and One
Elrow XXL Dubai Behind the scenes of the Dubai nightlife hotspot set for Middle East expansion
Disney Abu Dhabi
Welcome to TPiMEA
Peter Iantorno Editorial Director
Usually whenever I get wind of a new festival or event coming out of the Middle East or Africa, my first reaction is excitement, before I jump into planning mode to make sure I’m there to see it in person. However, when I heard that MDLBEAST was putting on a brand-new festival, A Thousand and One, my initial reaction was very different. Taking place over two nights at the end of May, the inaugural A Thousand and One just so happened to clash with our very own TPiMEA Awards in Dubai.
Now, we know it’s impossible to find a night for the TPiMEA Awards when nothing else is going on in the region, but it’s fair to say that a night when several of the nominees – as well as the winner of our coveted Industry Recognition Award (MDLBEAST’s Executive Director of Events, Michael ‘Curly’ Jobson) – were busy delivering a show, was less than ideal…
However, as they say in the industry, ‘the show must go on’ and both shows did indeed go on simultaneously, with the TPiMEA Awards delivering all its usual fun and fanfare, and the inaugural A Thousand and One proving to be a roaring success for MDLBEAST and its loyal partners.
As well as being the most ambitious creative concept that the company has ever produced, paving the way for potential regional expansion in the future, A Thousand and One was also the perfect example of how MDLBEAST’s expansive site at Banban can be utilised for a lot more than just its annual flagship festival, Soundstorm. Read the full production profile on page 28
Also in this issue, we go in-depth with HQ Worldwide Shows on the top-secret project to launch the new Disney Abu Dhabi theme park and resort (page 40); we hear from the 555 Live Experience team on their delivery at the King’s Cup Final in Jeddah (page 56); 3DB’s Eddie Mulrainey looks back on a rollercoaster ride of a career so far that has seen him go from audio engineer to prominent business leader in this issue’s First Look (page 10); Pop Up Global Managing Director Amy Morris explains the importance of saying ‘no’ (page 68); and much, much more.
Enjoy the issue.
First Look
10 Eddie Mulrainey
The 3DB co-founder reflects on the wild ride that has seen him go from promising audio engineer to prominent business leader.
Event Focus
18 Jeddah Season: City Walk
SLS Production deploys a multifaceted technical solution throughout the popular tourist destination.
22 Amman Film Festival
RB Event Technology provides extensive AVL support for the sixth edition of Jordan’s popular celebration of Arab cinema.
24 Red Bull Symphonic
A Plus Audio system reinforces Johannesburg’s Montecasino Teatro.
26 International Jazz Day Global Allstar Concert
PRG provides an Ayrton-based lighting rig for the jazz showcase at Abu Dhabi’s Etihad Arena.
Production Profile
28 A Thousand and One
MDLBEAST's multipurpose festival site is transformed into a fantasy land based on Middle Eastern fairytales.
40 Disney Abu Dhabi launch
The top-secret project to launch Disney's new theme park and resort in the region.
56 King's Cup Final 2025
A spectacular showcase of creativity and technical excellence plays out at Jeddah's KASC.
Interview
66 The making of Elrow XXL
Festival Director Shiraz 'Baz' Baziko shares some insights from Dubai's most colourful party.
Feedback
68 Amy Morris, Pop Up Global
The Pop Up Global Managing Director on the importance of saying 'no'.
In Profile
70 Colour Sound Experiment
The independent rental house is all-in on KSA.
71 Previs Production
A new company aiming to provide 'data-driven precision', to take the guesswork out of events.
72 Sets Drapes Screens
Delivering set-building excellence across Africa.
74 Gear Heads
Panasonic's PT-REQ15 projector and the new Disguise X1 design software go under the microscope.
76 Regional Round-up
The latest news from the region, including a new facility for Rock-it Cargo Middle East, the opening of Gallowglass KSA, and 3DB's Industry Golf Day.
Editorial Director
Peter Iantorno
Tel: +44 (0)161 476 8360
Mobile: +44 (0)7763 233637
e-mail: p.iantorno@mondiale.co.uk
Managing Editor
Stew Hume
Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk
Contributing Editor
Jacob Waite
Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk
Contributing Assistant Editor
Alicia Pollitt
Mobile: +44 (0)7508 441986
e-mail: a.pollitt@mondiale.co.uk
Commercial Director
Fran Begaj Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk
Senior Account Manager
Matilda Matthews Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk
Account Manager
Tom Dyson
Mobile: +44 (0)7306 505230 e-mail: t.dyson@mondiale.co.uk
Digital Content Manager
James Robertson
Mobile: +44 (0)7725 475819
e-mail: j.robertson@mondiale.co.uk
Marketing and Event Manager
Alice Clarke Mobile: +44 (0)7752 392465
e-mail: a.clarke@mondiale.co.uk
Marketing and Event Assistant
Charlie Moore
e-mail: c.moore@mondiale.co.uk
Chief Executive
Justin Gawne
Mobile: +44 (0)7768 850767
e-mail: j.gawne@mondiale.co.uk
Mondiale Group Chairman
Damian Walsh
Graphic Design & Production
Dan Seaton: d.seaton@mondiale.co.uk
Jez Reid: j.reid@mondiale.co.uk
Accounts
Lynette Levi / Sarah Miller: ar@mondiale.co.uk
Cover Photography
A Thousand and One by MDLBEAST
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Eddie Mulrainey, Managing Director, 3DB Events
A permanent presence on Dubai’s live events landscape, the 3DB co-founder reflects on the wild ride that has seen him go from promising audio engineer to prominent business leader.
There are many reasons why a person might get into live audio – from being a music buff wanting to rub shoulders with the stars up on stage to being a technical mastermind in pursuit of sonic perfection. However, for Eddie Mulrainey, his journey into the industry was all about discovering how live music can affect people in a positive way. “As soon as I got my first taste of working in live music and saw the incredible effect it can have on people, I was desperate to be a part of that world,” he told TPiMEA, recalling his early life and entry into the industry.
Living in Dubai from the age of 12 when his father moved the family to the UAE to pursue his diving business, Mulrainey was never going to go down the academic route and even spent a short period working on a barge in Bahrain before quickly realising that was not a life for him.
“I think I lasted around six weeks before I was begging to come back,” he laughed.
A se lf-confessed “music-daft teenager”, Mulrainey soon found his way into the live sound industry, working for DJ and friend Pete Martin, setting up sound systems in bars and clubs throughout Dubai. “That was my first foray into music and seeing how people reacted to it taught me how it can affect people in a positive way,” he recalled. “From that point, I wanted to run away and join the circus.”
Now 25 years on from the formation of 3DB, Mulrainey sat down with TPiMEA to look back on his journey from celebrated audio engineer to respected company owner and a true stalwart of the Middle East’s live events industry.
How did you get your start in the industry?
The work with Pete Martin got my foot in the door, then around 1993 another friend – Mike Snape, who would later go on to be my business partner – got a job in the warehouse at DLC, which had just opened in Dubai. DLC was working with Britannia Row Productions as their audio company with Mick Staplehurst running the operation, and I went to work in their warehouse with Mick. On my first day
in warehouse, Mick set up a biggest mixing desk I’d seen in my life, put on a Tears for Fears CD and left me to play with the console for as long as I wanted. Once I’d finished messing around, he asked if I’d had enough before telling me that would be the last time I’d touch a desk for the next few months.
Mick taught me all the basics, from wiring a 13-amp plug to mains connectors and soldering XLRs. All I wanted to do as a kid was get my hands on the desk and he knew that I had to get it out of my system before he could give me that solid grounding. Mick was my mentor – an absolute legend.
What led to you going out on tour?
Brit Row pulled out of Dubai after around a year, and since Mick had spent such a lot of time on bringing me up to speed, they invited me to work in their warehouse in London. I was only 16 at the time, so they had to get my parents’ permission, and my Dad agreed to it on the condition that I could stay at someone’s house. So, Brit Row paid for my first flight back to the UK and I ended up living with [Brit Row co-founder] Bryan Grant!
I started working in the warehouse in London and I think I managed to annoy everyone enough being a bit cocky that it didn’t take long for them to want to get rid of me and send me out on tour. I went out on a few gigs for Cliff Richard with JJ [Monitor Engineer, John James] and Colin Norfield [FOH Engineer], and did a lot of the big one-offs like VE-Day. At the time Brit Row was working with Pink Floyd, Dire Straits, Depeche Mode, The Cure – every band you could mention. I’ll be forever grateful to Mike Lowe and Bryan Grant for giving me the opportunity.
How did your relationship with Wigwam start?
After five years or so, I met Ray Furze [FOH Engineer for James], who I believe is among the very best engineers on the planet. Ray and I hit it off really well and he said he wanted to introduce me to Wigwam. I was reluctant at first
because of everything that Brit Row had done for me, but Ray explained that Bryan Grant and [Wigwam founder] Chris Hill were good mates, and it wouldn’t be a problem.
Fast-forward a year and Ray was doing FOH for M People when the Monitor Engineer position became available, so he put me up for the job and I took to it like a duck to water.
I then ended up working on a lot of other tours supplied by Wigwam, including The Charlatans, Spice Girls, Mel C, and The Beautiful South.
What led you to move back to Dubai?
I was on tour with The Charlatans, and I’d come back to Dubai every Christmas to see my parents. On one of those trips back I ended up meeting a girl – who would later become my wife – and the more I got to know her, the more I wanted to be with her in Dubai.
Th e only problem was career-wise, I’d freelanced for a few companies in Dubai before, but I needed more to stay here. Mike Snape and I had this idea of starting up on our own, so, I got in touch with Chris Hill and asked him if he’d be willing to help me get some d&b kit for our new venture. Thankfully he was happy to help, so we got the kit and sent it to Dubai, and that was the start of 3DB.
What were the early days of the company like?
We launched 3DB in 2001, and at the time we didn’t have many aspirations for it apart from being able to take a basic
income to pay our rent and living expenses. We never imagined that it would turn into anything like what it is today.
I was still touring, and Mike was still freelancing for a while, but we’d always invest money back into the company as we earned it. As business started to pick up and we got more rock ’n’ roll gigs, we needed a large-format console, so we took the plunge and bought a couple of 48-channel Midas desks and a Soundcraft console with some outboard gear. We also had some clients asking us to do lighting as well as audio, so we invested in a Robe rig to facilitate that.
We also needed more d&b and once again Chris Hill was a massive help, allowing us to use the stock he had sitting in the Wigwam warehouse and pay a percentage of profits on the kit. The initial agreement was for us to take the kit for six months, but demand reached such a level here in Dubai that it never ended up going back.
We supplied a lot of Wigwam’s acts and clients in this part of the world, almost acting as an extension of Wigwam in the UK, which really helped our growth and also helped Wigwam maintain their clients globally.
Was there a turning point when the potential of the Dubai market became clear?
In the early 2000s we couldn’t have imagined the extent to which Dubai would develop. We wanted to do the biggest rock ’n’ roll shows and long term we had our sights set on other locations where those shows were happening
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more often. We spent a year from 2007 to 2008 building an Australia branch, which ultimately proved to be unsuccessful, and it was around that time that we decided to focus on Dubai and the Middle East market.
