TPiMEA #053 - April/May 2025 by Mondiale Media

Coldplay: Music of the Spheres

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Joy Awards

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Burj Azizi Launch

MDLBEAST hosts a rave in the historic surroundings of a UNESCO World Heritage site

The stars head to Riyadh for a dazzling display of creative and technical prowess

The first ever Jeddah ePrix is marked with a recordbreaking pyro drone show

Jennifer Lopez wows at Dubai’s Coca-Cola Arena to celebrate the world’s second tallest tower

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Entries Closing Soon! The SET Awards celebrates projects using the best use of technology across live events and entertainment installs in the Kingdom of Saudi Arabia. For more information or for sponsorship enquiries, please email Fran Begaj: f.begaj@mondiale.co.uk

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Burj Azizi Launch Dubai’s Coca-Cola Arena hosts the launch of the world’s second tallest tower with a spectacular opening event, including a grand opening ceremony and a headline performance by Jennifer Lopez.

Middle East

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Dubai is certainly no stranger to tall towers nor glitzy opening ceremonies, but even by the admittedly high standards of the emirate, the launch party for the soon-to-be world’s second tallest tower, Burj Azizi, was quite the spectacle. Welcoming some 15,000 people to the Coca-Cola Arena, the event combined ceremonial storytelling with a headline performance from Jennifer Lopez, all backed by a cutting-edge technical production. Entrusted to bring Azizi Developments’ vision to life was Creative Factory, under the creative direction of Vibhore Khandelwal and Sabina Gulati and guided by Viraf Sarkari, alongside Wizcraft ME Global, led by Allister Mascarenhas. They engaged mediaPro International to provide a turnkey technical solution for the project, with the company handling an array of disciplines including production, audio, video, broadcast cameras, lighting, rigging, automation, power, lasers, special effects, staging, and scenic. “We provided a full range of services, including but not limited to collaborative design, guidance, coordination, and implementation,” commented Fahad Khan, Director of Sales (Middle East), mediaPro International, discussing the company’s wide-ranging scope on the project. With a very short timeline from initial discussions to the staging of the event, Khan Middle East

described the process as “necessarily organic”. He added: “This allowed for a rapid transfer of information between the design, production, and technical teams. Each step of the journey was a collaborative process, from the initial presentation and briefings, to defining the scope, developing design and technical solutions, to reworking and refining, to coordinating and integrating. In the end, all elements blended to create seamless solutions and a harmonious and successful staging and launch event.” With the double whammy of a ceremonialstyle launch accompanied by a Jennifer Lopez performance, a significant technical overlay that could handle the requirements of both elements of the production was required. The audio deployment centred around an L-Acoustics K Series PA, with main hangs of 12 K2 and six KS28 per side, along with a further 16 KS28 on the ground and eight KARA II used for front fill. There were also a further 16 K2 deployed for delays, with 12 KARA II at level four of the arena as well as 24 more KARA II used to provide complete coverage, controlled from FOH via a Yamaha RIVAGE PM5 system. The lighting rig featured 108 Martin MAC Viper XIP, 118 CHAUVET Professional Maverick Storm 3 Beamwash, 14 GLP impression X5 Bar 1000, 96 JDC1, as well as 76 Robe Robin

MegaPointe and eight Robin Forte Hi-F, controlled via two MA Lighting grandMA3 Full Size consoles. There were also four 30W lasers providing added punch to the visual deployment. Video played a major role in the production, with multiple screens both flown and groundstacked, created from Unilumin UGMII 2.97mm LED panels as well as Dicolor UT390 3.9mm transparent LED. Projection was also utilised, with 20 Panasonic PT-RQ35K laser projectors deployed, while 13 Blackmagic Design URSA Broadcast G2 cameras captured IMAG content, which was handled by 10 Disguise VX 4+ media servers and 28 NovaStar MCTRL4K processors with accompanying fibre converters. The mediaPro rigging and automation teams took on the monumental task of not only the regular show rigging, but also the showpiece lifting of a 4m wide by 16m long ramp weighing four tonnes, which began as part of the stage, before pivoting upwards until poised vertically, revealing the underside as an LED screen, which integrated into the surrounding LED screens and imagery. Meanwhile, an equally proportioned rolling ramp simultaneously rolled in to fill the gap and recreate the stage. “There were several rigging challenges associated with the event, from the unique needs of lifting of the ramp, to providing rigging support

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to the department needs, the lowering of the architectural model, and the integration of the Jennifer Lopez show with its own signature show design and complex technical infrastructure within the creative and technical design of the Burj Azizi launch event,” Khan described. “Not to mention the fact that the combined weight loads, all resided within close proximity.” The rigging and automation teams worked side by side to develop a hybrid rigging solution, which combined both the conventional rigging methods of lifting and suspension, with automated methods of tracking, lifting, and suspension. “This provided the flexibility and changeability required for the integration of all the flown elements,” Khan added. In all, there were more than 350 rigging points and hoists, with over 50m of suspended track fitted with automated variable speed trolleys, more than 50 Kinesys automated variable speed hoists and 270 Lodestar motors ranging from 500kg to two tonnes. “This was a collaborative effort by all the technical and support crew involved,” Khan concluded. “We’re delighted with the result – a seamless integration of the creative and technical design, creating a unique experience.” The mediaPro International team on the project included: Ankit Gupta and Bharat Zala on production; Nitin Kurup and Wasim Ahmed Shaikh on audio; Aleksei Vlasov and Sumesh Vasudevan on video; broadcast camera team of Majid Anwar and Faisal Malik; Harold Fernandes and Desmond Don on lighting; Jesse Wang and Rui Dias on rigging; Dorai Swamy and Nigel Foster handling automation; Paulson Kurian on power; Sanoj Faizy taking care of lasers and SFX; Benny Pereira on staging and scenic; as well as Anil Kumar and Koketso Ngomane on drafting. ‘We were thrilled with the visual impact’ ShowTex Middle East contributed to the visual spectacle, supplying a range of high-end materials to elevate the event space, blending projection, reflection and dramatic reveal effects. “Time was our biggest challenge,” stated ShowTex Middle East Regional Sales Manager, Derek Rodrigues. “We had just two days to install everything, with only a limited number of hours each day. Coordination between different teams was crucial to ensure that all components were installed correctly and on time.” To tackle the tight timeline, a detailed installation plan was developed, ensuring clear communication between all parties involved. “Another challenge was the technical aspect of suspending the projection screens from the LED cube centrepiece,” Rodrigues added. “By using specialised rigging techniques and equipment, we secured a flawless and stable setup, ensuring the screens functioned as intended.” For ceiling decoration, the company supplied eight 8m by 5m projection screens made from FP Supermat material – ensuring crisp, highquality projection while also serving as a design element in the ceiling – as well as six 8m by 4.5m GiantMirror surfaces, which acted as reflective glassless mirrors to provide the illusion of depth and dimension. Suspended gracefully within the LED cube centrepiece, a further four 14m by 4m projection screens made from FP Blackout material chosen for its versatility and high contrast, brought the deep sea-inspired visuals to life. Middle East

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“The combination of high-quality projection surfaces, reflective mirrors, and dramatic reveal systems created a captivating and memorable experience for the audience.” Derek Rodrigues, ShowTex Middle East Regional Sales Manager

Middle East

For the grand reveal, ShowTex supplied Kabuki and HiSpeed Reveal systems, using its luxurious golden shimmering Galactica with the system for the first time. “We were thrilled with the visual impact and execution of the reveal effects. It worked beautifully,” Rodrigues commented. “Previously, we used materials like DekoTaft and Spinnaker – both similar in weight to our trusted Satinac fabric. Given their similarities, we were confident that Galactica would deliver the same reliable ‘sniffer’ effect, and it did not disappoint. We are pleased to now include Galactica in our range of reveal fabrics. “The combination of high-quality projection surfaces, reflective mirrors, and dramatic reveal systems created a captivating and memorable experience for the audience,” he concluded. “The positive feedback from the client and the successful completion of the project within the given timeframe was rewarding.” Photos: mediaPro International www.creative-factory.com www.wizcraft.co www.mediaproav.com www.showtex.com

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Formula E Jeddah ePrix Groupe F pushes the boundaries of fireworks and pyro drones at Jeddah Corniche Circuit.

Having taken place in Diriyah for the past six years, the Saudi Arabian round of Formula E moved to Jeddah for the first time in 2025. Naturally, SELA and the Ministry of Sport (MOS) were keen to ensure that the event’s Jeddah debut made a big impression, and they tasked Groupe F with coming up with a spectacle befitting the occasion. “They were aiming very high, meaning that we needed to propose something that had never been seen before in Jeddah – or anywhere else for that matter,” recalled Groupe F’s Deputy Managing Director, Nicolas Chavance. The resulting show comprised multiple elements, including a massive 2km-wide fireworks setup on the Red Sea facing Jeddah Corniche Circuit, fireworks deployed on three rooftop towers surrounding the circuit, a Middle East

spectacular line of high-speed SFX tracking the winning car across the finish line, and a Guinness World Record-breaking 20 heavy payload pyro drones flying in formation to render two giant mid-air towers. “When SELA and the MOS came to us asking for a super ambitious project, we knew from the start that it would be one-of-a-kind,” Chavance commented. “We had to manage wide angle and large-scale scenography at the same time with close-up effects. Groupe F’s expertise in the field of collaboration with TV broadcast is precious for that kind of environment. We were involved with other teams in the design, production and performance of four shows, two days in a row, opening and closing acts before and after races.” As has become almost de rigueur for Saudi Arabia’s biggest shows, the event set a new

Guinness World Record – this time for the most pyro effects from a drone. “Our drones can carry out 20 pyro effects at the same time, making them the biggest in the industry at the moment,” Chavance stated. “We used 20 of them to display two huge towers of fireworks, 500m high each, above the Red Sea.” Describing the location as “like a threelayered cake”, Chavance ran through the challenges of the ambitious project. “The Jeddah Corniche and Circuit is a unique location to display shows,” he stated. “There’s the Red Sea, with deep water, waves and tides where super large-scale scenography is required; the circuit is always an interesting challenge to work at when it comes to managing the coactivity on a race weekend where proximity effects and close-up scenography is required; then there’s the Jeddah

skyline surrounding the circuit with tall towers, which required specific firework effects and the management of urban coactivity.” A source of particular pride for Chavance was the accuracy of the show when compared to the 3D renders created at the previsualisation stage. He explained what this did for the overall production value. “You can compare a photo of the show with the 3D renderings and there’s no difference at all, which means that everyone, everywhere did their job and can be proud of the result,” Chavance concluded. “The project was a success thanks to a smooth collaboration between all teams, the client and the authorities. Teamwork is always the key to success.” Photos: Groupe F www.groupef.com www.fiaformulae.com 29

Middle East

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Joy Awards 2025 As a constellation of stars descend on Riyadh’s anb arena to witness a dazzling display of creative and technical prowess, TPiMEA finds out more about the production behind the visual spectacle…

Middle East

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Celebrating outstanding achievements in the fields of music, television, and film, the Joy Awards has garnered a reputation as the Middle East’s answer to the Grammys, Emmys, and Oscars rolled into one. Now in its fourth year, the awards saw the very best in Arab talent joined by a packed roster of global A-listers – including Christina Aguilera, who performed a spectacular opening set – for a star-studded ceremony at Riyadh’s anb arena. With the show produced by MBC in collaboration with Done+Dusted, STUFISH Entertainment Architects was entrusted with a multifaceted role on the project. As well as overseeing the design of the main auditorium, the STUFISH team took the lead on the lavender carpet experience for guests’ arrival, press interviews and an outdoor performance, as well as the custom-designed set pieces for various performance acts throughout the ceremony. “Our goal was to achieve a modern, sleek design with faceted geometry, reflecting the qualities of a diamond maintaining a timeless and elegant feel,” stated Dio Toumazis, Project Lead for STUFISH on the Joy Awards. “Our aim was to fully immerse the audience in a cohesive design where every element feels seamlessly integrated. The canopy above blends into the proscenium and stage floor, extending Middle East

to the orchestra positions and host entrances.” Toumazis explained how the design process for the project began by establishing the key parameters and constraints, which guided the development. “We needed to accommodate 1,000 guests, designate a space for the orchestra, define entrance and exit points for presenters and guests, incorporate an expansive canopy above the audience, create a wide proscenium, and include a closedown screen to reset the stage between performances,” he explained. “These are just a few of the fundamental considerations that shaped our initial massing model.” From there, the STUFISH team explored various design iterations in 3D. “This allowed us to better understand the spatial relationships between the set, audience, performers, and camera positions – critical aspects for a televised production,” Toumazis revealed, noting that the geometry was developed primarily in modelling software, Rhino. Transforming the cavernous anb arena into a venue more akin to a high-end theatre was no small task. “From the moment guests entered, they needed to feel as though they were stepping into a meticulously designed architectural space, with no indication that the walls and corridors they walked through were actually temporary

scaffolding structures,” Toumazis explained. The canopy was another major challenge, with rigging, lighting integration and projection combined to create a striking effect. “We designed a series of triangular panels that fit within specific fabric dimensions to allow for seamless fabrication while ensuring they weren’t too large to pass through the venue’s doors,” he described. “These triangles interlocked, forming a continuous, undulating geometry that expanded outward from the proscenium, growing wider toward the back to envelop the audience. Within this intricate structure, we had to integrate lighting positions, a camera track, and a performer flying track.” The canopy also functioned as a large projection surface, so optimal projector placement was considered carefully during the design process. The STUFISH team also collaborated closely with Lighting Designers Al Gurdon and Ross Williams on the lighting integration, ensuring that openings for LX trusses were well incorporated in the design. With each triangular panel in the canopy being interconnected, even the slightest misalignment would disrupt the entire structure. “The construction required an exceptional level of precision,” Toumazis recalled. “With a central camera capturing the space, any inaccuracies

