets eventually reopened, and in 2020 only a few agencies were truly ready to move again. We were fortunate to be one of them.

We ha d protected our relationships with suppliers. We had avoided letting go of hundreds of staff. We did not need to rebuild from scratch. Instead, we used the moment to invest. We expanded our team, diversified our services and welcomed talented people who had suddenly become available in the market. Looking back, that decision strengthened our entire ecosystem.

We’re entering another period of uncertainty, yet the response from leadership across the region feels different. Instead of hesitation, the message has largely been clear: “Continue forward. We have you covered”. That mindset creates confidence. It also reminds me of something important: the lessons we learned five years ago shouldn’t be forgotten because the market has become strong again.

I was reminded of this recently during a project that involved two different suppliers, with two CEOs and two very different approaches to long-term thinking. The client’s procurement team approached both companies directly.

They wanted to explore whether the project could be extended in house without an agency involved, believing it might reduce costs.

Sup plier A declined the discussion immediately. They made it clear they would only participate alongside our agency. Supplier B chose to submit a price.

In the end, the situation resolved itself quickly. Senior management within the client organisation stepped in and the procurement proposal was dismissed once it became clear that not every supplier was willing to participate. The role of the agency became obvious again.

Moments like this reveal something about business: it does not matter whether the market is booming or facing uncertainty; companies eventually show what they truly value. Some chase immediate gain, while others prefer to build long-term alignment. In our industry, relationships

are not simply a byproduct of doing business; they are the foundation that allows the entire ecosystem to function, which is why I keep coming back to those wise words. “We will emerge stronger than before”.

Whe n companies, partners and suppliers grow together with that mindset, something powerful happens – we grow in unity. When that happens, this region does exactly what it has done so many times before. It moves forward stronger than ever.

Photos: Alsayegh Worldwide www.alsayegh.com www.alsayeghevents.com www.alsayeghcreative.com www.100architects.com www.infya.com www.invalotti.com

Navigating public safety in KSA

Simon Heathershaw, Operations Director at ESM Operations, explores how advances in planning, technology and safety management support Saudi Arabia’s expanding programme of entertainment, sporting and cultural events.

The live events sector in Saudi Arabia has evolved at a remarkable speed in recent years. Driven by the ambitions of the Kingdom’s Vision 2030 strategy and expanding cultural, tourism and entertainment sectors, the country is now hosting an increasing number of concerts, festivals, sporting events and public celebrations, many delivered at unprecedented scale.

While this growth has positioned Saudi Arabia as one of the most dynamic emerging markets in the global events industry, it also introduces greater operational complexity. The challenge for organisers is not simply delivering memorable experiences but doing so while maintaining robust public safety standards in large, technically demanding, and sometimes remote environments.

Many of the Kingdom’s most visually striking events are hosted away from urban infrastructure. While these locations offer spectacular settings, organisers must build temporary ecosystems to support production and safety.

Connectivity is fundamental. A reliable power supply is essential and often requires temporary power infrastructure alongside backup systems to stage production, lighting, safety operations and comms. Communication networks must also be carefully designed, using temporary Wi-Fi,

radio and satellite systems to maintain continuous contact across large sites. Transport and logistics planning is equally important in remote settings. Clearly defined access routes, staging areas and logistical corridors help ensure the efficient movement of staff, equipment and emergency responders throughout the event lifecycle.

De livering major events also requires the rapid mobilisation of workforces, including security, safety, operational and production teams sourced locally and internationally. Organisers must ensure personnel are trained to maintain consistent safety standards.

Workforce wellbeing is also critical – particularly for teams working in isolated environments or extended shifts, with access to food, water, rest facilities and accommodation supporting safety and performance.

Em ergency response capability must also be embedded into the event infrastructure from the outset. Coordination with local authorities, medical providers and emergency services ensures incident management procedures align with the wider operational structure and that response times remain effective despite remote locations.

Event-specific factors can add further complexity; one beach-based event that we managed, for example, required the installation of temporary infrastructure and the importation of sand to meet the production and playing surface requirements for beach soccer.

Public safety across multi-site events

Alongside remote locations, another defining feature of Saudi Arabia’s evolving event landscape is the rapid rise of multi-site festivals and experiences. Large-scale events may span several venues or zones, each with its own operational requirements and risk profile.