At that point we set up our staging scenic department in Dubai, which gave us a full 360° offering. Jason Booth came in to Dubai to run the department, and although he left for a few years at one point, he’s now back with us. Our scenic department was an important addition because it meant we could control the quality at every stage from start to finish, which gave corporate clients peace of mind.
By the time we’d decided to get serious in Dubai, there were plenty of much bigger companies already investing heavily in the region, and while that brought a lot of competition, it also raised the overall level of the industry – and we wanted to be a part of that increase in quality. It wasn’t a natural thing for Mike and I because we were just a couple of engineers who started a company, but by 2008 we were ready to push and it’s been a story of steady growth from there.
What have been some of your landmark moments?
There have been plenty of landmark moments, but the past couple of years have brought some projects that I am particularly proud of. One that immediately springs to mind is Coldplay in Abu Dhabi – that was a massive show not just for us delivering the audio but for the whole landscape of the Middle East, showing what is possible in the region. Of course, we’ve had big, impressive shows in the UAE before, but to get a stadium looking and sounding like the Coldplay team did consistently over four nights is something that has never been seen in this part of the world before. I’m so proud of being part of the team that delivered those shows.
I’m also extremely proud of the development we’ve been a part of in Saudi Arabia. We played a part in the country’s first nightclub with MDLBEAST. I remember standing alongside the likes of Michael Jobson, Quentin Greyling and Johnny Gaskill on opening night and the hairs on the back of my neck standing up seeing people’s reaction to something they’d never experienced before. It’s moments like that when it feels like we’re making a difference and
doing really important work. And that goes back to what got me into the industry in the first place – being able to experience those feelings and help others experience them.
Balad Beast was another amazing show. By rights it shouldn’t be possible to put on a festival in a place like that among the fragile buildings, but we were part of the team that did it and it was done well and responsibly, without putting the buildings at risk.
Learning every year on these projects and continuing to offer improvement is something I’m extremely proud of. MDLBEAST and Saudi Arabia in general are constantly breaking records and pushing boundaries, and that is helping our industry to take huge strides.
On a more personal level, one of my favourite moments was mixing FOH for Portishead at Glastonbury. That was absolutely amazing; to see a massive crowd of people all experiencing the same moment was beautiful. If I would have had an off night behind the desk it could have ruined the experience, so the pressure was on, but when it connects and you’re able to help give people that amazing experience, there’s no better feeling.
Have you seen a change in how international tours come through the region?
This region has all the ingredients to become a proper touring area and we’re starting to see it happen more and more. In previous years we were lucky to get a one-off from a band on their way to Australia or South Africa, but now with Abu Dhabi, Dubai, Jeddah, Riyadh, Qatar, Bahrain and Oman all online, there are many options.
Gu ns N’ Roses’ recent Middle East leg of their tour was a perfect example of how it can be done properly. They played in Bahrain and then went via road to Riyadh, then over to Abu Dhabi.
It ’s not just massive bands but also up-and-coming artists that are helping to boost the live music industry here. The likes of Live Nation are collaborating with venues and other promoters to facilitate this. It’s something that we’ve been crying out for, and the right people are now in the right places to make it happen.
India is also starting to become a major part of that touring ecosystem as we’ve seen with the likes of Ed Sheeran and Coldplay. We were very happy to send the d&b GSL system used on Coldplay’s Abu Dhabi run to India for the band’s shows there. I went over for the Ahmedabad show with 145,000 people in the stadium, and it was an incredible experience.
Tell us about your recent lighting and video investments… While we’ll always be an audio company at our heart, we’ve now evolved into much more than that and pride ourselves on being able to offer a full 360° service. In light of this we recently decided to uplift our lighting inventory, and after taking recommendations and speaking to the team at NMK Electronics, we decided that CHAUVET Professional would tick all the boxes for us. We’re very rider-driven with our investments and CHAUVET is always heavily favoured nowadays – and I can’t see that changing any time soon.
All our fixtures are IP rated, which is so important with the conditions we face in this part of the world. We’ve even invested in developing our own range of IP-rated wash lights, which we designed to our own specifications. For video, we went for Absen, also through NMK.
Th e other thing we’ve invested in is pre-rig truss, and we’re now looking at making pre-rig LED carts as well with multiple panels already pre-connected, again saving time on the ins and outs. As venues get busier, load-in days are becoming less common, and this is a solution that allows us to do a lot more in the warehouse, saving time on site.
Some clients want a 360° supply and some don’t, and we’re happy to provide everything or work with the right partners on the right projects. We’ve already seen results from this approach with Saadiyat Nights, where we supplied the lighting and the video and Clair Global supplied audio.
Previous page: 3DB supplied audio for Coldplay’s shows in the UAE and India. Facing page: The company also supplied audio for Balad Beast; The 3DB Community Golf Day was a roaring success.
Top: Eddie Mulrainey with NMK Electronics’ Jesse Dullabh, following the company’s investment in CHAUVET Professional and Absen products. Above: 3DB sponsors Dubai-based athletes, John Mitchell and Jamie Day.
How much importance do you place on building the UAE’s live events community?
Dubai is my home and I’m passionate about building the community here. Every year we aim to bring in two apprentices and give them a chance to learn in a similar way to how I did when I was a kid. We’ve got a couple of young guys with us at the moment who are both out there learning their trade and enjoying themselves in the process.
We also sponsor two athletes who are both based in Dubai – John Mitchell, who is an Irish MMA fighter, and Jamie Day, a racing driver who is currently signed with Aston Martin racing GT4.
Th e industry here is growing and while we often see people out and about on many of the big projects, it’s rare that we get time to catch up properly away from the pressure of being on the clock. With that in mind, we had a brainstorming session, and our Sales Director, Jamie Watkins, came up with the idea of having a community
golf day, which proved to be a massive success and will certainly be returning. [read more about the 3DB Community Golf Day on page 80].
What are your hopes for the future?
The region has come a long way from those small gigs we were doing in the early 2000s, and I’d love to see it continue to evolve in terms of live touring. From 3DB’s point of view, we want to have a presence in every country in the region. We’ve already got the UAE, Saudi and Bahrain and the next steps could be Qatar, India, then Jordan and Egypt.
We’re investing constantly and we will continue to invest to deliver the same high standard wherever we operate. It’s vital that we maintain that level of professionalism that we have come to be known for, and we continue to invest in local talent.
Photos: 3DB, Anna Lee Media, MDLBEAST www.3db-dxb.com
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Jeddah Season 2025: City Walk
SLS Production deploys a multifaceted technical solution throughout the popular tourist destination.
Running from 30 April to 14 June 2025, Jeddah Season’s City Walk brought vibrant open-air entertainment to the city. With seven themed zones spanning 281,000 sq m and featuring over 140 food and retail spots, as well as more than 60 games, rides, immersive experiences, and live shows, the attraction provided entertainment for visitors of all ages while promoting the development of local talent in event organisation and management.
SLS Production provided extensive technical support across the site, supplying an array of audio, video, lighting, and rigging equipment to enhance the guest experience. “The City Walk project is one of our most significant milestones,” stated Technical Director Kevin Shyam, discussing the assignment. “This project demonstrates our ability to deliver an exceptional quality output to the client while having the utmost professionalism.”
Th e most striking aspect of the deployment came at the Wonder Wall zone, which saw the construction of a 77m by 25m LED wall made up of more than 1,700 sq m of Unilumin LED screen. Content was run through a Disguise VX 4+ media server with NovaStar H15 Enhanced video splicer and Analog Way Aquilon RS4 processor, with the system integrated seamlessly with timecode and QLab. “We completed the installation of the giant screen in just three shifts with a limited
crew. The cabling was completed in a single shift, and the programming was also completed in a single shift,” recalled SLS Production’s Head of Video on the project, Velmurugan Eakambaram, who worked closely with Video Crew Chief, Manigandan Eakambaram.
For the SLS Production lighting department, the brief was all about enhancing the impact of the overall environment, supporting each themed zone with an appropriate lighting design, and ensuring smooth integration with both the video and audio elements. “A key focus was also maintaining consistent performance throughout the extended event duration in an outdoor setting,” stated Head of Lighting for the project, Tony Thomas, who worked alongside Lighting Crew Chief, Manik Jaykumar.
Th e lighting package featured a range of moving heads, washes, beams, strobes, and pixel bars, including Ayrton Cobras, Robe iFortes, Martin ERA 800 Performances, GLP impression X4 Bar 20s, Aurora Flash Patterns, and Light Sky Shark Beams, with the entire setup controlled via MA Lighting grandMA3 consoles.
“The Cobra and iForte fixtures stood out for their intensity and precision, particularly during high-impact sequences,” Thomas reported. “The GLP Bars provided excellent flexibility for pixel effects and zone transitions, while the Light Sky Shark Beam delivered strong aerial presence
with reliable outdoor performance,” he added. “Overall, the system met all creative and technical goals, with the control infrastructure allowing efficient scene management and adaptability throughout the event.”
SLS Production’s Head of Audio, Arunkumar Narasimhamurthy, as well as Audio Crew Chief on the project, Jim Elliot Sekar, oversaw the deployment of Meyer Sound LYON and LEOPARD line array systems throughout the site, while Head of Rigging Tlou Samuel Mmethi was in control of a truss structure deployment, including 450m of Eurotruss HD44 as well as a hoist control system, including Chainmaster D8 Plus Hoists and Kinesys DigiHoist Controllers.
Shyam concluded: “A big shoutout to our Project Manager, Jubin Bos, for his outstanding coordination and attention to detail throughout the project. Alongside Site Manager Kirtiraj Dhulapkar and Reuben, they ensured the on-site execution was smooth, efficient, and up to the mark. We also want to acknowledge Account Manager, Christo Baju, for his consistent communication with the client and unwavering support throughout the process. Their combined dedication played a key role in delivering a successful outcome.”
Photos: SLS Production www.visitsaudi.com www.slspro.net
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For over 20 years, Disguise has powered the world’s most groundbreaking live shows, stage designs, and award ceremonies - from the VMAs to Eurovision and MDLBEAST Soundstorm. Discover how our technology lets you merge realities and create unforgettable visual experiences.
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Amman International Film Festival 2025
RB Event Technology provides extensive AVL support for the sixth edition of Jordan’s popular celebration of Arab cinema.
The sixth edition of the Amman International Film Festival – Awal Film (AIFF) took place in July, with a grand opening ceremony at Amman’s Hussein Cultural Center. Attended by the organisation’s President and cofounder, Princess Rym Ali, Jordan’s Prince Ali Bin Al Hussein, as well as a roomful of A-list professionals and a large public audience of film fans, the prestigious event marked the beginning of a nine-day programme dedicated to first-time achievements in filmmaking.
Based on the festival’s theme – ‘A World Unscripted’ – which was designed to support the authentic voices of Arab filmmakers, the opening ceremony featured a complete technical setup by Jordan-based RB Event Technology.