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would have been immediately noticeable. Additionally, each triangle was outlined with LED tape on all three sides, which had to be integrated into the frame seamlessly, along with a control unit housed in the rig for easy access.” Working alongside STUFISH on the project were an extensive list of creative and technical suppliers, including: Black Skull Creative and POSSIBLE, which handled creative direction and set design for Christina Aguilera’s performance; Hello Charlie and Black Skull Studio taking care of video design and animation, with content handled by Ogle Hog and LED screen provided by Creative Technology. Sound design was by Auditoria, with audio supplied by Clair Global; lighting and exterior projection was supplied by PRG, with flexible linear LED tape by Light Initiative and PixMob wristbands; special effects and lasers were by ER Productions. There were also several staging and scenic suppliers onboard including: Al Laith, Blacks Group, Coldharbour Industries, E9 Production, Showtex Middle East, Stageco, Stage One, TAIT, WICREATIONS, and VK Group, as well as Unusual Rigging. “It goes without saying that all this would not have been possible without the exceptional coordination, technical knowledge and problemsolving skills of our Production Managers, Sven De Beul, Nick Malbon, Henry Gillett and Technical Director, Malcolm Birkett, who brought all the pieces of the puzzle together,” Toumazis commented. “And, of course, the amazing team at Done+Dusted.” ‘Planning for the unknown is essential’ Lighting was supplied by PRG with the company deploying a huge arsenal of fixtures to realise Al Gurdon’s spectacular design. Catching up with TPiMEA after the event, PRG’s Lighting Crew Chief, Tim Probert, reflected on the epic project. “This year’s Joy Awards was twice the size as last year’s in terms of our deployment,” he recalled. The most complex element from Probert’s perspective was the integration of the numerous lighting trusses with the giant canopy suspended within the roof of the arena. “The mother grid was built in December, and we weren’t loading in until January, so each truss had to be precabled before we arrived on site,” he commented, revealing that the trusses were prepped and cabled in PRG’s Saudi Araba office before being pre-rigged on-site. “We put in the superstructure, cabling and drops for all the individual trusses; it was quite a complex undertaking making sure all the heights were right, but making changes in the air would have added a lot of extra time and difficulty.” The other challenge was the sheer number of lights – especially on the side trusses, which featured GLP impression X5 Compact and Ayrton Kyalami fixtures. “There were so many fixtures on those side trusses that they were almost butting together,” Probert revealed. “It was a challenge to make them match the curve of the canopy, fit between the gaps, and of course, not get in the way of projection.” Much of the key light was provided by Vari-Lite VL3600 fixtures, with GroundControl units used for followspots. Elsewhere on the rig were Ayrton Argo, Domino, Kyalami and Eurus, as well as GLP JDC1, impression X5 Compact, impression X5 Bar, and Fusion Par, plus Astera Middle East

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Titan Tubes. PRG also provided the uplift for a performer wall on the stage, with Showtec Sunstrip and SGM Lighting VPL Strips mirroring the first act before transitioning seamlessly into Astera Titan Tubes. Reflecting on the project, Probert was pleased with the efficiency of the delivery. “It was a very smooth operation. Everything went in ahead of schedule and the reliability was phenomenal.” he stated. “We’ve done a lot of shows with Done+Dusted and developed a great understanding in that time. When you work with the same people time and time again, it’s possible to iron out any issues before we even arrive on site. It was a very well-run project and a pleasure to be involved. Building a full-scale theatre within an arena is a pretty spectacular thing to do,” he concluded. “We’ve all seen a lot of shows and sometimes it’s hard to differentiate, but when you see something like this, you know it’s special.” As well as the lighting package, PRG supplied a full projection solution to cover all four external sides of the venue. This consisted of 108 Panasonic RQ35 and 34 Panasonic RQ50 projectors, running via seven Disguise VX4+ media servers, making it one of the largest projection setups ever delivered in the region. Discussing the exterior projection, Harry Lister, Director of Account Management for PRG Middle East, commented: “We know this venue very well and have projected onto the exterior Middle East

walls a few times now since the inauguration. The technical team was led by Project Manager, Mikhail Tumanov, who has a great understanding of the challenges working on the event site, especially with the lighting levels surrounding the area. The end result looked stunning. We look forward to delivering more large-scale projection pieces in Saudi Arabia.” ‘Planning for the unknown is essential’ Back inside the venue, tasked with delivering the fully mappable linear LED canvas, Light Initiative ensured a visually striking integration of 4.2km of 12V RGBW Pixel LED Tape, controlled and mapped using Light Jams servers, custom sACN controllers and long-line system. “To provide Lighting Designer, Al Gurdon and Console Operator, Alex Mildenhall with the best possible colour rendering, we selected 12V RGBW LED,” recalled Light Initiative’s Head of Rental, Dave Mooney, discussing the choice of product. “In consultation with Alex, we chose Light Jams servers as the backbone of our control solution, ensuring both flexibility of sources and precision over content playback from the lighting console.” Additionally, Light Initiative designed and implemented a dedicated data and fibre network using 10-gigabit Luminex Intelligent switches, transmitting over 800,000 sACN parameters from the servers to the controllers. “This allowed for a reliable, independent system, completely

separate from PRG’s main lighting network,” Mooney explained. Beyond the 4.2km of LED tape for the main set, the company also managed performance extras, incorporating another 1.5km of 24V RGB LED. “By leveraging wireless and batterypowered solutions, we ensured maximum flexibility during scene transitions, which was critical for specific elements like the Helix,” Mooney stated. “Our responsibilities spanned the entire project lifecycle, from design and pre-build in the UK (including a large-scale controller build) to pre-rigging in Saudi Arabia, on-site installation, technical standby, show crew and de-rig,” he added. “The project’s success was made possible through the seamless collaboration of our dedicated full-time team and a talented network of freelancers, reinforcing our commitment to delivering unparalleled service.” The project presented several challenges, from the sheer scale and technical demands of the production to the need for on-site flexibility to accommodate last-minute changes. “One of the biggest hurdles was the tight turnaround – just eight weeks from engagement to the first shipment,” Mooney reflected. “These challenges were successfully overcome through meticulous pre-planning and pre-building.” The Light Initiative team spent time prototyping the LED rig methodology for the canopy scenic element in collaboration with Production Manager Sven De Beul as well as set

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contractor, ShowTex Middle East, aiming to make the rigging process as efficient as possible. “Once the method was signed off, we launched a largescale production line, prepping prebuilt battens for the entire canopy, with additional spares, as well as extra-long battens that could be cut down to size, ready to accommodate any onsite changes. For a project of this scale, planning for the unknown is essential.” Another logistical challenge was access to the canopy, which was difficult due to the venue and set layout. “To address this, we utilised our longline system, positioning the main sACN/ArtNet pixel controller in a more accessible location,” Mooney revealed. “Localised power and splitter boxes were then placed in harder-to-reach areas, reducing the need for individual cable runs from the LED to the mother grid and streamlining the installation process, also allowing remote configuration on our network.” To ensure seamless video content and lighting control, two separate maps were utilised – one for video content and another for the MA Lighting grandMA3 console. “This approach enabled smooth integration, ensuring the LED setup aligned with the space and creating a seamless transition between video LED and projection mapping in a 3D environment,” he explained. “Given the sheer number of parameters required for 1:1 pixel mapping of 4.2km of LED, we implemented a dedicated data and fibre system. This provided a robust and reliable network while giving us full control over addressing and fine-tuning controllers, independent of the overall lighting system.” The Joy Awards represented the latest milestone in Light Initiative’s ongoing development of flexible linear LED technology – a journey that began in 2011 with the invention of the IntelliFLEX system, which allowed thousands of linear metres of LED to be efficiently controlled with just a couple of DMX universes. As console and network parameters have expanded, this new technology has come into its own in the past year, with Light Initiative supplying Adele in Munich – also designed by STUFISH Entertainment Architects – with its first iteration of the RGBW pixel LED system before refining to meet the demands of the Joy Awards. Looking to the future, Mooney said: “As we continue pushing the boundaries of flexible Linear LED technology, we are excited to see how these innovations shape the future of video and lighting integration in live productions.” ‘Experience is key’ Automation was a vital element of the production, with the stage design featuring 12 columns made up of 10m by 2m LED screens, which opened to reveal a space for the opening and interval acts to emerge from, before closing to form a seamless LED wall. These screens were moved thanks to WICREATIONS, which provided its 48m WITRACK for 12 rotators – one for each of the LED screens. WICREATIONS’ Geert Stockmans wound the clocks back on the project: “Production Manager Sven De Beul contacted us as soon as he saw that the stage design required automation of this kind, and after speaking to the teams at Done+Dusted and STUFISH, we were happy to be welcomed onto the project,” he recalled. While the automation technology deployed at the Joy Awards was nothing unique, Stockmans Middle East

believes that WICREATIONS’ vast experience and range of successful case studies make the company the top choice when it comes to this type of task. “Over the years we have made video screen tracking one of our main competences,” he stated. “We know all the potential mechanical or practical issues that you’re likely to come up against on a project like this and we are confident that we know the right approach to take. Experience is key.” Similarly, Stockmans is specific with his recommendations for video vendors, and he was delighted to see Creative Technology on the supplier list. “Not every video vendor has the experience to be able to deliver something like this,” he commented. “If you’re not aligned and prepared well in advance, it’s impossible to get the right result. We have worked on many incredible projects with Creative Technology including Eurovision, and we have an excellent co-operation with them.” On a project of this nature, small details make a big difference, hence extensive testing was required. “We did a test with two columns at our headquarters in Belgium to assess all the factors that we would have to consider, and this was an essential step in our preproduction process,” Stockmans commented. Unusually for a project in the Middle East, Stockmans found the setup time to be relatively long. “We are usually in a race against time to get everything loaded-in, but that wasn’t the case on this project,” he recalled, adding that although the extra time was much appreciated, it brought with it its own set of challenges. “The longer time afforded for setup left space for a lot of creative freedom, which meant that our challenge was to push the creatives to give us decisions as early as possible.” Overall, Stockmans was very pleased with the end

result. “Thanks to strong collaboration between all departments, the visual experience was truly overwhelming, with perfect pixel alignment when the screens were closed,” he concluded. “A big shoutout goes to PM Sven De Beul, the great Done+Dusted team and our own dedicated WI people.”

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Coldplay: Music of the Spheres World Tour As the band’s record-breaking tour rolls into Abu Dhabi, TPiMEA catches up with the Coldplay crew to discover how they are able to maintain elite levels of production and ground-breaking sustainability practices wherever they go. Photos: Anna Lee

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The UAE has hosted some outstanding concerts over the years, but from the moment that Coldplay announced that they would be bringing their Music of the Spheres World Tour to Abu Dhabi, there was never any doubt that the bar would be raised, and records would be smashed. With Coldplay fever sweeping through the UAE and beyond, what was initially billed as a one-off show soon grew into a fournight extravaganza with more than 200,000 fans descending on Abu Dhabi’s Zayed Sports City Stadium for by far the largest concert series the country has ever seen. “As the largest concert series with a single artist ever held in the country, Coldplay’s performances marked an historic moment for live entertainment in the UAE, setting a new benchmark for what is possible in the region,” stated Live Nation Middle East President, James Craven, reflecting on the landmark series. “Beyond the record-breaking attendance, these shows created a cultural moment that will be remembered for years to come. Fans were not just spectators; they were part of something truly extraordinary, experiencing Coldplay’s legendary music and groundbreaking production in a way that was nothing short of unforgettable.” Attending on the final night of the run, TPiMEA battled through the crowds of eager fans who were already amassing around the stadium well Middle East

before doors to reach Coldplay’s Production Manager, Chris Kansy, who generously spared some time to chat and introduce a few key members of the hard-working and tight-knit touring team. “Nothing in live touring is ever easy, but our experience here in Abu Dhabi has been nothing short of magical,” he shared. “I’m out on the floor and I see and hear the audience – the smiles, the tears and the whole crowd singing along to every word. This is a show for everyone and it’s amazing to see how well received it’s been here.” A vastly experienced PM having worked with the likes of Roger Waters, Tool, and Massive Attack to name just a few, Kansy has been with the Coldplay camp for a little over two years, and while there’s no doubt that it’s a large team, he prides himself on his approachability and ability to connect with everyone. “I already knew some of the crew before I arrived, and it’s a truly exceptional team full of hard workers who are super-talented,” he commented. “We have more than 160 people here with us in Abu Dhabi and that figure rises significantly when we’re in Europe and North America, but I try to sit with a different person in catering every night and learn at least a little bit about everyone.” The longer TPiMEA spent with the team and the more people we were introduced to, the strong sense of camaraderie within the