Ma naging these environments requires detailed planning at the individual site level. Rather than applying a single operational template across all locations, each site must undergo its own risk assessment process, with tailored safety plans developed to reflect its layout, capacity, audience profile and operational activities.

Coordination also becomes more complex when multiple locations are involved. Operational teams may be dispersed across large distances, requiring strong communication systems and clear command structures to ensure that information flows between sites and control centres efficiently. Maintaining consistent standards across

all locations is another priority. Staff training programmes play an important role, helping to ensure that operational procedures, safety protocols and service levels remain consistent regardless of where teams are deployed. Consistency is not only important for audience safety, but also for protecting the reputation of the event.

ES M Operations has trained over 7,000 individuals in Saudi Arabia through Event Public Safety courses spanning Levels 1 to 5, helping to upskill the workforce with nearly 60,000 hours of professional training delivered at no cost.

Whe re multiple security partners are involved, performance monitoring and clear operational guidance help ensure uniform professional standards are maintained. Technology is increasingly supporting this process by allowing organisers to maintain real-time visibility across multiple locations.

Technology supporting operational efficiency

As events grow in scale and complexity, digital tools are essential to modern public safety management, enhancing operational efficiency, transparency and coordination across large teams.

Workforce management systems, for example, allow organisers to plan and oversee large numbers of temporary staff. These platforms provide real-time visibility of staffing levels, enable shift scheduling and ensure that all personnel meet the required training and certification standards.

Visual planning technology is further transforming event operations. Software such as Iventis Event Mapping allows organisers to build detailed digital representations of event sites, incorporating emergency exits, operational zones, and supporting capacity management with techniques such as dot planning to help visualise staff distribution.

Incident management software plays an important role in event safety, allowing on-site staff to report issues directly to event control through dedicated apps or radio systems. Incidents can be logged quickly, with users able to attach photographs and geo-location data to improve response accuracy. The system then allows incidents to be tracked in real time until they are officially resolved and closed.

Ultimately, these tools provide organisers greater clarity and control over complex event environments, supporting high safety standards and positive audience experiences.

Quality assurance and continuous improvement

Delivering safe events relies on a quality assurance framework that begins long before attendees arrive. Detailed safety planning and risk assessments form the foundation of this process.

Ea ch venue, activity and operational area must be assessed to identify potential risks and ensure appropriate mitigation measures are in place.

Op erational rehearsals play a critical role in testing these plans. Tabletop exercises allow teams to review communication systems, test incident response procedures and confirm coordination between operational departments. These are an often overlooked valuable tool, allowing teams to simulate potential scenarios in a structured environment and refine their response strategies.

Re cognising the growing importance of structured oversight, ESM Operations has introduced a dedicated quality assurance department focused on maintaining consistent operational standards. This function helps audit safety procedures, monitor contractor performance and ensure best practices are consistently applied.

Quality assurance should extend beyond event delivery through structured post-event reviews and stakeholder debriefs. By combining detailed preparation, advanced technology and rigorous quality assurance, the industry can ensure that Saudi Arabia’s growing live events sector continues to evolve confidently, delivering spectacular yet safe and well-managed experiences.

Photos: ESM Operations www.esmoperations.com

How to design for your audience

Dan Clift, Creative Operations Director, Pop Up Global, discusses the importance of creating shows that people actually connect with.

“We want something never before seen.” Almost every client conversation I have begins this way. I understand the thinking; it comes from a genuine desire to excite and impress. But in my experience, that’s not what people are actually looking for. What audiences want isn’t something they’ve never seen before; they want something they will never forget.

Pe ople connect with the familiar. They respond to things that spark a memory, feel recognisable, tap into something they already love, but presented in a way that feels fresh and surprising. The goal isn’t to alienate your audience with novelty, it’s to make them feel something real.

De mographics matter, cultural context matters, age ranges matter, but if you’ve spent any meaningful time creating shows, you’ll know that’s just the beginning. The harder, more interesting question is: what does this audience need from this experience, right now, in this specific place? It’s the why, not the what.