Engaged by the Royal Film Commission, the company’s scope included full AVL production, from sound system engineering drawings for the
500-seat theatre to synchronised lighting for a cultural dance show, and cutting-edge projection for the official film screening.
“We handled planning, pre-programming, and full on-site execution,” explained RB Event Technology’s Business Development Manager, Jeries Hawatmeh.
Included in the supply was an L-Acoustics Kara PA system along with Yamaha CL5 console for control; lighting fixtures from ADJ, Prolights, Showtec and Vello light, with MA Lighting grandMA3 Full Size desks for control; Panasonic PT-RZ34KU projectors, along with Absen PL3.9 Lite, XL Lite and Curve LED screens; and full truss and ground support structures from Eurotruss.
“C o-ordinating live lighting with a traditional dance show was complex,” Hawatmeh recalled, looking back on the most challenging aspects. “We overcame this with detailed programming,
rehearsals, and real-time collaboration between our lighting and sound teams.”
Reflecting on the delivery, Hawatmeh described how “bringing the client’s vision to life through synchronised lighting and immersive sound” was a highlight. “The precision and creativity in execution showcased our technical and artistic strengths,” he commented.
“We take pride in pushing industry standards. Our diverse and advanced AVL inventory allows us to meet any creative brief while staying ahead of market trends,” he concluded.
“We were honoured to contribute to one of Jordan’s most prestigious cultural events where storytelling meets technology, and cinema lights up the nation.”
Photos: RB Event Technology www.aiff.jo www.rb-jo.com
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Red Bull Symphonic
Plus Audio reinforces Johannesburg’s Montecasino Teatro for a celebration of contemporary Amapiano energy.
Across one weekend in June, Red Bull Symphonic took over The Montecasino Teatro, Johannesburg, with a powerful blend of orchestral compositions and contemporary Amapiano energy.
Powering this much-anticipated performance was a complete sound system from Stage Audio Works house brand, Plus Audio. “We’ve put Plus Audio through its paces before, but Red Bull Symphonic was the next level,” stated Nathan Ihlenfeldt, Technical Director at Stage Audio Works and FOH Engineer for the event. “Between the orchestral detail and the energy of Amapiano, the system needed to be exceptionally versatile. In short, it exceeded all expectations.”
Th e main PA consisted of FS212 loudspeakers, flown 12 per side, providing powerful coverage across The Teatro auditorium. A flown horizontal sub array of seven FS219B units took care of powerful yet controlled lowend frequencies. ET110L loudspeakers, used as front fills rounded out the system, providing clear response for those sitting close to the stage. Amplification was handled by a combination of AC8 and AC12 amplifiers, also from Plus Audio.
A total of 18 MMS1 microphones picked up the melodies of the orchestra with clarity, capturing intricate dynamics and allowing for a natural sound when blended with amplified elements. The result was a layered soundscape that easily filled the venue, but without compromising on the musical detail.
“There are a lot of great microphones in this category; however, most that provide the full suite of accessories needed for orchestral applications are simply unaffordable in quantity for a South African rental company,” Ihlenfeldt explained. “MMS1 is a powerful enabling tool, allowing better outcomes due to mechanical design at a price point that makes sense.”
Ba d Weather led as the production company on Red Bull Symphonic, with Blue Array Productions providing the audio control and microphone package along with logistics support, Music Junkies on backline and Stage Effects supplying rigging, lighting and video. Bringing together talent from across the regional events industry, Jonathan Bandli led the team as Creative Director and Production Manager, working in collaboration with SAW
Systems Engineer, Garrick Van der Tuin, Monitor Engineer, Marinus Visser, Monitor and Recording Tech, Joshua Deetleefs, FOH Assistant, Titus Augustinus, and Audio Crew Chief, Nathan Thiart.
With the system standing up to the requirements over three nights, Ihlenfeldt believed this was the perfect test case for Plus Audio’s high-performance capabilities at an accessible price point. “This wasn’t just a big gig; it was an opportunity for Plus Audio to really prove itself,” he concluded. “The system delivered power, clarity and musicality for a challenging live mix and validated what we’ve long believed – that Plus Audio is engineered not just for controlled demos or small shows, but for serious, top-tier productions. The Plus Audio portfolio is a strategic addition to our toolkit and meets the demands for a high-performance mid-level solution. This gives users greater flexibility and more options for delivering excellence across a diverse range of productions.”
Photos: Stage Audio Works www.plus.audio www.stageaudioworks.com www.badweather.co.za
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International Jazz Day Global Allstar Concert
PRG provides an Ayrton-based lighting rig for the jazz showcase at Abu Dhabi’s Etihad Arena.
Taking place annually on 30 April, the International Jazz Day Global Allstar Concert brings together some of the biggest names from the world of jazz. For 2025, the event, which usually takes place in a theatre, moved to an arena setting for the first time, taking place at Abu Dhabi’s Etihad Arena, led by Herbie Hancock and hosted by Jeremy Irons. Lighting and Production Designer, Tyler Littman, who has worked with the IJD production since 2014, was directed by the producers to ‘go big’ with his design, which he did by leaning into Abu Dhabi’s forward-looking, futuristic culture. “We also wanted to maintain a feeling of intimacy while making the show fill the enormous space,” Littleman stated.
To a chieve this, the LD put together a rig that was “nearly all Ayrton”, supplied by PRG’s hub in Dubai. There were 170 Ayrton fixtures including Argo 6 Wash FX, Cobra, Domino Profile (both regular and PRG GroundControl versions in standard and LT models), Domino Wash S, and Eurus Profile. “PRG has been my production partner for IJD for nearly 10 years, as their global reach helps me to maintain a certain level of quality,” he revealed. “I have always been a fan
of Ayrton and the optics and feature set of their fixtures continues to impress me.”
Th e concept statement behind the arena design was that of a huge digital tree springing up out of the desert, with the trunk and branches made of truss that fanned out overhead, and the lights becoming the leaves. Fixtures were placed linearly down each truss in a repeating profile, beam and wash light configuration.
Littman selected 40 Ayrton Domino Profiles, which he used as the primary spot/profile fixtures to create texture and dimension. “Jazz requires a much softer touch than rock ’n’ roll, but this means we must be able to paint big, beautiful scenes that can hold the audience’s attention with limited dynamics,” explained Littman. “To achieve this, we needed spot/profile fixtures with a large variable zoom ratio, even field, high CRI, and stackable effects. The Domino Profile ticked all those boxes and more. Being able to combine mixed colour with gobos and prisms meant we were able to create a large variety of looks without feeling repetitive.”
A total of 36 Argo 6 Wash FX fixtures served as the primary back/overhead wash light, while 52 Cobras were used throughout the rig for their
intense beam capabilities. “There’s so much about this instrument that impresses me, and the phosphor laser source is nothing short of impressive,” Littman said of the fixture. “Inside the arena there was almost no visible falloff in the beam, meaning we were able to create big beamy graphic looks.”
To e nsure each band member was properly lit for TV, Littman chose 17 Eurus Profiles to serve as both key and back light. “Given how high the rig was trimmed, we needed an instrument with strong optics and output, a high CRI, and wide zoom ratio as we rely on zoom rather than dimmer for setting the base intensity level, which ensures there is little to no shift in colour temperature,” he explained.
Th e follow spot offering came from seven Domino Profiles, modified by PRG for use with its Universal GroundControl follow spot system. Three standard Domino Profiles served as remotely operated rear follow spots, while four Domino Profile LT units functioned as the front follow spots. “Given that we were using Dominos as the primary spot fixture, we wanted to ensure that the beams of the follow spots blended in well with the rest of the rig,” Littman said. “As with the Eurus, the Domino’s fantastic optics meant performers looked picture-perfect all the time.”
For audience wash lights, Littman selected 18 Domino Wash fixtures. “There is nothing new or innovative about the technology – plenty of other manufactures make lights with internal, motorised barndoors, but few, if any, work as well as Domino Wash,” he stated. “This was by far the fastest my team has ever knocked out an audience wash and it was near perfect.”
Photo: Tyler Littman
ww w.prg.com www.ayrton.eu
A Thousand and One
MDLBEAST’s multipurpose Banban festival site is transformed into a fantasy land based on Middle Eastern fairytales for the company’s most ambitious creative spectacle to date.
Sometimes the best answers are the most obvious ones, and when it came to the creative for the latest festival offering from MDLBEAST, A Thousand and One, this was most certainly the case. As the festival’s creative team assembled in the project’s early ideation stage, they pondered potential themes for a brand-new festival. “The answer was right in our faces,” recalled MDLBEAST Chief Creative Officer, Ahmad ‘Baloo’ Alammary. “The stories from 1001 Nights are our fairy tales, our own folklore, and they are the perfect fantasy to build a homegrown Saudi festival around.”
Sp eaking to TPiMEA from Ibiza – where he was about to start a run of his own performances in his other profession as a DJ – Baloo delved further into the unique themes of A Thousand and One. “We plug themes into everything we do, but they are usually based on the context of the festival,” he explained, referencing fellow MDLBEAST festival Balad Beast, which draws heavily on the architecture of the location. “With A Thousand and One, we were playing with something very different. These are fantasy stories, which means we have the liberty to change it up and let our creativity run wild.”
Inspired by the way that modern cinema takes the old Arabian Nights tales and transforms
them into stories that take place in a world with today’s urban sensibilities, Baloo and the wider creative team set about building a fantasy realm shrouded in narrative in which timelines are fluid. “We had a lot of fun with the theme,” Baloo smiled, recalling a series of mock adverts that were placed around the festival site strategically with humorous slogans inviting festivalgoers to ‘Get that 40 Thieves Look’ and ‘Buy your magic carpet now – first payment on us’. “We brought an almost Times Square-like advertising feel with a 1001 Nights twist,” he reminisced.
A Thousand and One saw MDLBEAST’s multiuse site at Banban transformed from the sprawling festival setup usually in place for flagship festival Soundstorm into an altogether more intimate venue, with the site’s Underground area reconfigured for the occasion. “We are lucky to have these grounds, and we approached them very differently to how we would for Soundstorm,” confirmed Baloo. “We created something fresh and fun, and the difference was palpable on site.”
Narrative was front and centre in every creative and technical decision. “The minute we decided to do a festival based on old-school Middle Eastern folklore, we wanted to find the most interesting stories, then build stages based
on the locations from these stories,” Baloo commented, explaining the creative process, which invariably starts with writing the audience experience. “We consider what we want the audience to see, hear, feel and smell when they enter the festival,” he added. “We figure out what the main touchpoints are and create a journey through them.”
Th e use of the Banban festival grounds for more than just Soundstorm is part of a welldefined strategy to develop the site into a yearround multipurpose venue. MDLBEAST now has a permanent team on site to handle management of the venue, led by Senior Venues Manager, Nic Hurlston. “We’ve established a year-round presence here at Banban to maintain the venue, managing the assets, structures and utilities, and essentially preparing the venue for projects to come in and execute,” he described, explaining his team’s remit.