Coldplay camp became increasingly clear, with the tone very much set by the band. “We work for a great band who are generous, kind, and understanding, and management carry the same ethos,” Kansy beamed. “There’s always a great energy among the team and when the band shows up for soundcheck, the energy rises even more. It’s a wonderful atmosphere and a great gig to be on.” ‘We’re always looking to improve’ Sustainability has always carried a great importance for the band, and as TPi discovered the last time we caught up with the camp in the UK in 2023 [TPi #276], the Music of The Spheres World Tour is leading the charge when it comes to making large-scale touring environmentally friendly. “Sustainability is a broad conversation that we can talk about for a long time, but the most important thing we can do is take action,” Kansy told TPiMEA. “We’re well on our way, but we’re always looking to improve – it’s an ongoing continuum. We hope that the actions we have taken and continue to take can influence other tours to operate more sustainably.” While for most of the European and US dates, the entire production is run off secondhand BMW i3 batteries – an ingenious system devised by the band’s Tour Electrician and Stage Manager, Paul Traynor – for the Abu Dhabi show,

the production adopted a local sustainable energy solution from Aggreko. “We like to bring our battery system wherever possible, but there’s a tipping point where the carbon footprint generated by transporting the batteries is greater than the energy saved by using them – especially when there are great local solutions like here in Abu Dhabi,” Kansy explained. Keen to help uphold the tour’s sustainable credentials, Live Nation Middle East, in collaboration with Aggreko, led a groundbreaking initiative that saw a significant reduction in fuel consumption through the innovative use of batteries over standard generators. “The primary objective of this project was to ensure a seamless and uninterrupted power supply throughout the performances using exclusively clean energy sources,” stated Aggreko Project Manager, Craig Lamb. “The successful deployment of this state-of-the-art energy storage system marked a significant milestone in event sustainability, showcasing the effective synergy of technological innovation and entertainment production.” Utilising Battery Energy Storage System (BESS) technology, the solution involved the integration of four 500KW/250kWh batteries, which powered the production for each show of the four-night run. “By opting for batteries over a traditional generator setup, the project achieved

a remarkable 40% reduction in fuel consumption, leading to significant savings in emissions,” Lamb noted. “The measurable impact of this initiative included saving approximately 4,000 litres of diesel and reducing carbon dioxide emissions by an estimated 10.72 tonnes.” With this being the first time this new model of battery technology has been used in the Middle East, Lamb hopes it will signal a significant step forward for renewable energy solutions in the region. “This pioneering use of large 500kW batteries for technical power at such a scale has not been achieved before in the region, proving that large and critical electrical loads can now be powered efficiently through clean energy sources,” he stated. “By introducing these high-capacity KW batteries, Live Nation Middle East and Aggreko have set a new standard for sustainability and efficiency in the entertainment industry in the Middle East, showcasing a commitment to innovation and eco-conscious practices in event planning and execution.” As well as the batteries, the production had a selection of auxiliary energy-generating devices, including solar panels, a kinetic dancefloor, as well as exercise bikes stationed towards the back of the stadium. “A lot of the power we harness from those initiatives goes into small batteries, which are used to power show-adjacent needs such as the lighting in the underworld and

the power tools in the carpentry tent,” Kansy revealed. “We want to make this show 100% sustainable by the time the tour comes to an end, so every marginal gain we can make helps us towards this goal.” ‘A beautiful journey’ With the Music of the Spheres World Tour now three years in, while the building blocks of the production haven’t changed since the opening shows in Costa Rica in 2022, there have been several updates that have seen the show evolve visually. Lighting Director, Shaheem Litchmore, who joined the camp at the start of the promo for the Music of the Spheres album cycle in 2021, took up the story. “We’re always adding to our show and improving creatively,” he explained. “We’re entering our fourth year of the tour, and we’ve had many fans come to see the show during that time, so we always try to keep it visually interesting.” Describing Coldplay as “very involved with the creative” Litchmore explained how ideas from the band are incorporated into the production’s workflow. “The tour has progressed in an interesting manner because there’s never really been a redesign or change, but we continue to add pieces and it evolves and grows to an increasingly large scale,” he stated. “On the lighting side, we’ve added around 200 more 45

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fixtures to what we had at the start of the tour, with more on towers and some new positions behind the stage that adds an extra element of depth to the show.” One fixture that has been a cornerstone of the lighting design is the CHAUVET Professional Color STRIKE M, and while the tour is open to picking up local substitutes in some areas of the rig, when it comes to the STRIKE M, it quite simply “has to be that fixture”. He added: “We tour with the key pieces to our show and the STRIKE Ms are certainly one of those pieces. We’ve carried them through from the promo tour until now and the system has grown around them, so there’s a lot of programming in those lights that is critical to the look of the show.” Alongside the STRIKE M fixtures, which are used as blinder and floor lighting solutions as well as around the B-stage, the tour also carries the new Elation PROTEUS ATLAS, which serves as a sky tracker system positioned behind the stage. “It is brand-new and as far as I’m aware, we’re the first tour to have it, which is pretty cool,” Litchmore smiled. “It’s IP66-rated, laser-sourced, low-power but super-bright, which fits our requirements exactly.” Another significant change since TPi covered the tour in 2022 is how the PixMob wristbands are utilised, with the company’s new Moving Video Transmitter (MVT) product allowing the creative team to cast advanced animated graphic effects across the audience via an MA Lighting grandMA3 and additional monitor setup at FOH. “We went from having basic grouping for colour effects in the crowd to playing video across the wristbands, which added a big element of surprise,” he described. “It’s such a bespoke technology that there are lots of tips and tricks to it. It’s been a fun experience.” With the setlist evolving throughout the tour and new songs being added, there’s certainly no sign of the kind of atrophy that can befall some extended touring campaigns. “The show is a beautiful journey,” Litchmore said when asked for his favourite moments during the set. “Right from the top of the show and that first hit of Higher Power when the sky trackers come on and fall to the floor and the wristbands light up, the energy is immense,” he added, also mentioning the more pared-back look for Clocks, which has no key light, as an opportunity for the audience to draw breath. “Then you’ve got Viva La Vida, which is a massive sky tracker moment where everything is at full whack and the audience are singing their hearts out. It’s a beautiful moment in the show.” The touring technical rider was bolstered for the Abu Dhabi shows by PRG, which provided an impressive lighting package made up of Ayrton Domino Profile and LT units and GLP JDC1s, along with two extra IMAG screens and over 150 hoists to enhance the already impressive touring setup. “The fixtures from PRG were identical to what we would have in Europe or the US, which was ideal,” Litchmore reported. “It was great to have this level of support here in Abu Dhabi.” PRG also delivered an extra stage outside the stadium, with the company taking on the full technical delivery of the fan zone. “This area catered to the large number of eager concertgoers, accommodating a significant number of the 50,000 ticket holders each night, arriving via the buses,” PRG’s James Speirs said. “Our dedicated team worked tirelessly to coordinate logistics, manage equipment, and Middle East

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ensure seamless integration with Coldplay’s setup. The result was a series of shows that left a lasting impression on fans and set a new standard for live performances in the region.” ‘Everything comes to a crescendo’ Next to chat to TPiMEA was Lasers and Confetti Operator, Ashley Neal, who has also been with the tour since the start of the promo cycle. “We’ve had the same team for the most part since the start of the tour,” he said, praising the spirit in the camp. “It can be hard, tiring work with long hours, but we all love what we do, and we have a lot of fun along the way.” Similar to the lighting department, the laser and SFX offering has increased as the tour has gone on. “We’ve added a more powerful laser system, more confetti shots and blowers, and more pyro from what we had at the start of the tour,” Neal commented. “It’s a huge show from a laser and SFX point of view.” The tour carries 36W X-Laser units out of the USA, along with a very large 120W Arctos Laser, which sits just above the video screen. “You first see the big Arctos Laser in the song Clocks, and it delivers a huge green sheet that engulfs the Middle East

entire stadium. It’s a really special moment in the show,” Neal recalled, voicing his approval at the overall look of the song. “It’s a big moment and it’s nice to see lasers take centre stage for that one.” Neal programmed the lasers using Pangolin BEYOND software, and when it comes to operation, he has made the transition from MA2 to MA3 software on his MA Lighting grandMA3. “There’s significantly less programming involved than what would be required for the lighting department, so I decided to make the jump to MA3, and it’s worked out really well,” he reported, going on to mention his favourite sections of the show. “The ‘lightclub’ section has developed a lot in the past few years,” he noted, referencing the act that sees the band emerge onto stage in giant alien heads. “There’s a real nightclub vibe to that part of the show. We love having a dance at FOH and that section is ideal for it.” As well as lasers and pyro, several other SFX gags are deployed throughout the show, including the release of giant inflatable balls and several blasts of biodegradable confetti in various shapes and sizes. Just as these moments garnered a huge reaction from the crowd, they provoked similar mirth at FOH, with everyone

pitching in to help bat away the inflatables before they landed on crewmembers who needed to keep eyes fixed on the stage, and a mini leaf blower brought out on several occasions to clear excess confetti from control surfaces. “I love the super-high moment during A Sky Full of Stars when the confetti fills the sky, pyro shoots, and everything comes to a crescendo,” Neal told TPiMEA before the show. “There are so many epic moments, and it gives me a thrill to see the reaction of the audience night after night.” ‘We are continually moving forward’ Describing himself as “a man of many roles”, Screens Director and Creative Associate, Josh Koffman typifies the work ethic and team-first philosophy that run through the Coldplay camp from top to bottom. “If you need something fixed, I’ll fix it; if you need something moved, I’ll move it,” he laughed. “It’s how we all work out here; it’s a large number of people, but we’re a single team.” Another team member who has been with the camp since the start of the album promo cycle, Koffman, explained the challenge of presenting something new and interesting while also keeping the band’s long-term fans happy.

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“Coldplay has such a vast back catalogue and such a history, that every song has its own character that has been built up over a long time,” he commented. “One of our challenges is presenting a visually interesting show while also not alienating people who have been there from the start and have an established idea about how each song should look.” While he was keen to uphold the legacy of the band, Koffman was clear on which side of the fence he sat when it came to updating the show. “The only thing constant about Coldplay is change,” he commented. “We are continually moving forward, blending the old with the new and trying to bring something that engages fans on all levels.” The Creative Associate gave the example of Adventure of a Lifetime, which features newly created video content. “However, if you look very closely in that new content, you’ll see clips from the original music video and older content embedded in there,” he revealed. “It zips by pretty quickly, but the die-hard fans notice stuff like that, and it’s nice to leave a few easter eggs for those who have been there for the long haul.” The video content is the result of collaborations with several creative studios, including: Conner Griffith, FRAY Studio, Hello Charlie, Impossible Brief, Interrobang, Luke Halls Studio, Mixed Emotions London, NorthHouse Creative, Pilar Zeta, Studio Flint, and Victor Scorrano, with overall Video Design led by Leo Flint. “We work with lots of studios for the content, which is great because we get a lot of different styles to play with,” Koffman said. “One of the things you don’t see in our show is how many things we are ready for,” he added. “The band has a huge catalogue and while some songs are only played rarely, we always have to be ready just in case. Video content isn’t the kind of thing you can pull together at the last minute.” Following the spherical theme, the LED screens were all custom-designed and created for the tour by PRG Special Projects, with a central ‘moonrise’ semi-circle screen flanked by two circular IMAGs as well as an additional two either side for the 270° view, all made of ROE Visual CB8. “We also have our circular LED floor on the B-stage as well as some really cool inflatable spheres that were custom made by PRG,” Koffman added. “What’s cool about them is that they can be packed down and go on a cart for easy transportation, which helps with our sustainability goals.” Camera Director, Ant Barret – “who does a hell of a job managing such a complex show,” said Koffman – oversees the camera setup, which includes four Blackcam Rail Systems and a Tower Cam provided by Vis-A-Vis Video as well as three long-lenses, two RF handheld cameras, three Panasonic PTZ robo cameras, and a small Blackmagic Studio camera mounted to the drum kit. “We are all familiar with the show, but I’m always surprised at how well the camera operators are able to riff on it and try out new things. Ant is great at that; he keeps the camera team actively working, and it shows. It’s a dynamic IMAG show.” Managing the large and varied video team (LED, Cameras, Engineers, and Utilities) is industry veteran, Phil Johnston. “We are incredibly lucky to have someone so good and so dedicated with us. The team is large and he keeps everything moving smoothly”, Koffman commented. Middle East

“We run a Disguise media server where we do all the playback, Notch effects and routing,” Koffman added. “I have a total of seven servers, two of which are reassignable backups. We can’t carry a spare for everything, but the system has been planned in such a way that there’s enough redundancy built in that we can work around almost any problem regardless of where we are in the world.” ‘If we all do our part, it has a big impact’ No conversation about Coldplay’s production would be complete without checking in with the audio department, led by FOH Engineer and Audio Producer, Daniel Green, alongside System Designer and Audio Director, Tony Smith, both of whom have been with the band from the very early days. “I got on a bus around 22 years ago and I never seem to have got off,” Smith laughed, recalling his long history with the band. Following a successful campaign using the d&b audiotechnik J-Series on the A Head Full of Dreams tour, the band moved over to the SL Series for Music of the Spheres, with main and side hangs of GSL, KSL on the 270° and delays and SL SUBs both flown and ground stacked. Speaking to TPi back in 2023, Smith described

the “remarkable change” that the new d&b system had seen. “The efficiency has been increased by around 50% and tonality along with ArrayProcessing with the SL Series is very good,” he stated. “The increased rear rejection meaning that there is less rear energy, giving Dan more control, a cleaner room and the band a cleaner space to perform, which they are enjoying.” One thing that has changed in the audio department since TPi’s last check-in is the control solution, with Green now operating the new DiGiCo Quantum 852 console from FOH. “Previously we were touring two SD7 Quantums – one as main as one a backup – but now we’ve moved to the Quantum 852 we decided to lose the backup console and just carry spares, which is more efficient,” Smith explained, going on to give his verdict on DiGiCo’s new flagship console. “The workflow, layout design, backed up with the new screens and graphics is great,” he noted. “It also runs a lot cooler than the SD7.” Speaking in more general terms about the system design, Smith is a big believer in nailing the fundamentals before going granular with clever pieces of audio trickery. “There’s no secret – it’s just about having a well-thought-out design,