That’s the question that drives everything I do at Pop Up Global. I design entertainment for theme parks, cruise ships, leisure venues and major events. The single biggest lesson I’ve learned is that great entertainment isn’t always the most complex or spectacular idea; it’s the idea that fits the people and the moment.

Designing for your audience has become more challenging, and more important, than ever. We’re living through a fundamental shift in how people consume entertainment. Everything is available instantly, on demand, in an endless scrollable feed. People are conditioned to decide within seconds: stay or scroll.

That behaviour doesn’t disappear when someone walks into a theme park or a cruise ship atrium. Live entertainment is moving towards short-burst, high-impact experiences –moments that hook immediately, deliver quickly, and don’t overstay their welcome.

If your show takes four minutes to find its feet, you’ve already lost a significant portion of your audience.

This isn’t a dumbing down of the art form; it’s a recognition of the world your audience lives in. On a cruise ship, your audience hasn’t chosen to watch your show. They’re on holiday, cocktail in hand, thinking about the midnight buffet or recovering from a day on the beach.

A deep, story-driven production might be a triumph of creative ambition, but it won’t connect. What will connect is something that feels familiar and gives them a story to tell over breakfast the next morning.

Compare that to a theme park, where guests stumble across your entertainment. They didn’t plan to stop, so you have about 30 seconds to earn their attention and maybe five minutes before you need to give them a reason to stay or release them to their day. A short, punchy performance, something visually impressive or Instagrammable, will outperform a beautifully crafted narrative that takes three minutes to warm up. The format has to serve the footfall, not the other way around.

Th e physical environment shapes the show as much as the content does. Sightline, gathering points, how long people are likely to be standing; these aren’t production logistics, they’re creative considerations. I’ve created entertainment that has to work on escalators, in shop doorways, around moving vehicles, on stages the size of a dining table. Each one of those constraints isn’t a problem, it’s a brief.

I once created a show for a luxury car brand that told the story of how their iconic engine was made – a subject that could easily have alienated an audience with complex technical language. Instead, I let the setting lead me. The venue was built around thrill seekers, so I translated that into the concept, kept technical detail to a minimum, and delivered the key information through short high-impact moments that made it memorable rather than educational. With guests from all over the world, I leaned into music and visual media rather than spoken word, so the story landed regardless of language.

The commercial case is straightforward. When guests have a meaningful experience, they stay longer, spend more, and come back. A short performance piece we created for a major sportswear brand drove a 400% increase in sales on the day. On another project, we attracted 171,000 people, broke venue records, and when audiences took to TikTok, it broke the internet, too.

People tell people. They post about it. Get it right and the commercial outcome is guaranteed; get it wrong and you actively damage the guest experience and the venue or brand you’re representing.

Au dience-first decision making starts long before the first creative idea. It means asking the right questions immediately: Who are these people? What state are they in? Are they primed and expectant? Or passive and halfdistracted? Do you need to land across three generations simultaneously? What format will actually work for this audience – a 70-second pop-up, a 15-minute sit-down show, a roaming performance, a parade? And then being willing to let those answers lead the creative, even when it means setting aside an idea you love.

This brings me to the most important discipline in this process: setting your ego aside. As a creative, it is dangerously easy to design for the audience you wish you had, or for what you personally enjoy, rather than the

people in front of you. I’ve seen brilliant work fall flat because the creative team fell in love with their own concept and stopped listening to the room.

Au dience-first design requires a genuine willingness to set aside your own preferences in service of the people you’re there for. The audience doesn’t know what you creatively sacrificed; they only see the end product and will judge it based on how it made them feel.

Th e experiences that stay with people are rarely the most ambitious. They’re the ones where someone understood exactly who was in front of them and designed every element with that person in mind; Not the audience they imagined, not the audience they hoped for, the audience they had.

That’s the job. And when you get it right, there’s nothing quite like it.

Photos: Pop Up Global www.popup-global.com

Clear-Com FreeSpeak ICON

Dave MacKinnon, Vice President of Product Management, talks through the benefits of the latest edition to the FreeSpeak family.

Where does the FreeSpeak ICON fit within Clear-Com’s product range?

FreeSpeak ICON is the latest addition to Clear-Com’s award-winning FreeSpeak family, designed to support high-performance wireless intercom workflows. It builds on the proven reliability of our 1.9 GHz (DECT) platform while introducing a new level of user control and flexibility.