Th e presence of Hurlston and the venue management team meant that on-site lead time could be reduced significantly. “In the past, the venue would have gone idle in between shows before coming back to life, whereas now we’ve established standard operating procedures and keep the facilities maintained. This means we’re much more efficient in allowing projects to come
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in later and hit the ground running,” Hurlston explained to TPiMEA.
Th e remit spans everything from cabins and CCTV to digital signage, car parks, and everything in between that would previously have had to be installed ahead of each show, with everything linked to the “heartbeat of the site”, the Event Management Centre. “Our team is all about creating a more efficient venue, providing a support structure and being an advocate for the flow of information across the permanent venue team and the project team,” Hurlston added. “We have great relationships with all the key stakeholders and that is aided hugely by the year-round communication we maintain.”
Also playing a vital role in preparing the site was Special Projects, which works extensively with MDLBEAST and TAIT throughout Saudi Arabia, supplying site management and procurement services.
Director, John Wilson, recalled the “huge undertaking” for the Special Projects team. “On A
Thousand and One, we had around 15 managers on site for each discipline – from power and water to Site Coordinators, Site Assistants, Site Managers and Infrastructure Managers, all working to produce the event,” he revealed. For Wilson and the Special Projects team, the main challenge revolved around creating a “site within a site”, making the former Underground area act as a self-contained festival site, while maintaining access and services for the wider Banban facility, which remained open for various other activities throughout. “We utilised the West Entrance, ensuring complete separation from the rest of the site throughout the build, the show and the breakdown,” he explained.
With more than 100 items of plant on site often working within confined spaces, the Special Projects team had a lot to manage. However, Wilson maintained a laser focus on the task at hand. “Our priority was ensuring that all areas were fully prepared for the event team to come in and build before pivoting to become a support
service during the show days,” he recalled. “Even the best-laid plans can change, and we remained ready to jump on any requirements as and when they arose.
“I have been involved in live events for the best part of 40 years now and I’ve never seen anything done to this level of detail,” Wilson concluded. “We work with some fantastic companies and more importantly a great bunch of people who all understand each other. It’s a pleasure to be part of the team.”
‘Pushing the limits creatively’
For MDLBEAST’s Events Creative Director, Quentin Greyling, A Thousand and One was a special project to be a part of. “Balad Beast will always have a special place in my heart, but this was incredible,” he commented, ranking A Thousand and One as a close second to his beloved Balad.
“W ith such visually rich stories to base the creative on, we were pushing the limits
creatively, and the end product was fabulous.” With the event coming hot on the heels of an intense period of shows for the MDLBEAST team including Keinemusik in AlUla and Formula 1 in Jeddah, the project required close collaboration on every level. “It was quite a journey,” Greyling smiled. “We were determined to make A Thousand and One live up to its potential, and I couldn’t be happier with the result.”
Greyling reflected on the challenge of turning the Underground into the magical realm of A Thousand and One. “The Underground at Soundstorm has always had a big following and we were very conscious that it had to feel completely different for this to work,” he recalled. “It was a blank canvas of shipping containers, and the challenge was making sure that as soon as the audience step into the world of A Thousand and One, they don’t see any of the Underground anymore.”
Working closely alongside Baloo, who he described as Saudi Arabia’s “number one mind when it comes to ideation”, Greyling looked back fondly on the process and was delighted with the result. “Working with Baloo on developing the theme and getting those stages right was such a pleasure,” he commented. “It was the first time we’ve done something of this scale thematically. Every stage was a new chapter and took the audience on a journey.”
‘A unique look and feel’
Also involved in the creative design was NEWSUBSTANCE STUDIO, which provided creative collaboration, creative and art direction and development, before moving onto production designs for three stages and the wider site. “The stage designs went well beyond jaw-dropping AV and lighting effects to something more immersive, theatrical and fantastical – they were huge in terms of both scale and ambition,” commented the company’s Technical Director, Mike Birch.
Presented by MDLBEAST with a “very welldeveloped brief and narrative, with clear visions for the conceptual basis for each stage”, Birch and the NEWSUBSTANCE team took a deep dive into the world of the 1001 Nights stories, their artworks and explored how they could be brought to life in physical form within the context of a stage, AV and SFX. “We do a lot of research, referencing and sketching for both exploration and inspiration,” Birch stated. “We sought to develop an underpinning narrative around how the stages came to exist within the context of the story, allowing us to develop a unique look and feel for each space. We really valued the collaboration, vision, regional perspective and experience that the MDLBEAST team offered.”
From there, 3D design concepts were rendered and illustrated, with a constant
collaboration between the MDLBEAST and NEWSUBSTANCE teams to share ideas, refine thinking and adjust designs. “We build out all our renders and developed concepts from 3D models, leveraging our studio’s multidisciplinary creative, technical and fabrication skillsets, to really deliver on render to reality, throughout,” Birch explained.
With concepts agreed, then followed a period of production design, with the design language, spatial coordination of the stage scenic, structures and AVL further developed. “This included both technical and detailed finishing and art direction packs to clearly communicate the design intent to the various vendors, partners and production teams who took this through to delivery and opening.”
Mindful to avoid “cartoonifying” the designs, Birch explained how a more “authentic, traditional visual language” was used, bringing in “considered architecturally informed styles, yet harnessing the freedoms these stories, myths and folktales allow to play with scale, geometry, colour, finish and lighting, to develop a style that felt otherworldly”.
Reflecting on the project, Birch was pleased with the achievement. “Detailed scenic at this scale can be challenging to get right and balance with the AVL elements that make a stage, and its audience, come to life,” he commented. “The
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production and vendor teams delivered this in an incredibly short time frame, and they really fought hard to keep the level of design detail, and ambition we all had.”
‘A hell of a vibe’
A Thousand and One comprised four main stages – Qasr, Qafilah, Bustan, and Sahaab – along with a multipurpose Bazaar area, which included a DJ booth and market stalls. Maintaining an oversight of all these spaces –and the project as whole – was Festival Director, Simon Haddad. “My role is to bring all the elements together from A to Z, working closely with the creative vision set by our management and by Baloo, Quentin and the creative department,” he told TPiMEA.
Ha ddad described the “two aspects” to the project. “There’s the dreamy, creative vision side and the realistic, practical part of it where you have to work out how to execute and deliver the vision. The practical part of it, where I operate, is working from a project management perspective to ensure there are sufficient resources for each department to deliver the project to its full potential. It was a challenge given the ambitions, but that’s why we work together so closely.”
The largest stage, Qasr, was a representation of a sultan’s ballroom set inside a massive storybook. “The scale of that stage was just incredible,” Haddad recalled. “I see Qasr as a literal representation of the entire concept of A Thousand and One – an open book with multiple stories popping out of it.”
In c ontrast, Bustan was a lush, surreal oasis, with towering trees spread throughout the space. “Bustan was very different to all of our other stages,” Haddad stated. “It was a very dynamic space with a vibrant, dreamy forest vibe.”
While Bustan was originally intended to be an outdoor space, it was later given a roof of sorts composed of pieces of fabric. “This changed everything in terms of protocol, but it gave us some great creative possibilities,” Haddad recalled. “The fabrics were rippling in the wind, but instead of trying to prevent this, we built it into the creative, and it felt almost like the trees were pulsing and breathing.”
De scribed as “a stage in constant motion’, Qafilah was an unusual combination of a ship with a camel’s head sailing through sand dunes. “This stage was quite unconventional in that it was multidimensional, with 3D pieces in multiple sections,” Haddad explained, discussing what he
described as “the most technically challenging” of all the stages. “The sails presented us with major challenges. Creating such a structure of that scale required a few tonnes of steel just to make it structurally sound.”
For Sahaab – a fantasy land suspended in the clouds – one of the most impressive aspects according to Haddad was the gigantic, printed magic carpets hung around the area. “We printed these huge carpets, and the resolution of those prints was so good that the texture looked real,” he described.
“The lighting team went to a lot of trouble to perfect the lighting to show off all the intricate details on those rug prints,” he added. “Attention to detail is so important in every aspect of what we do, and this is just one example of it in effect.”
Th e final area was the Bazaar, and while it wasn’t an official stage, according to Haddad, it “brought a hell of a vibe”.
He c ommented: “One of the most difficult things to do in thematic events like A Thousand and One is creating an organic experience, and the Bazaar really delivered that. The audience treated it like a real traditional marketplace – a place for meeting, bargaining, and interactions. It was a hive of interaction, engagement and
laughter with an authentic community feel, which was very beautiful.”
MD LBEAST has always delivered a strong offering for VIPs – or VIBs (Very Important Beasts) – and A Thousand and One took this to the next level, with a VVIB tier giving a select portion of the audience an up-close view of the artists. “The VVIB experience allowed audience members with this ticket category to access the side of the stage and get a rare vantage point,” Haddad explained. “This created multiple technical challenges – not least finding the balance between giving the best experience possible for the VVIBs but also maintaining focus on the artists and controlling the scenic effect of the stages for other audience members.”
As well as the creatively ambitious stage designs, the whole site was carefully considered to ensure that the magical atmosphere was maintained throughout, with hanging lanterns, magic carpets, roaming performers burning incense and even live camels adding to the sensory overload.
Reflecting on the project, Haddad was pleased with the team’s ability to problem-solve effectively. “We hit a lot of obstacles along the way, but none that we were not able to resolve, and I guess that’s the true spirit of this team,” he commented. “We work at multiple levels, and that includes all of our suppliers, without whom we wouldn’t have been able to deliver this project.
“There’s a shared ethos than runs from the top down,” he continued. “Our CEO, Ramadan Alharatani, is a great visionary, and our Executive Director of Events, Michael ‘Curly’ Jobson, is an inspirational leader who cares for every member of the team – and that focus on the wellbeing of everyone in the team is the most important thing. When events are delivered by a team that is happy, healthy and appreciated, that’s always going to come across in the final result.”
Cu rly added his thoughts: “A Thousand and One was a resounding success – the happiest audience I’ve seen in my time in Saudi. The weather was fabulous, the costumes were beautiful, and the production design and delivery was superb,” he stated. “The entire team were so in sync and happy throughout. Although it was held in the Underground complex only, it was still a massive undertaking and I’m incredibly proud of the achievement from them one and all.”
‘An efficient and effective delivery’ Never one to shirk a challenge, Philip Winward took on the role of Production Director with relish. “I like a challenge, but I did not realise exactly how ambitious this project was going to be when Curly asked me in the New Year,” he told TPiMEA.
“This was primarily due to the restricted lead time of less than 12 weeks to mobilise, without advance notice, as well as all the production and scenic suppliers required.”
Fortunately for Winward, the regular Soundstorm team of Production and Stage Managers made themselves available, with Vernon Luff on Bustan, Mark Parsons on Sahaab, Dan Stewart on Qafilah, Ricardo Ferreira on the Bizarre Bazaar, along with new-to-the-team Jacob Keunzler-Byrt on Sahaab and William Hurn on Qasr.
“H aving personally built the five Underground arenas, with Vernon Luff and Ian Haley of Prism Lighting, using over 1,000 shipping containers. All of these needed to be reconfigured and
restacked to allow for the increased capacities needed in each arena,” Winward explained. “However, it is surprising what can be achieved in a short time with myself, Vern and, of course, Junaid Khan behind the controls of the Hyster 45-tonne Reach Stacker.”