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spending that extra time with the array software and getting the basics correct before you start using ArrayProcessing or the FOH engineer starts to dive for plug-ins,” he stated. “If you get the fundamentals correct then everything downstream is a lot easier to deal with.” Aligning with the production’s sustainability goals, the audio department has reduced its footprint significantly in recent years. “We used to use a lot of 500 series pre-amps and EQ, but as new technology that offers different solutions and functions emerges, we’ve been able to lose some of the larger hardware,” Smith explained. A major change at the start of the tour was the move over to a DirectOut Technologies PRODIGY audio processor and the AMS Neve 1073opx. “We’ve also added a few things at FOH on the master bus including the Fourier Audio transform.engine bundle with Soundtoys and Seventh Heaven, which we’re utilising for effects, along with Waves,” Smith noted. New for this year, the master buss features a Rupert Neve Designs MBT and MBC as well as a Chandler Curve Bender TG12345. A more recent adaptation is the band’s record setup. “We’ve just updated to the Avid MTRX II and gone Native on Pro Tools, which has allowed us to get rid of even more kit, getting smaller units that do more, further reducing our weight and footprint when it comes to travel,” he explained. “If we all do our part, it has a big impact.” While the tour carries the backbone of the system, when it came to the local audio supply, Middle East

including the large-format d&b audiotechnik PA system, 3DB was the vendor of choice. A longterm d&b user and supplier, 3DB’s Managing Director, Eddie Mulrainey, also has history with the Coldplay camp, working with many of the team on and off for the past two decades. “I worked with Eddie around 20 years ago and he still has the same mentality now that he did back then,” Smith smiled. “That work ethic runs throughout his crew – many of whom we knew well – and we were very pleased with what they delivered.” Catching up with TPiMEA after the show, Mulrainey was delighted with the collaboration. “I got the first call from Tony around June 2024, and he explained the kind of setup that they required,” he recalled. “There wasn’t much GSL in the region at the time, but we were happy to bring it in; combined with the KSL, it left us lots of flexibility for the rest of the season.” Describing the Coldplay production as “a well-oiled machine”, Mulrainey explained the importance of preparation when it came to making the load-in run smoothly. “The advance from Tony and the team was incredibly in-depth, and we had a couple of the Coldplay team fly out in advance to spend some time in our warehouse going over the prep,” he revealed. “We did a lot of prep work, and it certainly paid off, because from the opening of truck doors to the system being in the air, it was just five hours, which is pretty good going for this part of the world.” Mulrainey put the success of the project down to the strong relationship between his team

and the Coldplay crew. “Having that knowledge of the tour was helpful,” he stated. “The guys who we supplied have all worked on a Coldplay tour at some point, so Tony was essentially getting an extension of what he would get in Europe, both in terms of equipment and people.” In fact, the collaboration didn’t end in Abu Dhabi, with the band taking 3DB’s GSL system along to their next stop in India. “We took the GSL and some of the team to India and it worked exactly as planned,” Mulrainey reflected. “We were loaded out within three hours of the end of the final show in Abu Dhabi and 72 hours later, the system was up in the air on-site in Mumbai. This was the first time that the GSL had been heard in India, and it sounded phenomenal. “We were very happy to be involved and to have the trust of Tony and the team,” Mulrainey concluded. “It was great to see everyone, amazing to work with the team again, and everyone was delighted with the result.” ‘This is a destination gig’ With more than 200,000 people in attendance at Sheikh Zayed Sports City over the four-night run in Abu Dhabi, venue operator Ethara, part of the Oak View Group, left nothing to chance when it came to the operations, with a team of 2,500 professionals creating a seamless experience across all touchpoints, including bespoke hospitality, vibrant fan zone, food and beverage offerings, and comprehensive customer service. Gallowglass Health and Safety Middle East

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was entrusted with overseeing the health and safety in Abu Dhabi, with a comprehensive remit extending from the early stages of venue construction through to the final moments of the show. “We developed tailored safety protocols, crowd management strategies, emergency plans, and risk assessments, covering every detail meticulously,” recalled Gallowglass Senior Health and Safety Advisor, Rimsha Robert. “Collaboration with local authorities, police, and emergency services was crucial in creating a responsive, coordinated safety plan.” On concert days, Gallowglass oversaw the Event Control central command centre. This role involved closely coordinating via radio communication with various departments, including artists, liaison teams, traffic management, security, facilities management, venue operations, police, medical services, and food and beverage providers, with any issues promptly logged to ensure effective tracking and speedy resolution on the ground. “Our team swiftly addressed any matters arising before gates opened, during the concert, and as visitors departed the venue,” Middle East

she commented. “This structured approach as well as clear communication were key factors in ensuring each concert day ran smoothly from start to finish.” Beyond just safeguarding the crowd, the Gallowglass team was truly invested in safeguarding the experience of the fans. “We wanted everyone to be able to fully enjoy Coldplay’s electrifying performance without worrying about safety,” she said. “From the moment fans arrived at the venue, to their time in the fan zones, during the concert, and all the way through their departure, we ensured their safety was never compromised. Seeing the smiles on the faces of the fans, knowing they felt safe and free to enjoy the night, was the most rewarding part of this experience.” Reflecting on the record-breaking run, Coldplay’s Kansy believes that it “could open doors” when it comes to similar multi-night shows coming to the Middle East. “With the right artist it’s certainly possible to make a multi-night stop work here,” he stated. “This is a destination gig. I don’t think we could have done four nights with only people who live in Abu Dhabi attending.

People have come from all over the region, and it shows the potential and the hunger for big shows in this part of the world.” Coldplay went onto India following the Abu Dhabi run, then had a short break before April shows in Hong Kong and South Korea – and while the band could easily have sold out many more nights in the interim, as Kansy said, “there comes a point when it’s important to go home”. He concluded: “Every band member has a family and they all have plenty of other responsibilities to take care of. We’re all other people outside of touring. When I’m at home, I’m a father; I go from being in a production office to making my daughter’s breakfast and helping out with homework. We all love what we do, but everybody has a life outside the tour, and we must be mindful of that.” Photos: Anna Lee @Annaleemedia www.coldplay.com www.livenation.me www.aggreko.com www.prg.com www.3db-dxb.com www.gallowglasshs.com

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Balad Beast 2025 MDLBEAST transforms the historic streets of Al Balad into a full-scale rave, all while respecting the fragility of the UNESCO World Heritage site and engaging with local residents.

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Throughout the year, the labyrinthine streets of Al Balad are a beguiling maze, with examples of ancient architecture, traditional souks, and the area’s famous resident cats found around every corner. Packed with history, the UNESCO World Heritage site is the polar opposite to what generally constitutes a suitable location for a music festival. Yet, for one weekend a year at the end of January, the site plays host to two days of mind-blowing music and dazzling projection mapping, with over 70 artists performing across four unique stages. Brought to life by MDLBEAST – whose flagship festival, Soundstorm, smashed the Guinness World Record for the largest continuous LED screen with its latest edition – Balad Beast is the company’s more boutique offering, harnessing its unique surroundings in Jeddah’s historic district to create a festival experience that is truly unique. “Balad Beast has been my baby from the start, and as much as Soundstorm is an incredible spectacle, for me, the feeling and the atmosphere created by being inside a UNESCO World Heritage site is unbeatable,” commented MDLBEAST’s Events Creative Director, Quentin Middle East

Greyling. “I live in Jeddah, and I love being here throughout the year, but the vibe during festival weekend is off the charts.” Collaborating with Greyling from day one, Director of Events George Haddad is similarly enthusiastic about the festival. “Most shows nowadays take place in stadiums, arenas, or are built on greenfield sites where we have a high level of control and can plan the site exactly as we want. However, with Balad, the most important thing that took a lot of time and effort was exploring how we could build a festival inside a thriving community,” he stated. “The complexity of working with the community became our primary focus – and it soon became the thing that we loved the most about the project.” Working closely with the Ministry of Culture, MDLBEAST had a dedicated team of Saudis who consulted with residents, ensuring that they were part of the planning process and helping them navigate the festival in whatever way they preferred. “Some people wanted to attend the festival, some wanted to play a part and make the most of the extra footfall by keeping their shops open, and some wanted to go away for the weekend, and we nurtured all of those

decisions and provided guidance on how best to do it,” Haddad recalled. “Regardless of our intentions, when you enter someone’s space and disrupt their life – even if it’s for the better – it’s so important to show the utmost respect,” he added. “Our front-facing team who were maintaining those relationships played an integral role in making Balad Beast the success it was.” Even the local cats were considered, with MDLBEAST setting up an onsite clinic to treat any animal that needed attention. “Every year we try to do more to ensure that not only do we avoid causing any damage to Al Balad, but we also leave it better than we found it,” Greyling explained, discussing the company’s CSR efforts. “Those small things make a big difference.” Considering the size, scale and variety of shows now under the MDLBEAST banner, it’s easy to forget that the founders of the organisation started out in the underground rave scene. However, Balad Beast harks back to those roots – albeit in a much more purposeful and sophisticated format than any true underground rave could ever hope to achieve. “The festival is designed in such a way that the whole site is an immersive experience,” Greyling commented.

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“The layout of the venue allows for a free flow of people. If you walk around, you’ll soon bump into one of the four stages.” As with all MDLBEAST events, in the centre of the festival is MDLTOWN, where most of the food and beverage offerings and various activations are found. “Whenever we design a site, we always look at that central hub connecting the stages as a place for people to gather,” Greyling explained. “This year we had lots of street performers – the majority of which were from Saudi. I’d love to see this kind of thing happening around this area all year round.” Prepared by Senior Visualiser Anton Nureev under the guidance of MDLBEAST’s Chief Creative Officer, Ahmed Alammary – aka Baloo – each stage of Balad Beast is designed to integrate seamlessly with Al Balad and the surrounding buildings. The four stages – Bab Square, Omda Square, Roshan Square, and Souq Square – each have their own unique character, with each taking its inspiration from a different aspect of life in Al Balad. “Bab means ‘door’ in Arabic, and we named that stage because it’s by the ancient gate of Balad,” Greyling described. “Omda translates to ‘mayor’ or ‘leader’, and we have visuals of the Mayor of Al Balad integrated into the content that is played on that stage.” The Roshan stage meanwhile refers to the ornate window coverings that are ubiquitous through Al Balad, while Souk is a reference to the traditional markets that have thrived in the city for centuries. ‘It’s not just a festival – it’s a cultural experience’ MDLBEAST’s Project Lead for the past two editions of the festival, Nigar Narimanova has a broad and far-reaching scope on Balad Beast, overseeing everything from the initial planning to final execution. “My role touches every aspect – layout design, operations, F&B, stage design and, most importantly, crafting an unforgettable experience for our guests,” Narimanova commented, explaining her role. “The process starts with a clear vision, defining what we want the festival to feel like, how we want people to experience it, and how to elevate it each year,” she added. “From there, we develop the layout, making sure every stage, food zones, and activation is positioned for both efficiency and immersion.” Once the blueprint is set, Narimanova’s team shifts into production mode, securing permits, coordinating with vendors, and working closely with local authorities to ensure that Al Balad’s UNESCO World Heritage status is respected throughout the build and the festival. “At the same time, we shape the patron journey, fine-tuning ticketing, access control, crowd flow, and on-site activations,” she described. “As we approach the event, the build phase begins. This is where the fast-paced coordination kicks in – production, operations, and creative teams working in sync to bring it all to life,” the Project Lead explained, referencing the added challenge of Al Balad remaining open to the public until just two days before the festival opens its doors. “We must execute everything with precision, ensuring the setup happens flawlessly within an incredibly tight timeframe.” It’s challenges exactly like this that ensure that Site Build Director Matt Gillespie has his hands full with Balad Beast. “Al Balad’s status as a UNESCO World Heritage site brings its own challenges,” he said. “Planning starts very early, with the team working on permits and handover documents well in advance.” Gillespie explained how the first stage of the build saw the creation of the back of house spaces, with installation of offices, ablutions, IT infrastructure, perimeter, security, boneyard, car parking, and accreditation facilities. “We then secured our

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event working zones, using both security and pedestrian barriers,” he detailed. “Once those areas had been created and made safe, work began in the event areas, starting with our four stages, projection towers and VIP platforms. We then scheduled installation of all patron-required facilities such as ticketing, ablutions, catering and medical, before the production team came in to do their thing.” Despite the challenges associated with the project, the Site Build Director thoroughly enjoys the annual assignment. “We overcame all the challenges through good planning, close work with the local community and businesses, calm and well scheduled installations and an amazing team of people,” he reflected. “It’s wonderful to walk into beautiful Al Balad then spend a month creating this amazing event, utilising all the historic elements and adding our own spice into the mix. Then to see more than 13,000 patrons experiencing, enjoying and rejoicing at this incredible event is extremely gratifying.” Narimanova concurred: “Balad Beast is a crowd favourite, and for good reason,” she beamed. “It’s incredible how we transform the historic streets into a two-day festival with four stages, four music genres, and an electric mix

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of regional and international headliners. What makes it truly special is how it merges Jeddah’s deep-rooted history with the energy of modern music. It’s not just a festival – it’s a cultural experience, where the past and present collide in the most magical way.” ‘Every bit of the content tells a story’ Overseeing the technical aspects of each of the four stages was Production Manager, Graham Filmer, who started working with MDLBEAST in 2022 for the Gamers8 series of concerts in Riyadh. Much like the rest of the team on Balad Beast, Filmer’s department was put to the test to navigate the festival’s unique setting while going about their business on the project. “We had to be continually mindful of the environment and the many visitors and local residents moving through the old town, and we took great care to ensure that all productionrelated installations around these historic buildings were carried out in a way that minimised any risk of damage,” he explained. “To help move lighting, audio, video, staging, and backline equipment around the town, every vehicle or piece of machinery was escorted by marshals who ensured pedestrians had

priority. This made for a longer and more timeconsuming build process, especially given how narrow some of the streets are.” The PM was particularly pleased with the attention to detail in the look of the stages and scenic elements, giving the example of the sand-coloured cloth used to wrap all the scaffold structures, which helped them blend in with the stonework of the buildings. “Additionally, we used projection mapping on the buildings surrounding each of the four stages, which not only reduced the amount of video screen equipment needed but also brought the buildings to life and created a look and feel that complemented Balad and its historic location,” he added. Events Creative Director Greyling was equally impressed with the projection mapping. “It’s not just random stuff up there; every bit of the content tells a story that matters to the people of Al Balad – from the cats to the mosquitos, the city’s roundabouts to nostalgic games people would have played or sweets they used to eat,” he commented, crediting MDLBEAST’s Chief Creative Officer, Baloo, along with his team with leading the vision. “Even though I’ve lived in the Middle East for the past 25 years, I’m no aficionado on Jeddah and Al Balad. However,

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a lot draws from Baloo and his creative team, many of whom grew up in Jeddah and know the stories that will resonate with our attendees.” Greyling also praised the work of Content Creator, Artists in Motion (AIM), which deployed a dedicated team to research and film the site, speaking to local designers and absorbing the essence of the culture of Al Balad before developing over 72 hours’ worth of live content playback and manipulation. “We work with some seriously cool people,” he stated. “Artists in Motion do a lot of homework and they will often come with some fabulous ideas that we hadn’t thought about. It’s a pleasure to work with them.” ‘A truly one-of-a-kind experience’ Also playing a crucial role in the visual spectacle was Cassius Creative which, for the third year running, was entrusted with designing the lighting elements for all four stages, as well as overseeing the environmental lighting throughout the entire festival site. “The heart of the festival lies in the town where it’s held,” explained Associate Designer, Sam Henderson. “The overarching aesthetic was focused on bringing the district to life – both on the stages and as an immersive experience for those walking around the site.” With each stage designed differently to complement a different musical genre, the Cassis Creative team focused on incorporating lighting elements that would “enhance and elevate” the “unique vibe” of each musical style.