Positioned as a premium wireless beltpack, ICON bridges the gap between traditional beltpack operation and full intercom panel functionality. It integrates seamlessly with Clear-Com’s Arcadia Central Station and Eclipse HX digital matrix, making it an ideal solution for both standalone deployments and larger, fully networked systems.

What are the main features that will benefit end users?

FreeSpeak ICON is designed with the end user in mind, particularly those working in fastpaced, communication-critical environments.

The beltpack features nine configurable buttons, including eight dedicated channel buttons and a reply key, enabling users to manage multiple communication paths efficiently. Four individual channel volume

controls, along with a master volume, allow for precise audio balancing, helping reduce fatigue during long production days.

Th e addition of Bluetooth 5.3 support provides greater flexibility, allowing users to connect to modern wireless headsets and earbuds. Combined with its high-brightness colour display and ergonomic, compact design, ICON ensures intuitive operation and quick access to key information. Altogether, these features empower users to stay connected, organised, and comfortable, even in complex production scenarios.

Why is the FreeSpeak ICON ideal for the Middle East market?

The Middle East continues to see rapid growth in large-scale live events, broadcast productions, and high-profile entertainment experiences. FreeSpeak ICON is well suited to these environments, where reliability, scalability, and ease of use are essential.

Its DECT-based wireless technology avoids the congestion often associated with traditional RF systems, ensuring stable performance even in dense spectrum environments. Additionally, ICON’s ability to integrate into existing Clear-Com

infrastructures makes it highly adaptable for regional users who may already be operating Arcadia or Eclipse systems. Its robust feature set supports the increasing complexity of productions across the region, from large sporting events to major cultural festivals and corporate experiences.

What kind of projects in the region is it being used on?

FreeSpeak systems are already widely deployed across the Middle East in broadcast, live events, and entertainment venues, and FreeSpeak ICON is a natural evolution for these applications.

The beltpack is particularly well suited for large-scale productions that require high channel counts and clear, uninterrupted communication between diverse teams. Typical use cases include major sporting events, touring productions, broadcast studios, and large venue installations. As production demands continue to grow in scale and complexity, ICON provides the advanced control and flexibility needed to support these environments effectively.

Photo: Clear-Com www.clearcom.com

Monza WET is a compact and powerful Spot projector, equipped with a 350W white LED, delivering a luminous flux of 13,000 lumens.

With an extended zoom range from 3° to 49°, a CMY trichromy coupled with a progressive CTO, and a color wheel featuring 8 colors + 4 filters, Monza WET offers maximum flexibility to meet all creative requirements.

It includes 7 rotating gobos, 11 fixed gobos, an iris, a full-closing 4-blade framing system, and two stackable prisms (linear 6-facet and circular 6-facet), providing a wide range of effects. Two progressive frosts, Heavy and Medium, enhance its capabilities for smooth transitions and homogeneous projections.

With its IP65 rating, Monza WET is designed to withstand all conditions, both indoors and outdoors. It supports DMX, RDM, Art-Net, and sACN protocols, and includes a wireless DMX solution, ensuring a simplified and efficient setup.

La magie de la lumière

Starway SUPERFAST WET

Starway’s Karima Djellal discusses the company’s new lightweight, powerful beam fixture.

Where does the SUPERFAST WET fit within Starway’s product range?

The new SUPERFAST WET is based on the very successful Baracca 360 line of fixtures. With a 260W laser LED source, the Baracca has such a powerful output that multiple users and designers requested the ‘same’ fixture but with a bit less output.

So, this is exactly what we designed – a super-powerful beam fixture, with a small and

light footprint, very fast movement, with an impressive output and a ‘fat’ beam, using just 280W of power consumption.

Of course, we designed it in IP65, making it the most powerful, flexible and impressive beam fixture on the market in this range.

Which features will impress end users?

The IP65-rated SUPERFAST WET has an impressive output of 92,000 lux at 20m. Along

with fast movement and excellent colours, it offers a super white beam from an ‘ultra-tight’ 1° to ‘fat’ based on a 150mm front lens.