Ex tensive modifications were made to all five arenas – not only structurally, but also for individual fixture placement, which required almost 2,000 hours of welding brackets, clamps and reinforcement to the containers, by Iman Chokider, and his team from Eventic. “This allowed for AES to follow quickly, installing the stage decks and scaffold towers, which enabled the real stars of the show to shine – the scenic builders,” Winward recalled. “At this point, there were only sketches and renders, which Simple Solutions – Qasr and Sahaab – and Fiesta Group – Qafilah and Bazaar – managed to translate and transform into workable scenic solutions.”
Simple Solutions had up to 170 scenic builders on site, with roughly the same number behind the scenes in its Riyadh warehouse, working around the clock to prefabricate the scenic elements. “With such complex and complicated scenic builds, the engineering departments of AES and Robert Bird Group (RBG) ensured that the hundreds of tonnes of ballast kept everything where it should be.
“Anton Nyreev, from Quentin’s creative team at MDLBEAST, assumed the role of scenic
creative lead to continually reinforce the attention to detail required on scenic finishes and colour palettes,” Winward added. “This quick and concise direction, along with the continued insitu production meetings in each arena, allowed for clear communications between all relevant departments, to ensure an efficient and effective delivery, of what turned out to be an outstanding project to be involved in.”
‘Maximum immersion’
Sam Tozer of Vision Factory took on multiple roles – starting with reworking the initial concepts from the MDLBEAST and NEWSUSBTANCE creatives to suit the Underground area. A regular collaborator with MDLBEAST, Tozer designs the Underground area for Soundstorm each year and – as Greyling confirmed – “nobody knows that place better than him”.
Tozer expanded on Vision Factory’s brief for the project: “Our goal was to enhance the scenic design for maximum immersion, adapting it to the unique layout and flow of the venue and taking a rough concept into workable plans and design, all without compromising the integrity of the original vision,” he explained. “From there, we developed production elements – lighting, video, and SFX – that gave the site life, depth, and the signature MDLBEAST quality,”
Tozer described the need to create “a full sensory environment” rather than simply
a selection of stages. “Lighting and video needed to feel embedded in the architecture or disappear entirely, so as not to distract from the world we were building,” he commented. “SFX was approached in the same way – designed to wow, but also to feel native to the space. One example was placing audience-scanning lasers in the treetops, casting ‘digital laser shadows’ to mimic sunlight through branches.”
While the Soundstorm Underground area traditionally leans into brutalist minimalism, using stark darkness and industrial textures to create tension and mystery, the design for A Thousand and One was the complete opposite –a rich, decorative, storybook world. “We leaned heavily into scenic dressing, using it to soften the industrial container infrastructure and let the set design shine,” Tozer described. “The lighting approach shifted, too, with more colour, more softness, and more environmental washes instead of harsh, strobe-driven moments. And on top of all that, we designed and built a completely new arena in the underground complex – our main stage, Qasr.”
With each stage having its own unique scenic identity, the lighting design was tailored individually to suit each space. Tozer highlighted two CHAUVET Professional fixtures – Maverick Storm and COLORado PXL Curve – which were used to great effect throughout, with the Maverick Storms chosen for their IP65 rating,
framing shutters and versatility in challenging conditions, and the COLORado PXL Curves picked for their ability to blend in with set pieces seamlessly while still providing punchy eye candy and shape-driven movement. “Surprisingly, LED tape was also one of the biggest workhorses on site,” he added. “It allowed us to enhance the edges of scenic pieces and breathe life into the structures without overpowering them.”
Maintaining consistency and quality across the complex, multidimensional site proved to be the most challenging element of the project for Tozer. “The scenic elements were layered, detailed, and different at every turn, so keeping cohesion across zones was key, but both scenic teams delivered brilliantly,” Tozer reflected. “The whole experience was fantastic. The level of immersion we achieved and how it felt to simply walk around the site was special. It looked and felt distinct from anything we’ve done with Underground before.”
‘Robust and intelligent’
Another company familiar with the site is Colour Sound Experiment, which has supplied Soundstorm in various capacities for the past four years, and this time was tasked with supplying lighting, video and rigging across all the stages as well as central control cabins for
lighting and video. Colour Sound Experiment’s Managing Director, Haydn Cruickshank, explained how the company’s experience in the venue was a major help when it came to A Thousand and One.
“The stages in the Underground area of the Soundstorm site are all built from shipping containers so most of the deployed lights and video panels require some sort of bespoke rigging solution,” he revealed. “Thankfully, we have worked in this space a lot over the past four years, so we have developed a few useful techniques. Nevertheless, the time and labour required is significantly more than a ‘truss and motors’ show.”
As with any brand-new festival, A Thousand and One brought its fair share of challenges. “There’s always a bit more to figure out in terms of interfacing with set and other suppliers than you would have on an established festival,” Cruickshank explained. “We started with the Vision Factory designs and bounced back and forth with our CAD team initially. The rigging and welding drawings were time consuming, and many of the elements required structural calculations. There’s also a lot of set on the show, so integrating on timeline and structure was a challenge,” he added. “As with any large-scale event, there are a lot of stakeholders and juggling
all their requirements presents another set of familiar challenges.”
Across the four stages and Bazaar, Colour Sound supplied more than 2,500 lighting fixtures. Among these were the Ayrton Huracan, CHAUVET Professional Color Strike M, Maverick Storm 4 and COLORado PXL Bar 16 and 12, GLP JDC Line 1000 and 500, Claypaky Sharpy, Light Sky AquaBeam II and Aqua Pearl Pro, Martin VDO Sceptron 10, Astera Titan Tube, eLumen8 Endura 100UV, LEDJ Spectra Flood QX40 II, and others.
Th ere were also a wide range of atmospherics on show from the likes of Martin JEM ZR45 foggers, Smoke Factory Tour Hazer IIs, and Look Solutions Unique 2.1 Hazers, with a selection of MA Lighting grandMA3 Full Size and Lite consoles supplied for control and a CAST WYSIWYG suite provided for previsualisation.
Th e video supply was also impressive, with over 3,000 panels of 3.9mm LED screen, around 325 panels of Leyard CLM6 and seven Panasonic 50K projectors used across the stages.
Content was managed using a combination of Barco ImagePRO-4K scalers, PDS-4K presentation switchers, with processing from Colorlight Z6 and 4K Evision processor racks, and G2 Digital Media Servers running Resolume Arena 7. An extensive camera package included Sony HDC-4300, Panasonic AW-UE80 4K PTZ
cameras along with Blackmagic Design ATEM 2 M/E systems.
Des pite the masses of technology that was front and centre throughout the festival site, it was the unseen aspect of Colour Sound’s deployment that Cruickshank was most impressed with. “Although not very visible, I think the networking was one of the most interesting elements of this project,” he revealed. “Utilising over 44 Luminex switches and 96 LumiNode 12, it was the biggest lighting and video network we have ever done, and our networking department utilised their own bespoke network control software – Araneo – to manage the system.”
Th e “robust and intelligent” networking infrastructure saw each stage rely on a dependable network backbone built around Luminex GigaCore switches. With every stage having multiple racks – FOH, stage left, stage right – everything was connected via GigaCore
switches’ ISL ports. Using Luminex’s unique RLinkX feature, the team created a redundant ring network with ultra-fast recovery, ensuring automatic fallback in case of link failure. Each stage was routed to a dedicated backup cabin located hundreds of metres away, which housed all backup lighting and video consoles, maintaining complete redundancy and operational continuity throughout the festival.
Co lour Sound’s Aramus Raynier, Network and Systems Architect, explained how the Luminex API was leveraged to ensure that the deployment was not only automated but also featured realtime thermal monitoring of all switches – an important feature when operating in the desert.
“As expected, the Luminex GigaCore switches were able to provide solid performance, despite the extreme temperatures that we were faced with,” he noted. LumiNode was also an essential part of the system, offering powerful tools for
DMX, Art-Net, and sACN conversion, merging and distribution. Araneo was used in combination with the MA-Net3 licence to oversee the entire infrastructure, providing a clear graphical overview of the AV network, monitoring all data flows and MA-Net3 sessions in real time, helping the crew maintain full control and visibility.
In all, Colour Sound supplied a team of 78 crew for the project, consisting of lighting and video techs, project managers, onsite warehouse crew, repair techs and “network geeks”.
Th e company’s in-house Project Lead was Sam ‘Kenny’ Kenyon, closely supported by Regional Manager, Abu Bakar. “The event was a great success,” Cruickshank concluded. “It looked amazing and is set to be an annual event.”
‘I had shivers down my spine’ Completing the set of familiar suppliers was Clair Global, which is also the audio partner of
choice for the Underground area as well as the communications supplier across the entire Soundstorm site. For Stuart Wright, Head of Clair KSA, witnessing the transformation of the Soundstorm site into the land of A Thousand and One was something special.
“It’s a true multipurpose venue now,” Wright began. “It was really exciting to see all the effort that went into creating the venue, and then it became even more exciting to see the venue fill up,” he continued. “I had shivers down my spine when the show was at its peak, everyone was having a good time, and it was sounding great. I’ve been in many packed arenas over the years and that doesn’t happen very often.”
Clair Global supplied audio throughout the festival, with the Qasr stage benefitting from a d&b audiotechnik KSL rig, with SL-SUBs and V Series front fills. L-Acoustics K1/K2 rigs were deployed at both Qafilah and Sahaab stages, while a Clair Cohesion system fulfilled the Bazaar’s audio requirements. Monitoring came in the form of Shure Axient Digital Wireless systems, with stage monitoring according to the respective PA systems, and DiGiCo SD12 consoles used for control throughout.
For the dreamy forest-like Bustan stage, the Clair Global team was tasked with creating a multipoint system that would suit the in-theround nature of the arena. “Because the whole stage area was in the round, we were given the creative direction that the sound system should be in keeping,” Wright explained. “To achieve this, we swapped out the traditional left-right system for a multipoint system featuring nine hangs and four stacks of L-Acoustics KARA II. It gave a distinctly nightclub feel, which was well received.”
An extensive networking solution as well as full Riedel Bolero coverage and a significant supply of Motorola R7 radios were also supplied, with the new date on the calendar meaning that the stock stayed in Saudi Arabia for a while longer than it usually would before being sent to service Clair Global’s clients in the US and Europe during the summer season.
“It was an absolute pleasure to be involved with the first A Thousand and One festival,” Wright concluded. “We have a great relationship with the MDLBEAST team and the opportunity to support their events is one that we never take for granted. It’s a privilege that we don’t take lightly.”
Also looking back fondly on the project, Baloo speculated on the future of the festival. “One of the great things about A Thousand and One is that it’s a perfect festival to export – first to the Arab region, then the rest of the world,” he stated. “The theme is very much our own, and it offers endless possibilities for creativity.