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The environmental lighting around the town meanwhile was designed to seamlessly integrate the stunning architecture of Al Balad with the festival atmosphere. “We selected a colour palette that complemented the Balad Beast festival branding while also highlighting the historic features of the area to truly showcase the essence of Al Balad’s rich heritage,” Henderson recalled. Working from MDLBEAST’s stage designs, the Cassius Creative team used a combination of Vectorworks and Syncronorm Depence R3 to design and visualise each stage, incorporating appropriate lighting and SFX elements. “Onsite, our team of lighting operators brought the designs to life via MA Lighting grandMA3 hardware and software,” Henderson stated, noting the importance of close collaboration between the lighting and video teams to ensure a cohesive visual language across all stages. Featuring over 1,000 fixtures, the environmental lighting system has been developed and refined over the past three years. “We work closely with PRG to find innovative ways to distribute these lights across the narrow and uneven streets of Al Balad,” Henderson explained. “The entire system is managed through a comprehensive network that spans the whole town. To control each fixture, we use MA2 software in conjunction with screensharing software on an iPad, enabling both [Environmental Lighting Operator] Devante

Benjamin and I to access and adjust the system from anywhere around the town.” The delicate nature of the historic site created numerous challenges in achieving the desired ambiance for the festival. “Planning was particularly difficult, as many of the buildings were under construction or undergoing renovations right up until the day before the festival,” Henderson recalled. “This resulted in limited control over access to different areas of the site. As a result, we had to continuously adapt to the evolving environment, creating a flexible lighting plan that would highlight the entire site.” Yet, despite the difficulties, the unique nature of the project made it an extremely rewarding one for Henderson and the Cassius Creative team. “The moment you step onto the Balad Beast festival site, you immediately feel immersed in a unique environment. The combination of atmospheric street lighting and the stunning architecture of Al Balad creates a truly one-ofa-kind experience,” he summarised. “The strong collaboration between the technical and design teams is key to achieving this. It allows us to take a thoughtful and adaptable approach to creating something exceptional in an environment that, in many ways, is unpredictable.” ‘Excitement, nostalgia, and a deep connection to the cultural roots’ Utilising the combined expertise and equipment of its Belgium and Netherlands, Germany, UK,

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and Middle East branches, PRG delivered a comprehensive lighting and video package. “PRG has been on Balad since the first festival and they do so much homework on how to make the old town look its best,” Grelying stated. PRG’s Senior Video Project Manager and Technical Advisor, Yves Winand, explained the video deployment: “We were tasked with projecting on the most iconic buildings in the old town around all four stages to bring them to life while keeping the unique cultural spirit of Al Balad,” he said. The PRG team’s process began with a 3D scan of the buildings. “After modelling them, we were then able to do the projection study and develop the grids and templates for the content workflow,” Winand explained, adding that AIM produced “tonnes of stunning content” that was specific for each building. The projection solution included 62 Barco UDX-4K40 projectors, along with six Barco E2 Gen 2 presentation switchers and three Disguise VX 4+ media servers for the main stage, with AIM providing main and backup Resolume media servers for the other stages. “After installing all projectors in the towers, we went over to the night shift to get the projectors lined up stage by stage to handover to the operators a week before the show opened. This gave them the opportunity to program Middle East

their shows and do some tweaks left and right,” Winand recalled. “Then one or two days before the show, the first headliners arrived and we had special nights with their creative teams, programming and checking all their visuals.” PRG also provided LED comprising more than 100 sq m of INFiLED 4.6mm panels, split between the main stage and LED ticker screens, as well as 16 Panasonic AW-UE150 PTZ cameras for stage monitoring and event control, and more than 42km of data and power cabling. “Al Balad is alive on show days with this special artistic vibe of the old town that makes the event so special and precious,” Winand concluded. “I’m always pleased and proud to see the final result as the people likely feel a mix of excitement, nostalgia, and a deep connection to the cultural roots. The old town setting adds a special historical vibe, making the whole experience even more immersive.” ‘These buildings are extremely precious’ The care and attention for the local surroundings didn’t come to an end once the festival had been loaded in, with special consideration given to ensure that the pumping bass delivered by the audio system didn’t have an adverse effect on the fragile buildings of Al Balad. “These buildings are precious, and we have a responsibility to

protect them that we take extremely seriously,” Greyling explained. “We do our due diligence and leave nothing to chance both during the setup and throughout the show.” To this end, acoustic consultant Vanguardia – a Buro Happold company – was brought in to support MDLBEAST and audio supplier 3DB Event Production with technical knowledge and equipment to monitor the vibration levels across the Balad Beast site throughout the event. After being appointed in late December 2024, the Vanguardia team started by reviewing existing reports on the vibration management strategies from previous years of Balad Beast. “We largely aligned with the previous approach but with the addition of our networkenabled monitoring equipment,” explained Senior Acoustic Consultant, Vince Parker. “Following some initial calls with MDLBEAST to bridge the gap between operations in the UK and KSA, we had a call with the Ministry of Culture to begin discussions on the relevant thresholds and monitoring methodology.” The deployment included the installation of 28 network-enabled triaxial vibration monitors from Swedish manufacturer, Sigicom. “These monitors gave us the ability to set relevant vibration thresholds that once exceeded would notify key stakeholders of the exceedance and we would

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then investigate further,” Parker stated, adding that Vanguardia has adopted network-enabled event management practices on large-scale music events such as Glastonbury Festival and BST Hyde Park in the UK. “This approach was also beneficial in data collection ensuring it is stored securely on a server.” Vanguardia worked with 3DB to help procure appropriate subwoofer dampening pads to help minimise the low-frequency impact before arranging the logistics of transporting the 28 vibration monitors from the UK to Saudi Arabia. “My colleague and I then arrived two weeks before the first show day, to understand the site and begin the deployment of equipment prior to the show,” Parker recalled. A key element of the project was dealing directly with the Ministry of Culture for both accesses to install the equipment securely and understanding their expertise on the specific sensitivities of the historic buildings. “Once the equipment was installed, we undertook a controlled vibration propagation test from each venue to understand how the specific sound system interacted with the sensitive locations, helping to set appropriate vibration thresholds,” Parker explained. As well as navigating the logistics of the physical installation, the biggest challenge was giving confidence to the key stakeholders that the practices applied in the UK would be Middle East

suitable for Saudi Arabia. “MDLBEAST was extremely supportive in this regard and the staff we worked with at the Ministry of Culture were very accommodating and keen to share their knowledge of the site,” Parker commented. “The event was a great success – with effective communication with representatives from the Ministry of Culture and fantastic support from the MDLBEAST team as well as 3DB.” For 3DB’s Managing Director, Eddie Mulrainey, Balad Beast provided an “interesting” audio challenge. “A lot of these buildings are ancient and extremely fragile, so we had to have all the data in place to prove that no damage would be caused by the vibration from the PA,” he recalled. “Vanguardia did an incredible job, and the system worked even better than expected.” Fresh from supplying audio for Coldplay’s Abu Dhabi shows, 3DB supplied an extensive audio solution, including several d&b audiotechnik KSL PA systems, featuring SL-SUBs in a cardoid formation, which helped keep vibration levels manageable. “If we couldn’t have made it work then there simply would not have been a festival, so it’s incredibly satisfying,” Mulrainey added. “Al Balad is an amazing place to put on a festival, and the end result was spectacular.” ‘Flawless performance for every artist’ With a wide range of musical genres on display throughout the weekend, MEI handled much of

Balad Beast’s extensive backline requirements. “Our services went beyond just supplying instruments and gear; we provided a complete, end-to-end solution, ensuring smooth logistics and on-site technical support,” explained MEI’s Head of Operations, Maria Kyvernitis. “Our goal was and is to guarantee flawless performances for every artist we service, which we believe contributes to the high-energy success of the festival.” With the company headquartered in Dubai, UAE, the Head of Operations explained how managing a major festival like Balad Beast can bring its own set of challenges. However, with MEI Arabia soon to launch in the Kingdom, much of the process will be expedited. “Transporting high-value, delicate instruments requires careful planning and coordination to ensure timely and safe delivery,” she stated. “The upcoming opening of MEI Arabia in Riyadh next season will streamline logistics significantly and enable us to provide faster and more reliable support for all MDLBEAST events.” Having had the privilege of supporting several major bands during Balad Beast, including Michael Kiwanuka, Tiwa Savage, Ghostly Kisses, Seera, and Mishaal Tamer, the MEI team’s experience at the festival was a wholly positive one. “Just as with other high-profile events we’ve supported, our team was fully prepared to meet the unique needs of each performance at Balad

Beast, ensuring smooth execution under any circumstances. We are absolutely committed to staying true to our word and building trust by consistently delivering top-quality gear and going the extra mile to fulfil musicians’ requests, ensuring they are happy with what they get performing on stage.” In closing, Kyvernitis praised the whole MDLBEAST team: “We’d like to express our sincere gratitude to MDLBEAST for their professionalism, which sets a new standard for music festivals in the region. Their coordination and operational support have played a key role in ensuring successful deliveries for us and, undoubtedly, for all suppliers,” she stated. “We’re excited to continue this valuable partnership moving forward – even more so following the launch of MEI Arabia in Saudi Arabia.”

“Balad Beast is a unique festival with a distinctive character that we strive to convey to all artists from the start... One of our core responsibilities is to manage artist expectations with respect, honouring both the UNESCO World Heritage site and the needs of the artists.” Ieva Irbina, co-founder, The Event Verse

‘A unique festival with a distinctive character’ As well as ensuring that artists had everything they needed in terms of equipment, artists who played at Balad Beast were looked after by MDLBEAST’s long-term artist liaison and logistics partner, The Event Verse. Catching up with TPiMEA after the festival, Ieva Irbina, who co-founded the Event Verse along with Alex Wiseman, described how the challenging environment presented by the festival also serves as an opportunity to offer artists a unique experience. “Balad Beast is a unique festival with a distinctive character that we strive to convey to all artists from the start. Its location, for example, presents logistical challenges – particularly regarding stage access and surrounding facilities. One of our core responsibilities is to manage artist expectations with respect, honouring both the UNESCO World Heritage site 69

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and the needs of the artists,” she commented. “At the same time, the festival serves as a platform to share the story of Jeddah and Al Balad, offering artists a glimpse into the rich culture of Saudi Arabia,” she added. “The storytelling begins with the very first email and extends to the smallest details of the Artist Village décor. The positive feedback and heartfelt words from artists after Balad Beast are a testament to the festival’s unique character.” For MDLBEAST’s Executive Director of Events, Michael ‘Curly’ Jobson, Balad Beast holds a special place in his heart, as the project that he first arrived in Saudi Arabia to work on back in 2020. “The relationship with the fibre of this incredible place and people is the most special,” he began. “In the beginning, we were an intrusion into the lives and the culture of Balad, but over the past few years, we have developed an amazing relationship with the people and the place, and we have become as much a part of it as the ancient buildings that the Ministry of Culture are so beautifully restoring piece by piece. “We have adapted our methods and looked to promote the environment in as conscious a manner as we possibly can,” he added, nodding to MDLBEAST’s initiative to protect the health of the famous cats of Balad. “They are a real fixture, and we have invested in their health and wellbeing, too.” Curly praised both the creative and technical teams involved in Balad Beast. “The content that Artists in Motion created under the guidance of our creative team led by Quentin Greyling and Erik Pearson, and the relationships that have matured with the people under the guidance of George Haddad and our incredible Government Relations team led by Abdullah Alwuthayani are beautiful to see,” he beamed. “PRG, under the management of Yvonne Donnelly Smith, has done an incredible job, along with 3DB led by our great friend, Eddie Mulrainey, and the stalwart work of AES, led by JJ Trichardt, in building our infrastructure to blend in seamlessly to the background of this incredible place.” One of the most pleasing aspects for Curly was how the incoming artists embraced the culture of Al Balad. “The reaction of the incoming artists to the bustling centre of the souk and the smells of the spices and amazing food throughout Balad were really special,” he recalled. “Stand outs this year for me were Ghostly Kisses and Michael Kiwanuka – they really embraced all that Balad had to give.” Reflecting on the project, Curly expressed his pride at the festival and the part that MDLBEAST has played in the regeneration of the area. “Al Balad is so rich in culture from all of the Arabic nations – from Palestine, Jordan and Lebanon to the North and East African cultures of Egypt, Ethiopia, Sudan, and the fact that Jeddah is only 80 miles east of Eritrea is incredible,” he concluded. “We love Balad and are blessed to be able to work in such an incredibly rich and welcoming place.” Photos: MDLBEAST, Luke Shadrick www.mdlbeast.com www.artistsinmotion.co www.cassiuscreative.co.uk www.vanguardia.co.uk www.3db-dxb.com www.prg.com www.meinnovate.com www.theeventverse.com Middle East

Top: MDLBEAST’s CCO, Baloo, hits the decks; Middle: The Balad Beast team comes together; Above: The Event Verse team assemble.