De spite the low power consumption, it offers a high contrast rating for sharp in-air effects of multiple beam shapes, CMY plus 17 fixed colours, two prisms and infinitive pan and tilt. It comes equipped with wireless DMX, RDM, sACN and ArtNet as standard.

Why is the SUPERFAST WET ideal for the Middle East market?

Beside the main features, the fixture offers some spectacular patented features, making it incredibly easy to use.

While some infinitive rotating fixtures will react with a delay on a position cue, when in full rotating mode, Starway has developed and patented Quick Path technology that delivers a faster, tighter, and clearer positioning of multiple spots between infinity movements and fixed positions.

Starway products also have a very low repair or downtime, averaging less than 2% over the whole product range. In our 30 years of experience with the entertainment market, we are used to performing under extreme conditions both indoor and outdoor.

Th e high-quality construction of our housing and highest grade of parts like plugs, displays and light sources guarantees excellent performance. Our housings are constructed of pure aluminium which, combined with our IP65 WET technology, makes it very suitable to operate in the harshest conditions.

What kind of support does local distributor VUEAV offer to Starway users in the region?

As one of our latest members of the growing Starway family, we are very proud to have VUE as our partner in the Middle East.

VU E as an international company has an excellent track record in the installation and live performance market on the highest level. With high standards and technical knowledge and an excellent team of specialists and offices in Dubai, Riyadh and Qatar, VUE offers an in-depth knowledge of the Middle East market, which it serves with high-value customer-based solutions that fit perfectly with the Starway approach we developed over more than 30 years.

Photo: Starway www.starway.eu

Energie Entertainment continues to build amid market uncertainty

The company doubles down on investment in training, community initiatives and long-term planning in readiness for a busy Q4.

With the majority of the Middle East’s live events being postponed in response to the regional conflict, Energie Entertainment is using the enforced downtime as an opportunity to strengthen its team as well as its ties to the live events community.

The company has already launched several initiatives, including offering free headshots to freelancers and supporting Dubai-based singersongwriter Greg Pearson in the release of his new single, Home Away From Home, which calls for unity across the diverse communities of the UAE. With the company launched in 2020 during

the COVID-19 pandemic, Energie Entertainment Founder and CEO, Tyler Davis-Smith, is no stranger to challenging times. “During periods of uncertainty, organisations often limit operational costs by freezing hiring and recruitment, reducing resources, and limiting investment. However, the businesses that emerge strongest are often those that make efficient use of quieter periods to invest, not only in their people, but in their broader foundations,” he commented.

“H istory shows that the moments when the phones aren’t ringing are exactly when the most critical work happens. Even when the world

slows, the process of building doesn’t have to. You just have to change what you are building.”

According to Davis-Smith, Energie has always been a “people-first” business, and the CEO was quick to think of offerings that would benefit the live events community during the enforced period of downtime – including offering a free headshot service to freelancers.

“Although we are hurting, so are others out there, and we at Energie have internal resources that can give back to the community and support others in their time of need. The response was huge,” he said of the initiative. “Unfortunately,

demand was so high that we couldn’t cater to every request. However, we delivered days of headshot shoots, which will not only help the artists in their search for work when the market re-ignites, but will also give us stronger collateral to market the artists in the best way.”

The initiative was made possible by the generosity of the community, including Nikki Wright (Draye) and Alin Constantin, who volunteered their make-up and photography services respectively free of charge. “We also received several calls and messages from furniture and props companies who offered their services for free,” Davis-Smith recalled. “This is a show of community and a show of what can be done when everyone works together. This is not a token gesture, but something that has tangible results for the artists and us.”

The Energie team has also been busy in support of Greg Pearson, working alongside the singer-songwriter as well as fellow UAEbased composer and producer, Matt Faddy [see TPiMEA #57] and TPiMEA Award-winner Lisa Pearson, on the release of Pearson’s new single, Home Away From Home.

Described as “a heartfelt tribute to Dubai and a timely call for unity across the city’s diverse communities”, the single is the result of a meaningful collaboration between UAEbased creatives. “Dubai has given so many of us a place to grow, create, and belong. This song is about recognising that – especially in moments when we need to come together the most,” Greg Pearson stated. “As a whole – and more importantly as a group of friends – we understood how we were all feeling about the situation, and we were able to put it into something artistic that a larger audience has connected with.”