“We always look to stand out from the crowd and create experiences in our own way, from our own perspective,” he concluded. “The industry here in Saudi Arabia is still so fresh, and as much as it takes a lot of hard work to pull off these events, the fun we’re having and the satisfaction at the kind of lifestyle we’re creating for young Saudis is what drives us to continue.”
Photos: MDLBEAST
www.mdlbeast.com
www.taittowers.com
www.specialprojects-arabia.com
www.newsubstance.co.uk
www.vision-factory.co.uk
www.coloursound.com
www.clairglobal.com
Disney Abu Dhabi launch
A multisite, multidisciplinary project delivered to an audacious timeline under strict confidentiality, the launch of Disney’s new Abu Dhabi theme park and resort is a landmark moment in the UAE’s cultural development.
Non-disclosure agreements (NDAs) are hardly rare in the world of live events, but when The Walt Disney Company is involved, the need for confidentiality invariably reaches ‘a whole new world’ of importance. This was precisely the situation that HQ Worldwide Shows (HQWS) was faced with ahead of the launch of Disney Abu Dhabi. While still onsite at another highprofile event – the teamLab Phenomena Abu Dhabi Inauguration Ceremony [TPiMEA #54] – HQWS senior leadership was called into a high-level briefing with Miral officials to discuss what would become one of the most significant cultural developments in the history of the UAE.
HQWS Founding Partner and Chief Creative Officer, Katie Veira, took up the story: “Under strict NDA, our executive team was presented with an overview of the project, which was due to take place in just under three weeks,” she revealed. HQWS was tasked with conceiving, producing, and executing three key moments: a unique, high-impact photo opportunity at the future location of the new Disney Abu Dhabi, for
Abu Dhabi and Disney leadership; a large-scale global media junket hosting 500 top-tier regional and international journalists; and a bespoke evening spectacular marking the announcement.
“The involvement of Disney was to remain top secret,” Veira recalled. “Only a select few within our trusted team were aware of the brand behind the project – and the repercussions should there be any breaches of confidentiality. The rest of our internal teams and external collaborators worked without knowledge of Disney’s involvement.”
Never ones to back down from a challenge, the HQWS team mobilised immediately, beginning ideation, establishing top-level concepts and budget guides for review within 48 hours. Workshop sessions with all key stakeholders then took place, with initial concepts and approaches to the three projects shared and the final direction for the project agreed upon collaboratively.
“O ur project teams were immediately relocated to join teams from Miral, Disney and the PR and communications agencies, at a dedicated
temporary project headquarters established within the W Hotel on Yas Island,” Veira said. “By the end of the week, event locations had been assessed and confirmed, creative concepts fully defined, and plans finalised. Production teams and technical partners were mobilised and deployed on-site. From that point forward, detailed design and specifications were developed in parallel with on-site construction and fabrication – a fast-tracked process where creation and build ran simultaneously.”
The audaciously short timeline meant that tried-and-trusted partners were essential, and HQWS worked with a familiar cast of collaborators and suppliers, all boasting extensive experience in the region. This included: LumaSky (drone show), Aquatique Show (water screens and fountains); Steve Sidwell (Musical Director, Arranger and Conductor); Blowfish (music production); The Fridge (choir); MEI (backline); Durham Marenghi (Lighting Designer); Creative Technology Middle East (lighting and video); Clair Global (audio design and supply);
Flash Art (pyrotechnics); Kvant (lasers); and Cue2Cue (showcalling and stage management).
Also on the extensive supplier roster was: VK International (scenic and build); Brand InStyle (branding and graphics); FLOW (power and distribution); Wicked and Royal Tents (temporary structures); Stage One (structural design and engineering); Mission Global (international freight); Al Laith (scaffolding and platforms); Byrne and Mahraj (site infrastructure); Innovative Hiring (furniture); Eversafe (health and safety); ARGA (traffic management); AB Transport (local transportation); and G4S (security).
‘Move fast without compromising on quality’
The nighttime spectacular was conceived and delivered by HQWS’ dedicated show team, in close collaboration with Miral and Disney. Set on a floating stage, the show unfolded to a live orchestral medley of iconic Disney classics, arranged and conducted by GRAMMY Award-winning composer, Steve Sidwell. The musical centrepiece featured world-renowned
pianist, Lang Lang, a 107-piece orchestra, and a 100-voice choir with a soaring vocal performance by West End star Kerry Ellis and a powerful duet by Emirati tenor Rashed Al Nuaimi and Sonya Balsara, direct from her starring role in Disney’s Aladdin on Broadway. “Mickey and Minnie also flew in from LA to make a special guest appearance,” Veira smiled.
Sh elley Frost, Founder and Director of The Fridge, added: “I’m so proud that The Fridge could support HQWS in managing the entertainment for this incredible Disney and Miral announcement. Festival Chorus brought real heart to the celebration and absolutely delivered with their performance. Abu Dhabi continues to grow its legacy as a place of entertainment magic, and being part of moments that shape the industry’s future is always a privilege.”
Th e magical show was meticulously choreographed to monumental effects spanning a 750m vista – combining water screens, dancing fountains, lighting, lasers, pyrotechnics, and a fleet of over 9,000 autonomous drones
– before culminating in a breathtaking finale of a 650m-tall Disney Castle rising from the water, etched in light across the Abu Dhabi skyline.
“W ith centralised project direction and stakeholder liaison, three project management teams operated with streamlined efficiency and integration,” Veira said, explaining that tasks were distributed across multiple workstreams – from creative and technical production to logistics, artist management and guest coordination. “Each team focussed on their responsibilities, maintaining alignment through agile workflows, real-time updates, and multiple daily check-ins, allowing us to move fast without compromising on quality or attention to detail.”
With the iconic Disney songs selected, Steve Sidwell immediately began arranging the soundtrack to anchor the show – starting with a scratch track for timing, which allowed the parallel development of scripts, visuals, storyboards and the integration of all show effects. Previsualisation and animatic development – using Syncronorm Depence
– evolved throughout, with continuous collaborative input, review and feedback from all technical and creative partners, as well as the Miral and Disney teams.
“The musical arrangement and scores were developed in the UK before being sent to Lang Lang, and to the orchestra in Macedonia so that they could print scores and start rehearsing,” Veira recalled. “After recording safety tracks of the choir at the world-famous Air Studios in London, Steve Sidwell then flew to Macedonia to record safety tracks with the orchestra.”
Once recorded, the high-quality stems were sent to Matt Faddy at Blowfish Dubai, who was tasked with producing the full orchestral multitrack session, incorporating choral recordings, and recording the headline vocalists as they arrived in Abu Dhabi. When the final show soundtrack was locked off and approved, micro adjustments to the variety of effects took place to ensure every moment was fully synchronised. The Macedonian FAME Orchestra flew in from Skopje two days ahead of the show for off-site and full on-site technical and dress rehearsals.
“O ur intention was always to deliver a fully live show,” Veira stated. “However, due to the nature and importance of this event, we decided to record safety tracks in case of any unforeseen circumstances.” Among these potential unforeseen circumstances were the environmental conditions, with high winds and sandstorms leading up to and throughout the events. “For the nighttime spectacular, we developed contingency strategies to ensure
show continuity under varying and everchanging weather scenarios,” Veira commented.
Lo gistics also proved to be especially challenging within the tight timeframe – with tonnes of specialist show equipment and hundreds of artists flown in from around the world at short notice. “Our logistics teams and trusted partners worked around the clock to make this happen, tracking consignment movements in real time,” Veira stated. “By using Depence, we were able to fully program all elements of the nighttime show before the equipment was even in country – meaning we could hit the ground running and streamline the workflow to maximum efficiency with only fine tuning, focussing and timeline tweaking required once the equipment had been set up on site.”
‘The magic of possibility’
Al Laith was commissioned to engineer and deliver a series of ambitious temporary structures across both beachfront and marine environments for the project, which was codenamed internally as ‘Project MARS’, owing to its top-secret nature. “The scope covered everything from scenic walls and jetty builds to floating stages and audience seating, seamlessly integrating technical infrastructure into immersive theatrical storytelling, all within an extraordinary 10-day timeframe,” explained Al Laith’s Director of Operations, Michael Clark.
Th e process was divided into two intense and technically distinct phases. “The first phase took place along the beachfront, where our team
constructed over 300m of 10m-high masking walls and a 60m-long walkway leading to a bespoke projection platform extending 40m into the sea,” Clark recalled.
Th e second phase was executed on the waters of Yas Links, where Al Laith built a 30m by 40m floating stage supported by pontoons to host a full orchestra, choir, and solo performers. A 70m-long floating walkway connected this stage to the shore, while tiered grandstand seating, PA towers, screen structures, and a custom generator platform completed the environment.
With limited land access, every element was transferred by marine support and assembled manually. “Our crews worked around the clock, coordinating marine logistics, safety, structural calculations, and installation – all while the active golf course remained operational,” Clark revealed. Veira added: “Building in water within an operational golf course environment with passing water vessels was not ideal. To get pyro barges, lighting platforms and the main performance stage into place as quickly as possible, we deployed a team of water marshals to control the movement and minimise impact on the timecritical build schedule.”
Al L aith provided a vast array of engineered scaffold structures including masking walls, access walkways, floating platforms, grandstand seating, and technical control decks. These were complemented by screen support towers, PA platforms, and power generator bases. “Our in-house design and technical teams handled all structural calculations, ensuring every element
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met safety and performance requirements,” Clark commented. “Equipment was deployed via pontoons and marine vessels, lifted and assembled with precision – particularly critical given the water-based nature of the installations.”
Th e photo opportunity element of the project also presented a significant challenge, with extensive engineering required to produce a structure for a 10m-high sculptural frame, which took the iconic shape of Mickey Mouse’s head. To add to the challenge, the final iconic shape could not be revealed until just minutes before the photo shoot, due to the secrecy around the announcement. To overcome this, a structure that looked like a simple circle was designed, with the ears hidden behind it on an automated system designed and installed by Stage One. Veira recalled: “The system came with a maximum recommended wind tolerance, above which it would not be safe to deploy the ears. On the morning of the event, we were right on the limit but, luckily, we were able to raise the ears safely and make this important moment happen.”
Clark described the “seamless integration of engineering and show design” as a highlight of Al Laith’s deployment. “Our scaffold systems –reliable, precise, and built to withstand marine and sandy conditions – formed the silent
backbone of a magical, cinematic experience,” he stated. “The collaboration with HQWS, Miral, and Disney, along with our ability to respond with agility, precision, and speed, was a proud achievement. Project MARS was more than a build – it was a belief in the magic of possibility.”
‘A flawless setup’
FLOW delivered a temporary power supply and HVAC solution. Project Manager, Terry Dignam, walked TPiMEA though the deployment. “We supplied a range of generators to meet the demands of the project, from 35kVA up to 500kVA units,” he began. “Based on the initial scope provided by the client, our sales team developed a comprehensive equipment list, which was then used by our engineering team to produce detailed CAD drawings. These served as the blueprint for on-site implementation.”