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INTERVIEW

Moments that move people TAIT’s new Chief Executive of MENA, Soren West, reflects on his move to Riyadh and shares the company’s ambitious plans for the region.

It’s no secret that TAIT has ambitious plans for the Middle East, and if any proof was needed about how serious the company is about the region, industry veteran Soren West’s appointment as MENA Chief Executive at the end of 2024 and subsequent relocation to Riyadh is surely it. With more than 25 years of experience in global concert touring, live performance television, corporate and sporting events, award shows, ceremonies, and brand activations, West has a long history with TAIT as a client, vendor and close collaborator, and the opportunity to bring his knowledge to the Middle East with a company he has long admired was one he simply couldn’t turn down. “I’ve always been attracted to TAIT’s place in the market, and I’ve always been inspired by the leadership of [CEO] Adam Davis,” he told TPiMEA. “The opportunity to participate in the Middle East – particularly in Saudi Arabia – Middle East

was an offer I couldn’t refuse. What’s happening in Saudi is unmatched anywhere in the world.” While West is just a few months into his new post, TAIT has been making progress in the Middle East for a significant period. In 2022, TAIT acquired Thinkwell, which had been in the region for over a decade, leading the master planning, design and production of some of the Middle East’s most impressive developments including key contributions to Warner Bros. World Abu Dhabi and SeaWorld Yas Island Abu Dhabi among many others. TAIT also had acquired productionglue in 2016 and the company’s producing capabilities have been key in forging TAIT’s strong and long-lasting partnership with MDLBEAST, whose Soundstorm and Balad Beast festivals are two of the many landmark annual events to come out of the collaboration. More recently, TAIT’s partnerships and

projects in the region include brand and fan attractions for Riyadh Season, like the WWE Experience, and expanded live events and experiences with MDLBEAST. According to West, operating as a unified TAIT brand in the Middle East and globally brings with it a raft of benefits. “We can truly leverage our global footprint and the broad range of capabilities within the group to a wide range of sectors, from concert touring and live events to immersive experiences, location-based entertainment, cruise ships, theatres, operas houses, and stadiums to name just a few,” he explained. “We also have a growing suite of hardware and software solutions available in the region, which excites me because we can go after the most ambitious projects. “Our focus is on identifying the areas where we can bring the most value,” he noted. “Saudi Arabia has become an incredibly competitive market over the past few years and in such an environment, we wouldn’t serve ourselves or the market well by going after anything and everything. We serve ourselves and the market better by identifying the projects where we can bring the most value.” TAIT’s technology offering is an increasingly important part of the package. “We leverage technology in a bespoke way to suit each individual project, and it is those projects where we can apply our propriety technology, alongside our experience, creative vision, timeline and budgetary control, where we can bring the most value,” West said. “Focussing on the top end of the market, on the most ambitious and complex projects, is where we can thrive, and that could end up living in any sector – the market will dictate.” Even more exciting than the array of mega projects in the region, West’s biggest passion lies in education of the next generation. “I had a terrible time in school, so I’m self-educated and had to forge my way, find mentors and

Facing page: MDLBEAST Soundstorm 2024. Top: TAIT’s Rock Lititz Campus. Above: TAIT Chief Executive of MENA, Soren West. 73

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INTERVIEW

learn through real-life experiences. That’s why I’m always delighted to be able to share knowledge and show young creative people what is possible in our line of work,” West revealed, citing The Academy of Life Technology (ALT) as an organisation leading the way in education from its bases in the UK’s Production Park, Rock Lititz in the US, and now TAIT’s Riyadh office. Having recently appeared as a guest lecturer at the Saudi Academy of Entertainment, West hopes to strengthen that relationship and play a personal role in education within KSA. “The notion of participating in the education of a Saudi workforce that is ultimately going to be responsible for fulfilling and upholding Vision 2030 is a real point of excitement for me personally and for TAIT,” he commented. “We want to help establish this thriving entertainment ecosystem in the Kingdom and part of that is integrating and educating. These things don’t happen overnight. I tell my team that we often overestimate what we can accomplish in a year, and we generally underestimate what we can accomplish in a decade. That’s something to keep in mind in terms of our presence in this ecosystem.”

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Looking to the future, the MENA Chief Executive has his sights set on expansion. “Our aim is to grow, to continue to bring the full breadth of our capabilities to the Middle East and beyond,” he stated. “Eventually we can expect to bring our rapid prototyping, fabrication and manufacturing capabilities as well as the ability to deliver automation, all from here in Saudi Arabia.” West left TPiMEA with some wise words derived from TAIT’s taglines. “Here at TAIT, we like to say that we are technology-enabled storytellers, and we create moments that move people. Lines like that are very tidy and well put together, but they are not just throwaway taglines – we take them very seriously,” he asserted. “The best and most meaningful use of technology is when it’s invisible; when technology is at its best, it helps us create those special moments that move people. When I see the visceral reaction and emotional human response of an audience to what we created, that’s what gives me the most joy and that’s what makes it such an honour to be in this business.” Photos: TAIT www.taittowers.com

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INTERVIEW

Hello from the other side Six months after making the transition from client side in the demanding world of mega events to her new position as Director of JAM People, Nikki Kerr discusses the reasons behind the move and shares her experiences from both sides of the fence.

The relationship between client and supplier is a symbiotic one that requires understanding on both sides to be successful. Having spent the best part of the past 15 years ensconced in the world of mega events before taking on the role of Director of JAM People in September 2024, few are better equipped than Nikki Kerr when it comes to discussing the transition between the two disciplines. From 2012 London Olympic Games to the 2015 European Games in Azerbaijan, the Gold Coast 2018 Commonwealth Games, the Invictus Games Sydney 2018, as well as Expo 2020 and COP28 in Dubai, Australian-born Kerr has vast experience at the elite level of global event delivery. after COP28, Kerr favoured a change of approach. “I’d been introduced to James Mistry and his company, JAM Event Services, at COP28,” began Kerr. “I’d never considered working on the staffing side, but when he called and talked me through his vision and where he wants to take the company, he caught my interest.” Middle East

Launched as a new division of JAM Event Services in 2023, JAM People provides freelancers, permanent recruitment and event staffing solutions throughout the region. “We deliver the full spectrum, from hosts and ushers to production managers and technical managers on either a freelance or a permanent basis across Saudi Arabia, the UAE and beyond,” Kerr explained. Coming from the client side, Kerr has the unusual advantage of having an in-depth awareness of the needs and wants of the companies who are now her clients. “I know all the frustrations, gripes and areas that I would have liked to see improvement in when I was on the other side, and I hope to bring that knowledge to help inform how we operate,” she explained. On the topic of relationships, Kerr believes that there’s no substitute for understanding the client, their stress points and anticipating their future needs. “In the world of events we all know that things change – priorities move, projects shift. We must be agile and flexible – and

do what we say we are going to do. You want to be considered as a strategic partner by your client, to achieve this it’s imperative that we are proactive, we listen, we communicate, and we are solutions orientated.” While the live events industry is notoriously last-minute – especially in the Middle East – Kerr believes that the key to success lies in working alongside clients as early as possible in the planning phase of projects. “It’s great to be a part of the process from an early stage. If we collaborate during pitching and add value at that stage, everyone benefits. There will always be those last-minute requirements, but if we can get as much as possible planned in advance, our processes can be streamlined and that leaves us with the capacity to jump on the ad hoc requirements as they come in.” Looking back on her first six months in the job after starting during the peak of events season, Kerr reflected on how she’s found the job so far. “Starting in September was a ‘hold on tight’ moment! I was lucky that I have a phenomenal team who are well established at JAM, which meant I was able to hit the ground running with their support. I’m focused on the bigger picture, the strategy planning for next season and far beyond that,” she stated. “It’s very different on this side of the fence. There’s been a lot of learning, but I’ve found it very rewarding already,” Kerr concluded. “Looking ahead, my goal is for JAM People to become the go-to for everyone who has a staffing need – be it freelancers, permanent hires or event time staffing. We’re also incredibly excited about the size and scale of projects coming up in the region – especially in Saudi Arabia – and we are very much aiming to play a central part in helping our clients deliver them. Photos: JAM People www.jameventservices.com/people

Having worked on the likes of Expo 2020 and COP28 among many other high-profile mega events, Nikki Kerr brings vast experience to her new role as Director of JAM People. 77

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IN PROFILE

Oasis Enterprises TPiMEA catches up with Oasis Enterprises’ Deputy CEO Abdulla Hisham Al Shirawi and General Manager Basel Al Aref to hear the evolution of one of the UAE’s most venerable and storied companies…

When it comes to heritage, very few companies in the UAE come close to Oasis Enterprises (OE). The company’s history goes all the way back to 1971 and the humble beginnings of its parent group, Al Shirawi Group, which started as a small trading house and today comprises more than 40 companies spanning 18 sectors in the UAE. One of these companies is Oasis Enterprises – a systems integrator that started life in 1982 as the region’s exclusive distributor for consumer and professional electronics brand, JVC, catering to government tenders and public institutions. Recognising the growing demand for professional installation services, OE soon expanded into system integration, handling TV installations, antenna systems, and professional AV solutions. “Over time, our expertise evolved, and we transitioned into a full-fledged projects company specialising in system integration, professional equipment supply, and cutting-edge technology solutions,” explained Deputy CEO, Abdulla Hisham Al Shirawi. From the company’s origins in consumer electronics, OE diversified strategically to professional broadcast, lighting, security, and AV solutions. “As our clients’ needs expanded, so did our offerings, moving from simply doing basic AV, CCTV and access control jobs to handling large-scale pro AV, lighting, automation, ELV, and AI-driven solutions,” recalled General Manager, Basel Al Aref. “Our ability to adapt, innovate, and lead has positioned us as a dominant force in the entertainment, government, and commercial sectors, to name a few. Today, we stand as one of the region’s premier system integrators, delivering turnkey projects across AV, lighting, ELV, and automation technologies.” An important step in the evolution of the company came around 2010 when OE transitioned from being a distributor to focussing on projects and system integration. “We no longer hold exclusive distributorships for any brands,” Al Aref stated. “Instead, we work closely with regular partners across different system aspects without exclusivity. We have developed strong relationships with certain brands, which we consider preferred partners, but we remain independent and flexible. Our business is predominantly project-based, with only about Middle East

5% involving box moving sales, which also is of different brands as per our clients’ requirements.” The company has been involved in several landmark projects over the years, from the Burj Khalifa to Sheikh Zayed Grand Mosque, Yas Waterworld, Ferrari World, Dubai Parks and Resorts and La Perle, to name just a few. “Our specialty in TV studios has also seen us provide lighting systems for major TV studios in KSA, Qatar, and the UAE, including Abu Dhabi TV, Dubai TV, MBC, Al Arabiya, Asharq, Al Hadath, BeIN Sport and Al Jazeera TV,” Al Aref highlighted. “These projects demonstrate our expertise and commitment to delivering highquality solutions. Our expertise in broadcast, entertainment, and architectural lighting has cemented our reputation as the go-to system integrator for industry leaders.” While the company’s roots were in distribution, Al Aref believes that OE’s strength lies in project execution and system integration. “Over the past decades, we have focused on providing customised solutions using bestin-class technology matching every project’s requirement, both technically and commercially,” he said. “We maintain strong alliances with preferred technology providers, selecting brands based on quality and innovation, after-sales support and reliability, competitive value and market adaptability, and long-term commitment.” With this project-focussed business, OE aims to balance quality and pricing to offer the best value for its clients. “While we provide

recommendations based on our experience and knowledge of after-sales support, we are flexible and can accommodate clients’ specific brand preferences,” Al Aref explained. “We have healthy relationships with almost all known brands in the region as we enjoy working with new partners that enable us to deliver bespoke solutions to all of our clients.” Despite the highly competitive nature of the GCC market, Al Aref believes that OE’s in-house full-service team provides a “level of expertise and quality” that’s “unmatched” in the industry. “While numerous players enter and exit the market, our longevity under the stewardship of the Al Shirawi Group – a third-generation family-owned business – demonstrates our resilience, leadership, and commitment to service excellence,” he commented. “We differentiate ourselves through comprehensive after-sales support, bespoke system integration solutions, and versatile expertise in project execution.” Now up to 140-plus full-time staff with offices in Dubai, Abu Dhabi, Saudi Arabia and Qatar, OE remains committed to delivering world-class solutions, pioneering innovation, and setting industry benchmarks across the region. “We’re aiming to strengthen our market leadership in professional AV and lighting, expand our presence within the GCC as well as entering new markets beyond the GCC, with strategic expansion plans already underway.” Photos: Oasis Enterprises www.oasismena.com

Oasis Enterprises has grown steadily from humble roots to a large-scale operation with 140-plus full-time staff and offices in Dubai, Abu Dhabi, Saudi Arabia, and Qatar. 79

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Showforce partners with Project REEFrame As the Spendlove Group announces its support for the UAE-based sustainability initiative, TPiMEA catches up with the company’s International Crew Manager – and diving enthusiast – Ricky Holland, to find out more…