While most larger productions have dropped off the calendar for the time being, some smaller-scale shows are still taking place, albeit with lower audience figures than would typically be expected for this time of year. “The singers and guitarists who have stayed in the UAE are managing to maintain some work,” Pearson reported. “This region is known for hosting some of the biggest shows in the world and we hope it can get back to that as soon as possible with full-capacity audiences.”

Looking ahead, while the immediate market outlook is a worry, Davis-Smith is cautiously optimistic that the region will bounce back sooner rather than later. “Like many others, we have seen masses of postponements, not cancellations, which I take as a positive,” he said. “We are remaining optimistic about the back end of the year. Q4 has the potential to be busier than ever, as we manage a very condensed schedule. We have seen a number of events postponed until September, which hopefully means we will get a little more out of the back end of the year and be in a position to start pre-production a little earlier than we usually would.”

He concluded: “By continuing to build during uncertain periods – strengthening teams, refining strategy, expanding relationships, and investing in the wider community – organisations can ensure they are not only ready for what comes next, but positioned to lead it. And that is exactly where we, Energie Entertainment, will be. Leading the market in 2026 and beyond.”

Photos: Energie Entertainment www.weareenergie.com

Opposite page: Energie Entertainment Founder and CEO, Tyler Davis-Smith; singer-songwriter, Greg Pearson; and behind the scenes of the Energie headshot initiative.

Above: The Energie team is preparing for a busy Q4.

DWR to distribute Unilumin

The partnership allows DWR Distribution to offer a wide range of LED display options for rental, staging and systems integration across South Africa.

DWR Distribution is set to become the exclusive distributor of indoor fixed installation and rental LED displays by Unilumin, as well as a strategic partner for outdoor products, in South Africa.

Th e partnership allows DWR to offer a wide range of LED display options locally, supporting the needs of the rental and staging industry and system integrators.

In its announcement of the appointment, DWR stressed that the company remains committed to “ensuring continuity of service and support” to all existing Unilumin display clients and partners. “We encourage you to reach out for any enquiries, technical assistance, or project discussions, with the assurance that both your current and future projects will be fully supported,” the company stated.

DW R has successfully represented LED display products since the company started in 2006 and is recognised not only for selling professional gear but also for its technical support and user training.

A critical advantage has been DWR’s locally based workshop, where technicians can carry out repairs in-house, eliminating the need to send equipment overseas to the manufacturer and ensuring faster turnaround times for customers.

“We want to continue that journey with our customers and look forward to introducing Unilumin to our market,” stated Robert Izzett, Sales Director at DWR.

“That said, we remain committed to serving and supporting all LED equipment purchased from DWR until the end of product life. We really look forward to this new venture, which will offer customers a wide product portfolio and more

competitive pricing. Once Unilumin arrives in South Africa, the DWR team will be in touch to show customers some exciting new samples.”

Bruce Riley, Technical Director at DWR, explained that all existing SLA agreements will remain in place: “The DWR Distribution workshop will continue servicing and repairing LED displays for both new Unilumin clients and all previous customers,” he said, noting that Unilumin Certified Training is also planned for the near future.

DW R Distribution’s Dylan Jones, who recently visited the Unilumin Factory, will head the brand. “I am thrilled about the partnership with Unilumin. Their comprehensive product range and technology give our customers access to cutting-edge solutions with industry-leading reliability,” Jones commented.

“After visiting the factory and meeting the Unilumin team in person, my confidence in the product’s quality is rock-solid. We have full support from Unilumin in their innovation and commitment to providing us with world-class training and technical resources,” he added. “This partnership raises the bar for visual display technology in South Africa.”

Duncan Riley, founder of DWR, commented: “We as DWR Distribution look forward to this relationship and look forward to supporting our clients with solutions involving technical knowledge, sales support, technical support and most of all maintaining relationships while building new relationships as we travel our journey with Unilumin.”

Photo: DWR Distribution

www.dwrdistribution.co.za

www.unilumin.com

SCALABLE NETWORKING SIMPLIFIED.

Whether deploying a redundant or primary-only network topology, the MS8.2 Milan network switch is perfectly suited to simplify mobile, installed systems and spatial audio applications.