Throughout the build, the scope of works evolved daily, presenting both logistical challenges and opportunities for close collaboration with other stakeholders on-site. “Our team responded quickly and effectively to these changes, ensuring seamless integration and execution,” Dignam stated.
Th e main power requirement for the opening ceremony consisted of five 500kVA
generators, which supported both general and technical power needs for the event. In addition, two 200kVA generators powered the drone compound, providing charging capabilities for over 7,000 drones. More than 6km of cabling was installed as part of this setup.
On e of the most complex aspects of the project from a FLOW perspective was the management of diverse power requirements of multiple clients. “The event featured a variety of technical elements, including lighting, lasers, water fountains, live video feeds, a full orchestra, vocal performances, and pyrotechnics – much of which was positioned on artificial floating docks at sea,” Dignam noted. “We overcame these challenges by leveraging our experienced team of technicians and collaborating closely with other vendors. This included deploying teams in small boats to lay cables on and beneath the floating docks. All installations were rigorously tested and met regulatory standards, resulting in a safe, reliable power supply with zero issues.”
Dignam shared his pride at the speed and professionalism with which the FLOW team executed such a complex project. “Despite its scale and the numerous obstacles we faced, we delivered a flawless setup,” he commented. “From the immense power requirements of the
water wall display to the precision needed for the drones and pyrotechnics, every element came together to create a spectacular and unforgettable event.”
‘Timeline, terrain and temperatures’
Audio and communications requirements were fulfilled by Clair Global, with the project conceived, designed, procured, built and delivered in the space of just 13 days. The brief was split into two main sections – the main celebration site as well as the project announcement site.
Clair UAE’s Al Woods ran TPiMEA through the brief. “The main celebration space required an immersive PA system for the complete audience; a full artist, orchestra and choir microphone and monitoring package, including consoles outboard mix engineers and technicians; a comprehensive comms package including crew, wireless and wired units; timecode distribution to all departments, including remote site fireworks and drones; and a separate pre-function system with an announcements, full live band and playback system,” he described.
The project announcement venue meanwhile was set on the site of the future theme park
and required a discrete distributed speech/ announcement and background music system, while Clair also provided radio communications throughout the event.
“The complete systems were all designed, supplied, crewed and operated with Clair global staff and equipment,” Woods stated, praising his team. “We had a week to design the audio system, which I looked after, while Ed Ross and Rob Turner made good the comms, radios and data distribution system designs.”
Project Manager Ed Ross led the on-site team for the main celebration on Yas Links golf course. “We worked nights due to the extreme heat and navigated uneven terrain adapting the system designs as infrastructure onsite dictated,” Woods recalled. “Thanks to Ed and his team, we were ready for rehearsals and the show looked and sounded amazing.”
Valerie Gard mixed the orchestra and playback, with Jonathan Robin on system and the immersive placement design. Dana Beaudin mixed monitors for all artists – including over 230 wireless IEM packs. Ruth Brissos ran the stage with Nawazi Ali and Saleem ‘Shady’, with Nicola Pisano and local crew supporting. Rob Turner’s team looked after communications, Jentry
Sierra ran the onsite deployment with Harry Langer manning the Riedel comms mainframe programming. Dave Lee mixed the band and preshow entertainment, with Enrich Tomulto looking after stage and microphone duties. The offsite project was managed by George Forsyth.
For the main celebration, the Clair UAE team deployed an L-Acoustics L2 system with Syva surrounds, KS21 subwoofers and X8 front fills, with the immersive element controlled using an L-ISA processor. A DiGiCo Quantum 7 with a dual redundant playback system was stationed at FOH, while a Quantum 338 was at monitors, with Shure PSM 1000 IEMs for the main artists and Sennheiser 2000 Series IEMs for the orchestra and choir. Microphones were a mix of Neumann MCM, DPA 4099, Schoeps MK4, Schertler P48 and Shure – both wired and Axient Digital Wireless systems.
Th e comms setup was based around a Riedel Artist 64 mainframe with the addition of four remote nodes to distribute antennas and feed panels, with 40 Bolero wireless users and 20 Riedel smart panels. “It was a comprehensive system spread over a large area,” Woods said, noting that redundant timecode distribution was distributed on a data network and transmitted
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to the remote sites using a Ubiquiti NanoBeam wireless Wi-Fi system.
Th e reception PA was made up of L-Acoustics KIVA II, SB18, and Syva Low and Hi, and was mixed on a DiGiCo SD12 with L-Acoustics X12 monitors and Shure PSM and Axient RF.
The project announcement site PA meanwhile comprised L-Acoustics Syva, X8 and SB18 subwoofers, mixed on a DiGiCo SD11 with a playback system and Shure Axient wireless microphones. A total of 80 Motorola R7 handsets and accessories were supplied to keep everyone on the production team in touch.
Wo ods recalled “the timeline, terrain and temperatures” as the main challenges. “These were overcome by having a skilled, adaptable and hardworking team onsite with amazing backoffice support, as we do on every Clair project,” he commented. “We’re incredibly proud of our Middle East team’s precision and dedication in bringing this remarkable event to life.”
‘A true partner’ HQWS approached MEI to supply full backline support for the 107-piece orchestra, solo piano performances, and two live bands across both
the main stage and pre-function area. “With a one-week timeline, the scope required full orchestral support and parallel setups across two locations – the main event venue and the offsite rehearsal space,” said MEI’s Head of Operations, Maria Kyvernitis. “As soon as the request came in, we activated internal coordination across logistics, tech, and operations, and the delivery unfolded over several days.”
Th e project represented a large deployment for MEI, with the supply comprising: full orchestral backline including timpani, orchestral percussion, keyboards and amplification; concert grand piano with on-site tuning and stage handling; two complete backline builds – one for offsite rehearsal and another for the main stage; and pre-function setups for two live acts – Abri and Arqam – each with standard backline configurations and soundchecks.
“N early our entire crew was on the ground – not just delivering equipment but working as part of the production to ensure every element stayed on track and on time,” Kyvernitis recalled. “Every piece of equipment was carefully planned, tracked, and positioned to support smooth transitions and full performance readiness.”
With the stage being constructed on top of pontoons directly above water, the piano had to be safely positioned outdoors. “This was a high-risk scenario – especially in peak summer conditions,” Kyvernitis revealed. “To mitigate this, we housed the piano inside a temperaturecontrolled tent to maintain stability and protect the instrument from the elements until showtime. These weren’t unexpected challenges – they were operational demands we were fully prepared for, managed through detailed planning and synchronised crew execution.”
With the operation spread across multiple sites and subject to time pressure, Kyvernitis described it as “exactly the kind of project that MEI is built for”. She added: “With overlapping rehearsals, performances, and equipment transfers, we deployed dedicated teams across locations and maintained real-time coordination throughout. MEI remained engaged across all locations, delivering with accuracy and purpose. We step into the production as a true partner, aligning with the demands of the show. Being solution-driven is how we work – we approach every request with clarity, flexibility, and the intent to move things forward, not simply react.”
‘A technical tour de force’ Fresh from working with HQWS on the teamLab Phenomena Inauguration, Durham Marenghi reprised his role as Lighting Designer on the Disney Abu Dhabi project. “We were tasked with lighting the 107-piece orchestra and choir on a pontoon floating in a tidal bay adjacent to the future site of the new Disney Abu Dhabi theme park, as well as creating some dramatic aerial light and laser effects,” he began.
Previsualisation was an important aspect of the project. “The client, our creative partners from Disney and our own creative team required extensive, accurate and constantly updated visualisations of the lighting, laser and drone effects in time with an also daily changing soundtrack,” Marenghi recalled. “This involved bringing all the different elements together in one master film. Given the rendering times involved to get meaningful resolution, it was an amazing achievement by Rupert Morse, Todd Graft, our Lighting Programmer, Paulinho Lebrao, Kvant, and the creative team at HQWS.”
For the barge lighting, Marenghi utilised a run of 59 Robe iTetra2 battens along the downstage edge at floor level to create a light curtain to
disguise the orchestra before the show. “We also had 50 Krypton Good Boys along the upstage edge to create another curtain effect as a backdrop before we revealed the depth of the design towards the mangroves,” he described. Th e heptagonal geometry of the event was matched with seven floating laser barges, each containing seven Good Boy fixtures, with pontoon-bound truss towers containing Ayrton Rivale Wash and Spot, Argo 6 FX and Kylami fixtures – which Marenghi described as “exceptionally bright for their size” – as well as two RoboSpot follow spots.
FO H towers supported more Rivale Spots and Washes, a brace of RoboSpot follow spots, 24 Proteus Excalibur for more aerial effects, and SGM P-10s for controllable site lighting, with
result proved to be well worth the hours of programming, rendering and hard work onsite.
‘Achieving production excellence’
Creative Technology Middle East (CTME) executed a comprehensive technical delivery incorporating lighting and video solutions across the multisite project. The lighting supply featured more than 600 fixtures from Robe, Ayrton, Elation Professional, SGM Lighting, and Astera, with RoboSpot follow spots controlled by MA Lighting grandMA3 Full Size and Light consoles, supported by a Luminex network and full rigging, mains and distro infrastructure.
Th e video setup featured over 250 sq m of LED, including the 11.5m by 8.5m 2.9mm outdoor screen with Mickey Mouse-shaped mask on a pontoon structure, a 14m by 4m Absen 2.5mm screen used for the press conference, 4m by 7m INFiLED ART 4.6mm IMAG screens, and 4m by 3m overflow screens also made up of the INFiLED ART 4.6mm product.
company also provided a multicamera setup comprising 10 Panasonic cameras including the 4K PTZ AW-UE150 and AK-UC4000, with Disguise GX 2C media servers, Barco E2 for
screen management, and a Ross Video Ultrix Carbonite 4K 2ME PPU with full engineering racks and a 12G record infrastructure.
In all, CTME deployed more than 60 crew members across lighting, video, audio, and show control, with support for previsualisation and remote planning built into the project.
“Working alongside HQWS and Miral, our goal was to deliver each part of the event to the high technical and creative standards Disney is known for globally,” stated Dan Hughes, Key Account Manager at CTME. “This event served as a testament to the importance of integrated technical solutions, experienced crew management, and adaptive planning in achieving production excellence. Thanks to our clients at HQWS for entrusting us to deliver their vision.”
‘A collective gasp’
Also continuing its partnership with HQWS was LumaSky, which was presented with a simple yet ambitious brief – a drone light show breaking regional records, synchronised with a 107-piece live orchestra and a choir floating on a pontoon, pyro, and a water screen, all subject
to strict safety and secrecy protocols. “Our main task was to visualise Disney Abu Dhabi Castle as a symbol of the beginning of a new chapter for Disney in the region,” recalled LumaSky’s Alexander Podobaev.
“The theme of the show was ‘A Whole New World’, and the creative team at HQWS proposed several key images to be integrated into the show using drones. We also had to pay tribute to Disney’s heritage by recreating Cinderella’s castle to match the Disney brand and style.”