There are so many worthy causes nowadays that picking the right one can be a challenge. However, when a team member shows a particular passion for a subject, that’s often a good place to start. This idea certainly applied to Showforce’s recent partnership with Project REEFrame – an initiative dedicated to restoring and preserving coral reef ecosystems in the UAE, which was brought to the company’s attention by International Crew Manager and eco-enthusiast, Ricky Holland. “I have been diving in Fujairah for the past 10 years and really hold it as a special place,” Holland began, explaining how he found out about the initiative. “While working on Expo 2020, I was discussing diving spots with a fellow crew manager who was working on the project with me, and he mentioned that he had seen an advert for an upcoming reef project in Fujairah.” After doing some research, Holland discovered Project REEFrame – an initiative run by Freestyle Divers that involves creating artificial reefs that will in time develop into thriving ecosystems. “It sounded like such an incredible initiative that I couldn’t wait to get involved.” Holland began supporting the project, performing fragment collection dives, planting, maintaining nurseries and reefs in his spare time – all the while managing the rigorous demands of a job in live events. The more involved he got in the initiative, the clearer it became to the International Crew Manager that his company could be a source of much-needed support. “From that, the idea of creating a Showforce/Spendlove Group reef was formed, and the journey began!” With Ian Spendlove, Chairman of Spendlove Group and Showforce, giving the green light, a bespoke Showforce frame was fabricated, and Holland joined the team tasked with sinking the reef. “Led by the team at REEFrame, we loaded up the boats and set off to the dive spot,” Holland recalled. “It’s never easy building stages underwater but as always in true Showforce style, we got the job done. It was such an honour to see it through from the initial concept to being part of the team who put the structure in place.” The idea behind the artificial reefs is to provide essential habitats for marine species, enhancing biodiversity and contributing to the balance of ocean ecosystems. These structures serve as the foundation for coral Middle East

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Chairman of Spendlove Group and Showforce, Ian Spendlove with Freestyle Divers CEO and Project REEFrame founder, Darryl Owen and Ricky Holland.

transplantation, allowing broken coral fragments to reattach and grow over time. Over the next five to six years, these artificial reefs will develop into thriving ecosystems, supporting fish populations and other marine life. Project REEFrame’s approach to coral restoration is rooted in science and sustainability. The team carefully selects coral fragments that have naturally broken off, preventing them from being lost to the sand and instead giving them a chance to regenerate. With dedicated monitoring and maintenance, the reefs are expected to flourish, creating vibrant underwater landscapes that support ocean life and protect coastlines from erosion. Darryl Owen, CEO of Freestyle Divers and Founder of Project REEFrame, emphasised the critical role of Showforce’s support, and that of other businesses, in making the project a reality. “Corporate sponsorship is essential to what we do,” he said. “The support we receive from organisations like Spendlove Group and Showforce translates directly into tangible impact under the water. We are able to create new reef structures, providing solid foundations where coral can thrive. This isn’t a short-term effort – it’s a long-term commitment to marine sustainability.” Ian Spendlove also expressed his enthusiasm for being part of such an impactful initiative. “We are incredibly proud to support Project REEFrame and the vital work they are Middle East

doing to protect and restore coral reefs,” he stated. “As a business, we’re committed to prioritising our people over profits – that sits at the heart of our global approach to sustainability. By contributing to this project, we are investing in the future of marine biodiversity and helping to ensure that these underwater ecosystems remain resilient for generations to come.” For Holland, having the support of his company for a cause that he is so passionate about is a source of great pride. “I’ve been working in this wonderful team for the past 13 years and taking our responsibility to the environment seriously has always been integral to our service delivery,” he told TPiMEA. “We’re a people business, so supporting sustainable initiatives and good causes is very much part of our DNA. Ian and I share strong values on protecting our oceans, and I knew that the business would be on board.” Now the reef has had time to settle on site, planting dives have already taken place, and the reef is beginning to grow. “This is when the magic starts to happen,” Holland beamed. “I can’t wait to spend more time down there and see how it develops. It is such a positive initiative, and we are so proud to be a part of it.” Photos: Showforce www.showforce.com www.freestyledivers.me

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Kent Gray takes over KSA Sarah Kent and Tom Gray, founders of creative agency Kent Gray, recall the trials and tribulations of bringing a Squid Game-inspired takeover to Saudi Arabia and share their top tips for operating in the Kingdom.

“The brief sounded so simple in the initial meetings,” began Sarah Kent, co-founder of boutique creative agency, Kent Gray, recalling a series of Squid Game ‘takeovers’ throughout Saudi Arabia, to promote the second series of the wildly popular Netflix programme. Under the creative direction of Dubai-based agency Science & Sunshine, the stunt was part of a global campaign of similar takeovers in other cities, and featured 20 of the show’s distinctive Pink Guards at seven highprofile locations throughout the Kingdom. “From their dramatic arrival at Jeddah airport, to their extensive tour across Saudi Arabia, every move was documented by multiple photography and video crews,” Kent recalled. Unsurprisingly, a project of this nature came with its fair share of challenges. “Any stunt, activation or film shoot in a public place, no matter where in the world, brings with it a whole heap of red tape and permissions. Filming, road closures, police and location NOCs all need to be researched, negotiated and signed off,” Tom Gray, fellow co-founder, explained. “Add Saudi Arabia as your location and the task gets a whole lot more interesting. Then, have the audacity to sprinkle in some historic and UNESCO World Heritage sites to your wish list and suddenly the process takes four times as long and negotiations continue right up to mobilisation on-site – and sometimes beyond.” With decision-making often proving a hurdle, Gray advised what he described as a “pincer approach” on all permits and permissions. “It’s crucial to invest time, and build relationships with everyone you can, even if they seem too junior. They often help get your proposal in front of the real power players – people you would never have access to otherwise,” he commented. “Saudi is a market that values personal connections – people want to talk to people. It can be incredibly frustrating when you’re looking for the elusive ‘access all areas’ signature, but patience wins. Therefore, it’s important to give yourself as much time as possible to navigate the approvals process.” While a general shooting permit should suffice for filming in public spaces, the Squid Game takeover project threw up a surprise for the Kent Gray team. “What we didn’t know was that the process had changed the very week we Middle East

applied for our permit from GCAM, so what usually takes three days stretched to almost two weeks as everyone – including the ministry – fought their way through the new process,” he recalled. “We learned that you must be incredibly specific with your details on this application form – particularly what channels your content will be shown on, and if the primary channels will be social media expect a barrage of clarification questions.” Once on-site, Kent recommends having a Saudi national who is “fully clued up with all permits” and who has “a personality to smooth situations rather than fan any flames”. She added: “In one instance, we were shooting at a wellknown ticketed location, with senior management of that location with us, and we still had someone approach to ask if we had permission to film 20 guards dressed in pink jumpsuits wearing masks… It would have been a very brave film crew to have shot that on the fly!” Even with all the necessary permits in place, there’s no guarantees that everything will run smoothly. “We were putting out fires on a daily basis,” Gray laughed. “From monkeys stealing crew lunches, to temporary structures built the night before and positioned exactly in front of our hero frame, to ad hoc presidential lunches with helicopter arrivals of foreign dignitaries – Saudi threw us a curveball at every turn.” These surprises can be expected in every location. “Ensure your crews are flexible and willing to problem-solve on the spot,” he noted. “A prima donna DOP, for example, would have walked off set on day one.” Despite the live days being some of the most stressful in the life of the agency, the duo are delighted with the results the team achieved. “We delivered unbelievably unique content, that truly captured the very essence of the Kingdom; a campaign segment that truly stood out among the other global locations,” Kent stated. “If you have a bold stunt idea but aren’t sure how to make it happen – especially one with the joys of complex permits – we’d love to hear from you and help turn your vision into reality.” Photos: Kent Gray www.kentgray.ae sayhello@kentgray.ae

Tom Gray and Sarah Kent take their place among the Pink Guards during the KSA Squid Game takeover. 85

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Driving change in SA’s live events industry Leading the charge for training and inclusion through its pioneering Learnership Programme at the Gearhouse Kentse Mpahlwa Academy, Gearhouse Group is providing hope for South Africa’s next generation of live events professionals. Robyn D’Alessandro reports from Johannesburg.

South Africa remains one of the most unequal societies in the world, with stark disparities in employment and economic opportunity. According to Statistics South Africa’s Quarterly Labour Force Survey, more than a third of the population struggles with unemployment and poverty, while the top 12% earn nearly half of the national income. In this challenging environment, the live events industry faces unique pressures, including the need for skilled professionals who can meet international technical and safety standards. The live events industry has traditionally been a handson learning environment, where experience often outweighs formal qualifications. This is particularly true in South Africa, where the sector, still relatively young compared to global markets, faces challenges in bridging the gap between theoretical training and real-world demands. The rapid expansion of world-class stadiums, convention centres, and arenas in a post-apartheid industry boom has only amplified the need for skilled professionals who can meet international technical and safety standards. Leading technical supplier Gearhouse Group has adopted a proactive role in addressing this skills gap through its pioneering Learnership Programme. Committed to industry growth, inclusivity, and technical excellence, Gearhouse Group plays a crucial role in ensuring that South Africa’s live events offering – ranging from music concerts and sports matches to corporate meetings and international congresses – meet and exceed global standards. Recognising the urgent need for industry-aligned training, Gearhouse first partnered with CreateSA, a division of the former MAPPP SETA (Sector Education Training Authority), to develop a structured qualification in Technical Production Services. By 2002, Gearhouse’s team had played a key role in drafting the country’s first SAQAAfrica

accredited Learnership at NQF Level 4. This curriculum, covering audiovisual, lighting, structures, rigging, and power distribution, was specifically designed to meet the sector’s evolving needs. The Gearhouse Learnership launched in Johannesburg in 2004 with 12 learners and later expanded to Durban and Cape Town in 2007. Despite challenges such as the dissolution of training authority MAPPP SETA, Gearhouse remained steadfast in its commitment, continuing the programme as a self-funded initiative. In 2013, the Academy was renamed in honour of Kentse Mpahlwa, a pioneering black technician whose career – from grassroots technician to company director – exemplifies the Academy’s vision of upward mobility through education and mentorship. Kentse Mpahlwa spearheaded the original Academy initiative until his untimely passing. In 2015, the Learnership achieved CATHSSETA accreditation, further cementing its role in shaping the future of South Africa’s live events industry. Today, the programme has produced around 575 new technicians and engineers and continues to raise technical standards while ensuring that graduates are not only proficient but also safety-conscious professionals. A practical approach to training The Gearhouse Kentse Mpahlwa Academy (GKMA) bridges the gap between theoretical training and industry demands. Through structured experiential learning, students gain hands-on experience working with world-class productions. The curriculum covers key disciplines such as lighting, audio, audiovisual, rigging, power, and set building, embedding Occupational Health and Safety standards into every module. Additional certifications in firefighting, first

Launched in 2004, the Gearhouse Kentse Mpahlwa Academy aims to give South Africans the chance to learn the skills to start a career in the live events industry. 87

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aid, and working at height further enhance employability. Training is conducted at Gearhouse’s facilities in Cape Town, Johannesburg, and Durban, where learners engage in realworld projects from setup to execution and deconstruction. This workplace-based model ensures graduates acquire technical expertise while developing problem-solving abilities, teamwork, and leadership skills –essential attributes for success in the field. Gearhouse’s programme is career-focussed, ensuring that training translates directly into job opportunities. Learners also have the option to specialise in their second year, refining their expertise in specific technical fields. The programme actively promotes diversity by targeting school leavers from disadvantaged backgrounds and encouraging female participation in what has traditionally been a male-dominated industry. Diversity is central to the Academy’s mission. Currently, 96% of learners are black, 21% are female, and 5% have disabilities. Many graduates come from underprivileged communities and have risen through the ranks to lead teams and mentor the next generation of technicians. In Cape Town, for example, 95% of Gearhouse’s event staff are Academy graduates – many now heading departments and shaping the industry’s future. For many students, the Gearhouse Learnership is a life-changing opportunity. “I started as a casual stagehand, but Gearhouse gave me the tools to grow,” stated Sulaiman Wickstrom, now Branch Manager at Gearhouse Cape Town. “If you have a dream, this company makes it achievable.” Senior AV technician, Samsodien Andrews shares a similar sentiment. “It’s hard work – long hours and late nights – but your persistence defines your success. Gearhouse gave me the foundation, and now I have the chance to give back by training others.” Current learners echo the programme’s impact. “This learnership has opened doors I never imagined,” commented Declen Sumner, who aspires to a professional lighting career. For Amandla Zinhle Nkosi meanwhile, the experience is exhilarating. “It’s like a rollercoaster – challenging but thrilling. I wake up sore but smiling because I’ve conquered new fears and gained new skills.” Khazimula Sokhela summed up the programme’s value: “It’s more than technical training – it’s exposure, networking, and a stepping stone to a career. With hard work and discipline, I’ll make my goals come alive.” The impact of the Gearhouse Kentse Mpahlwa Academy extends far beyond technical training. By fostering inclusivity, professional excellence, and a culture of continuous development, Gearhouse is actively reshaping the live events industry. Each graduate represents a step towards a more skilled and diverse workforce, ensuring the long-term sustainability of the sector. With every new intake, the Academy solidifies its reputation as a launchpad for dynamic careers, producing versatile professionals ready to meet the evolving demands of the industry. Whether they continue within Gearhouse or branch out independently, these graduates carry forward a legacy of innovation, dedication, and technical expertise. As the live events sector continues to grow, the demand for structured, industry-aligned training has never been greater. Gearhouse Group’s unwavering commitment to education, safety, and industry advancement positions it as a transformative force, not just in South Africa but on the global stage. The success of the Learnership Programme stands as a testament to the power of investing in people – a principle that remains at the heart of Gearhouse’s mission to turn learning into leadership. Photos: Gearhouse Group www.gearhouse.co.za Africa

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Claypaky Arolla Aqua Egor Popovski, Claypaky’s Regional Sales Manager for the Middle East, explores the firm’s latest series of water-resistant LED moving lights…

What are the main features of the Arolla Aqua series? The Claypaky Arolla Aqua family is a series of high-performance, water-resistant LED moving lights engineered specifically for both indoor and outdoor applications, with an IP66 protection rating. Designed to meet the increasing demand for rugged, weatherproof fixtures, the Arolla Aqua range ensures exceptional performance in even the most challenging environments, all without compromising on light quality. What products are in the range? The Arolla Aqua LT is designed for longthrow applications with pinpoint accuracy. Its centre-weighted beam ensures consistent illumination, while proprietary optics deliver exceptionally sharp beams and crisp projections, providing precision, smooth transitions, and remarkable versatility within an extensive 4° to 52° zoom range. Arolla Aqua Wash HC is designed for perfect whites and excellent colour accuracy. Its 960W custom white LED engine at 6,500K delivers a CRI of up to 95, ensuring true-to-life rendering. TrueCurve technology is an RGB LED system that precisely calibrates whites by controlling green and magenta shifts, ensuring sharp, consistent results for broadcast, film, and live productions. Arolla Aqua spotlight is a true workhorse, fitting a white 900W (7,000K) LED light source, capable of a 40,000-lumen output. The high quality of the beam, its density, and the total absence of spurious lights can be appreciated with the naked eye, and its zoom can be adjusted over a linear 5.5° to 50° range (9:1). Why is the series well-suited for use in the Middle East? The Middle East is known for its extreme weather, with soaring temperatures, dust storms, and heavy rainfall in certain regions, making it a challenging environment for lighting systems. However, the Arolla Aqua fixtures are specifically designed to thrive in such conditions, offering reliable performance in both the rental market and fixed installations across the region. Claypaky has always been a prominent player in the Middle East lighting industry, continuously strengthening its presence with Claypaky Middle East and a fully equipped Middle East

Service Centre dedicated to providing customer support. Claypaky Middle East has been operating in Dubai for over 15 years, establishing itself as a key player in the region’s growing lighting industry and offering a comprehensive showroom where customers can experience Claypaky’s innovative lighting systems firsthand. Arolla Aqua spotlights have become a popular choice for many rental companies

across the region, including the likes of RST in Saudi Arabia, Qatar Vision, and mediaPro International. They have already been deployed on a wide range events, from concerts with Mohamad Abdo, Ahlam, and Al Shami, to The Illusionists Direct from Broadway in Jeddah and celebrations for one of Saudi Arabia’s most famous football clubs, Al-Ittihad. Photo: Claypaky www.claypaky.it

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REGIONAL ROUND-UP

Arena Group acquires Maestra Founder and CEO of Maestra, Tom Clements continues to lead the company, which will relocate to a new 110,000 sq ft production facility in National Investment Parks, Dubai.

Maestra has been acquired by global temporary infrastructure solutions provider, Arena Group. An established premium fabrication partner known for delivering world-class scenic builds for luxury brand experiences and large-scale live events, Maestra brings its vast expertise to the Arena Group. Tom Clements, Founder and CEO of Maestra, will continue to lead the company, ensuring continuity for the company’s clients and staff while benefiting from Arena Group’s global infrastructure and resources. “This acquisition Middle East

marks an exciting new chapter for Maestra,” Clements commented. “With Arena’s global infrastructure capabilities, we can now offer our clients a broader range of integrated solutions while maintaining the exceptional client service for which we are known.” Established in 2014, in recent years, Maestra has experienced rapid growth, working on major projects including COP28, the Precision Pioneer Exhibition by Jaeger-LeCoultre, and Diriyah Bashayer 2024. The company has also significantly expanded its fabrication capabilities in both the UAE and KSA, alongside its successful

joint venture with modular temporary structure provider Showblock in the Middle East. With Arena Group’s acquisition of Showblock in the UK earlier in 2024 and considering the strong growth potential in both the UAE and KSA, the opportunities between the two businesses became clear. “Both Maestra and Arena already have a significant presence in the UAE and KSA, serving a broad base of clients,” Clements stated. “This acquisition allows both Maestra and Arena to offer those clients an even more diverse service offering.” Maestra will continue to manage Arena’s Showblock operations in the region, and the company will also be relocating to a new 110,000 sq ft production facility in National Industries Park, Dubai. The new facility, strategically located for projects in both Dubai and Abu Dhabi, will increase Maestra’s production capacity, featuring a large outdoor area for mock-ups and an efficient production line for scenic builds and Showblock services. In recent years, Maestra’s vision has been to position itself as a leading build contractor for event and creative agencies. “Our primary goal has always been to simplify the client journey, making it as seamless as possible,” Clements explained. “Joining Arena Group provides Maestra with the support and resources needed to scale up significantly. This includes access to a larger workspace, increased workshop capacity, valuable regional expertise, and a global inventory of temporary event infrastructure. With these new capabilities, we will be able to offer integrated solutions for large-scale projects that combine temporary structures, premium fitout, and world-class technical project management.” For Arena meanwhile, the acquisition reinforces the Group’s commitment to expanding its event services across the Middle East and beyond, providing end-to-end solutions that encompass modular structures, scenic builds, and temporary infrastructure. “This acquisition is a strategic move that strengthens Arena Group’s position as a leading provider of comprehensive event solutions,” stated Paul Berger, Arena Group CEO. “Maestra’s expertise perfectly complements our existing capabilities, allowing us to offer clients an even more integrated service than ever before. We’re excited to welcome the Maestra team to the Arena Group family and look forward to collaborating to deliver exceptional experiences for our clients across the Middle East and beyond.” Photos: Maestra www.maestra-me.com www.arenagroup.com

REGIONAL ROUND-UP

MGG invests in Africa’s first iFORTE and SVB1 fixtures The purchase is part of a major investment in Robe moving lights from the manufacturer’s Southern Africa distributor, DWR Distribution.

Johannesburg-based rental and production company MGG has made a significant investment in new Robe moving lights, taking delivery of the 76 new fixtures, including the first iFORTE and iFORTE LTXs and the first SVB1 luminaires on the continent of Africa. The total order comprised 24 iFORTEs, 48 SVB1s, and four iFORTE LTXs, which are for use with the four RoboSpot BaseStations the company already owns. Celebrating 25 years in business this year, MGG started as a small company when owner and Managing Director Mark Gaylard was still at school and running mobile discos. It has grown steadily and now become a highly successful and visible technical supplier in South Africa. MGG purchased its first Robe products in 2008 – eight ColorMix 250 ATs. “Robust build quality and longevity of the products is a major reason for our continual investment in Robe,” said Gaylard, pointing out that the company’s original ColorSpot and ColorBeam 700s are still working well and are in general use for those more budget-conscious projects. “They are still excellent moving lights for many applications.” A selection of different BMFLs joined the inventory around 10 years ago, shortly after the product was launched, and while these are also still going strong, it was also the time to invest in the latest LED tech. “Robe offers such great value, and we know the kit will last for many years – something that is essential for the SA market, which has a slower attrition rate for fixtures than some others,” he stated. MGG Project Manager Günther Müller explained how the company has always been interested in Robe’s TRANSFERABLE ENGINE – a route the company first bought into with 34 ESPRITES purchased in 2020. “The ESPRITES have worked extensively and brilliantly to become our new workhorses,” he said, noting they had done almost the same hours as the BMFLs in half the time. “The innovation of the iSeries was a big thing for us,” noted Müller, explaining why it was the right time to add the more powerful iFORTE series to the company’s stock. “Robe has refined its IP technology nicely, ensuring that the fixtures are lightweight and virtually identical in size and weight to the non-IP versions, so it’s easy to mix the two types for indoor shows.” Gaylard initially spotted the SVB1s on the internet when searching for more LEDBeam 350s and 150s after PLASA 2024. Having ordered 24 of each sized LEDBeam to the existing stock, he and Africa

the team also decided to go for some SVB1s. Apart from all the technology, “it’s always exciting to be ‘the first’ with anything,” Gaylard confirmed. With the SVB1s residing at the Johannesburg HQ, MGG can also move some of its LEDBeam 350s and 150s to its Cape Town branch. MGG now has a wide selection of Robe moving lights built up over the years, and these are out working most of the time. The LEDWash 600s and 1200s are still hugely popular across all the sectors – from music concerts and television

productions to local and international high-end business events. Meanwhile, Gaylard’s all-time favourite Robe fixture remains the Tetra2. “There are so many cool and creative ways that the Tetra2’s sheet of light effects can be applied,” he commented, admitting that his preference may change with these new arrivals. Photos: Chris Duys www.mgg.co.za www.robe.cz www.dwrdistribution.co.za

30 YEARS

MAGIC LIVE

EXPERIENCES BY AO MULTIMEDIA & DRONES

From extraordinary FALCON® range to pioneering multimedia solutions to revolutionizing the skies with cutting-edge drone shows – AO Multimedia & Drones has been shaping the future of entertainment for three decades! We know how to craft immersive and memorable experiences for you and your audience. This April, we‘re celebrating 30 years of creativity, technology, and groundbreaking experiences – and we’re just getting started. Thank you to our clients, partners, and visionaries who made this journey possible. Here’s to the next chapter of innovation!

Let’s create something extraordinary together!

30 YEARS | IMAGINATION WITHOUT LIMITS

REGIONAL ROUND-UP

Norwood Productions puts faith in d&b The South African production company takes stock of d&b audiotechnik V-Series loudspeakers through distributor Stage Audio Works to cater for large-scale live events and international concert touring markets.

Norwood Productions recently bolstered its audio capabilities with the acquisition of a d&b audiotechnik V-Series PA from the manufacturer’s South Africa distributor, Stage Audio Works. Norwood Productions now owns both V-Series line array systems and V-Series point source loudspeakers, enabling the company to serve the growing number of live events alongside its existing client base within the corporate market. “The point sources are awesome because it gives us the ability to really scale down when we need to work on a small event,” commented Chris Norwood, Founder and Director of Norwood Productions. “With these boxes, you can have them running at 50% but the sound quality remains perfect – this is a key benefit for our business and is unique to d&b products.” Equipped with a full V-Series portfolio, the team can serve audiences from 80 people up to crowds of 6,000. While the company has historically been known for its work in the corporate sector, with a background as a FOH engineer and a love of the rock ’n’ roll scene, Norwood was motivated to bring his company into the live events space. Africa

“Once the pandemic was over and live events were starting up again, this was our motivation to go full tilt into an industry that I’ve always been passionate about,” he recalled. When considering the options for a premium PA system, Norwood Productions shopped around, but ultimately d&b audiotechnik was the preferred choice. “We’re committed to delivering a perfect audio experience for every client, and in my opinion as a FOH engineer, d&b audiotechnik is the best PA system on the market,” Norwood stated. “With the expertise and support of the Stage Audio Works team, we made this major investment, and it has been instrumental in our expansion into the live events world.” From outdoor festivals to stadiums, Norwood Productions has already deployed its upgraded d&b audio arsenal on various high-profile events, including the King of Whip Motocross Contest last year. “For King of Whip, we were delivering audio to grandstands with around 6,000 fans,” Norwood recalled. “With d&b audiotechnik’s ArrayCalc, we have the tools to ensure perfect coverage – even for these sometimeschallenging environments. The feedback from

attendees was fantastic.” Looking to the future, Norwood foresees greater growth in the live events scene and hopes to provide solutions to larger bands and artists touring in South Africa, with the prospect of collaboration with other local production companies who also offer d&b audiotechnik gear meaning that the system could be scaled up to meet the requirements of even the largest events and most demanding international artists. “We’re excited to show clients just how far we’re willing to go to ensure quality sound for every event,” added Norwood. “Paired with the ongoing support and excellent service of the Stage Audio Works team, there’s not much more I can ask for. I also recognise that this journey would not have been possible without the hard work of our talented team here at Norwood Productions – Gordon Henning, Bongani Gift Jiana and Kyle Thomson. I’m thankful to them for their dedication in building the businesses towards our shared vision.” Photos: Norwood Productions www.norwoodproductions.co.za www.dbaudio.com www.stageaudioworks.com

Where art meets technology

We design and deliver immersive experiences through multimedia technology - special effects, lasers, video production, and fountains - for event rental & permanent installations. Hello@lasersaga.com

+971-4-8322344

DXB/RYH/BCN

ADVERTISING INDEX

TPiMEA Ad Index April/May 2025

3DB.........................................................................................................................................47

3Monkeys.............................................................................................................................. 4 7Hertz.................................................................................................................................. 65

Adamson Systems Engineering..............................................................................IFC

Aggreko Middle East......................................................................................................49

Al Laith Group................................................................................................................... 35

AO Multimedia and Drones......................................................................................... 95

Ayrton..................................................................................................................................... 5

BeWunder............................................................................................................................61 Creative Technology..................................................................................................... 67 Elation Professional........................................................................................................51 ETC.........................................................................................................................................17

FLOW.....................................................................................................................................91 GES.........................................................................................................................................55

Groupe F..............................................................................................................................81 GTL Sessions.................................................................................................................... 89

INFiLED.................................................................................................................................13

JAM People........................................................................................................................71 Laser Saga..........................................................................................................................97

Light Initiative................................................................................................................... 33 Matrix Laser...................................................................................................................... 39

MEI..........................................................................................................................................59

NovaStar..............................................................................................................................23

PixMob................................................................................................................................. 53

ProVision AVL .................................................................................................................. 98 Riedel Communications............................................................................................... 63 Robe .............................................................................................................................. 40-41

ROE Visual...........................................................................................................................15 ROXX....................................................................................................................................... 9 SET Awards.......................................................................................................................... 6 Saudi Light + Sound Expo............................................................................................75

Showtex...............................................................................................................................23 SKYMAGIC........................................................................................................................IBC SLS Production................................................................................................................... 3 Special Projects..............................................................................................................BC

Star Live...............................................................................................................................93

Starway............................................................................................................................... 83 TAIT........................................................................................................................................27

TPiMEA Awards.........................................................................................................18-19

Unusual Rigging................................................................................................................37 WICREATIONS...................................................................................................................37

YesTech................................................................................................................................25

Aggreko Al Fares Intl. Tents AI Laith All Event Services

ESM Operations Evolution Events Flow Power Solutions Full Cycle

Gulf Crewing Key Design MDLBEAST MTD

Robert Bird Group Safe Events Tait Towers The Event Verse

With sincere thanks to our incredible team, partners, and suppliers. Your unwavering commitment made this past year one of our most successful yet We’re proud to work with you and excited for what’s ahead.

MAKING EVENT SPACES COME TO LIFE SINCE 2006