With the goal of “inspiring audiences, evoking emotions and delivering a one-of-akind experience”, LumaSky deployed a total of 9,000 light drones, making it comfortably the largest light drone show the GCC had ever seen. “This project required exceptional coordination,” Podobaev stated. “We held frequent meetings with HQWS to coordinate each stage of the animation preparation. Given the tight schedule, we worked in parallel, developing initial sketches, choreographing the drones’ movements, and rendering the animation for approval.”
Th e technical implementation included thorough safety testing with pilots, refining flight
paths, and syncing with music and voiceovers.
“The creative process was iterative; each figure and sequence were refined in collaboration with HQWS to ensure seamless integration,” Podobaev added. “By show day, every detail –from the majesty of the castle to the whimsy of the fairy dust – had been perfected.”
A major focus was the debut of the Disney Abu Dhabi Castle, which required the LumaSky team to visualise a structure that had not yet been finalised in design. “Using preliminary visuals as a foundation, we crafted a 3D representation that blended creativity with technical precision,” Podobaev recalled. “In many ways, our team contributed to shaping the final look of this centrepiece, ensuring it embodied the magic Disney is known for. The result was a breathtaking display that captivated viewers and set a new standard for drone shows.”
An other crucial element was the ‘pixie dust’ effect – a feature of traditional Disney animation.
“The challenge was to transfer this classic element of 2D animation into a dynamic 3D sequence using drones,” Podobaev explained. “It was not an easy task, but the result – a
shimmering, organic whirlwind of magic swoosh – conveyed the magic of Disney perfectly.”
Th e sheer scale and intricacy of the drone show meant that precision was critical.
“Coordinating 9,000 drones at high altitudes to form two intricate castles was a monumental technical feat,” Podobaev stated. “The designs had to be visually accurate, and the choreography flawless to avoid gaps or losses in the formations. Achieving this level of detail while maintaining realism and depth pushed our team’s expertise to new heights.”
Po dobaev concluded: “It was gratifying to see another ambitious idea that we developed with HQWS come to life. We had a unique opportunity to contribute to the artistic aspect of the castles, ensuring the authenticity of every tower, arch, and Disney-style detail. But beyond the technical achievement, it was the audience’s reaction – a collective gasp when the castle appeared – that remains one of our most pleasant memories.”
‘Unique visual element’
Kvant Events Middle East deployed its highimpact laser effects to the show, adding to the
atmospheric ambiance. “The planning and design phase took significantly longer than the installation,” recalled Kvant’s Peter Prokopčák. “Collaborating with Disney’s creative team –known for their bold imagination – required multiple rounds of refinement and adjustment to align with their vision and creative standards.”
The company supplied high-power Kvant Epic 270W and Atom 42W lasers, with units installed strategically across various locations, including on moving barges, to ensure full coverage and maximum impact.
“The biggest challenge was positioning the lasers on floating barges – many of which were shared with fireworks and lighting gear,” Prokopčák explained. “Careful coordination, precise mounting, and close collaboration with other departments ensured safe and stable installation under demanding conditions.”
On e of the highlights for Prokopčák was laser mapping on the water fountains to recreate a symbolic star formation. “This unique visual element added depth and storytelling to the show, and we’re proud of how seamlessly it integrated into the overall production,” he said.
‘An immense sense of pride’
Also central to the visual spectacle was Flash Art, which delivered the impressive pyro component to the evening. Creative Director and Senior PM, Piotr Szablowski, looked back on the company’s deployment. “We were lucky enough to be part of the mesmerising spectacle delivered by HQWS for the opening of teamLab Phenomena, and we were swept along with that team by the client, who decided that they wanted to see this quality of visual excellence again,” he explained.
Th e creative brief continued to evolve throughout the process and midway into the setup period. “This was due to many factors –most notably the short time we all had for the conceptual stage and delivery, plus a hands-on approach of the Disney team, who got involved almost from the start,” Szablowski recalled. “As unusual as it was for us, in hindsight, it made this project all the more interesting to work on.”
Szablowski praised HQWS Creative Director, Daz Jamieson, who he said used the pyro component in “exactly the right way”. He added: “Rather than stick us at the end for an intense finale, we were requested to complement the
parts of the show that needed it. We also worked to a strict colour palette and needed to mind the intensity of the orchestral performance in the foreground as well as the spatial needs of other media – most notably drones.”
Th e short turnaround meant that the Flash Art team went straight into delivery mode. Challenges ranged from sharing pontoons with lasers and lights, to sharing airspace with drones, and reprogramming to an orchestral performance being rehearsed and refined during setup. “All of it made this experience memorable, to say the least,” Szablowski stated.
Af ter overcoming all the expected challenges, the weather suddenly came to play. “Pontoons had to be repositioned, and all angles on every single aerial shell had to be altered more and more until show day. The front of our fallout zone was tightly hugged by a rather large choir, and there was no room for error, while the elements kept pushing our boundaries.”
In the end, while delivering an impressive show against the odds brought huge satisfaction to Szablowski and the Flash Art team, the fact that there was a need for such secrecy in the
run-up to the event served only to increase the feeling of elation once the show had been pulled off without a hitch.
“S o many of us had to know what we were working on, and yet not a soul from outside of the extended team could find out. We all sign NDAs every day but never has the confidentiality of a single show reached quite this much intensity for us,” he reflected. “This made seeing the Disney Castle surrounded by fireworks on that night unusually exhilarating.”
HQWS’s Veira was equally delighted with the overall project. “We could not have been more pleased with all the events,” she beamed. “Seeing everything finally come together so spectacularly and only then having the time to truly realise the scale and impact of what we had managed to achieve filled us all with an immense sense of pride and accomplishment.
“We were exceptionally happy with the overwhelmingly positive reactions from clients, guests and global media – and the extent of the events’ international reach and impact. It was an honour to have had the opportunity to collaborate with, and ultimately impress,
the incredible Disney team, who were truly inspirational,” she added.
“The teamwork, positivity and spirit of collaboration that ran through the project was phenomenal – we are so grateful to our partners at Miral and all of our collaborators and suppliers. With their support, dedication and sheer determination, this would have been impossible to achieve. This was, without doubt, one of the most challenging, and incredibly gratifying, projects we’ve ever undertaken.”
Photos: HQWS, Flash Art www.thewaltdisneycompany.com www.miral.ae www.hqws.com www.thefridge.me www.allaith.com www.flowsolutions.me www.clairglobal.com www.meinnovate.com www.durhamld.com www.ct-group.com www.lumasky.show www.kvantshowproduction.com www.flashart.com
King’s Cup Final 2025
A spectacular showcase of creativity and technical excellence plays out in front of a sell-out 62,000 crowd at Jeddah’s King Abdullah Sports City.
Significant success in a particular field is often a double-edged sword. On one hand, it’s valuable to be considered a leader and a go-to provider for certain categories of events, but on the other, it’s easy to get pigeonholed as a company that can only deliver projects within a niche. Having built a reputation for its delivery on a range of high-profile motorsport events, creative production agency 555 Live Experience was on the lookout for a statement project outside the world of motorsport and in the King’s Cup Final 2025, the company found the perfect platform to demonstrate its extensive capabilities.
Engag ed by Blink Experience to oversee the entire creative and technical delivery of the event, from the formal protocol ceremony and pregame build-up to the spectacular halftime show and crowning trophy lift, the full gamut of 555’s creative and production aptitudes were on display for all to see.
“The King’s Cup Final is one of the most prestigious events in Saudi Arabia – a 100% Saudi project,” explained 555’s CEO, Marc Van Sintruyen. “There are a lot of celebrations, podium events and showcases that take place in Saudi Arabia, so our challenge was to come up with an original creative direction that would stand out from the crowd.”
Playing a central role in the creative direction was 555’s CCO, Alexandre Molina Barragan. “Everything starts with a creative vision, and
we build from there,” he began, explaining his team’s creative process. “We didn’t see this as a traditional show. It was important to remember that we were not the main act; we were just part of the journey and the culmination of a long season for the players on the pitch and the fans in the stadium.”
Th e show told the story of how the Saudi Pro League has developed, looking at the history of football in The Kingdom and charting its meteoric rise into a league that is now full of some of the world’s biggest stars. “We wanted to play on the sense of pride that the fans feel for their league and their teams, and harness that to help build the excitement,” Barragan commented. “Once you catch people’s attention, you cannot let it go.”
55 5 engaged SLS Production to supply and audio, video and lighting solution, Laser Saga for lasers and Groupe F for fireworks.
Th e CCO likened the elements of a show coming together to an orchestra – “all the different instruments must play in harmony,” he said, explaining how projection mapping, lighting, lasers and pyrotechnics combined with an original musical score composed especially for the event. “The musical element was vital to create the right ambiance and the upbeat atmosphere we were looking for.”
Barragan explained how the show had to work on several levels. “We always think about the before and after image, and the scenography has different layers,” he stated. “The show must
be great for the broadcast, with several big moments where you throw everything at it to create the perfect scene. However, we place a lot of importance on facilitating the connection between the crowd and the players, and that connection is all about emotion.”
Naturally, the project came with a raft of challenges – not least the fact that the show took place on a football pitch, meaning that the playing surface had to be protected at all costs. “The grass had to be allowed to breathe and to be watered regularly. There was also another game on in the stadium just four days before the King’s Cup Final, so rehearsal time was limited,” Van Sintruyen recalled, revealing some of the smart solutions the team came up with to avoid causing damage to the grass. “We used a laser line to show where the central banner needed to be placed instead of physically marking the pitch. This ensured the position was perfect for the projection mapping to be accurate, all while avoiding damaging the playing surface.”
Th e short timeframe proved to be challenging, with the 555 team presented with the unusual situation of a client keen to add elements to the show, rather than pull back. “The client loved the story and in fact asked us to amplify it even more, which is the most positive reaction we could wish to receive,” Van Sintruyen stated.
Th e team also had to prepare for a range of scenarios to account for the expected arrival of the Saudi Crown Prince, Mohammed bin Salman
Al Saud. “We had to be prepared for anything,” Van Sintruyen recalled. “The Royal Guard and Ministry of Sport were very supportive and helped us achieve everything we needed. They know us very well and we’ve built a trust and a great working relationship, which proved to be an advantage on this project.”
‘We love pushing boundaries’
Working under the leadership of Creative Director, Luca Taschini, Alex Douglas was responsible for programming the lighting. “Luca was focussed primarily on the core projection elements, which gave me a lot of creative freedom in shaping the lighting design,” Douglas commented, talking TPiMEA through his process. “I had four full days of programming time alongside rehearsals, which allowed me to finetune everything to perfection.”
Douglas’ approach focussed on complementing the core video projection during the halftime show. The lighting setup included 88 Ayrton Rivales and 72 Cobras, with the former
used to light the audience space around the stadium and for colour sweeps and the latter utilised in beam laser mode to produce “some nice tight beams” both on the field and in the sky.
“What really helped was the fact that I could use them in spot mode,” Douglas said of the fixture. This was ideal as they were the highest fixture in the rig, so I could use them in spots to light key elements like the team banners and royal band.”
Claypaky Skylos’ also played a major role, with 44 of the fixtures deployed outlining the pitch of three sides as the main floor aerial effects. “These were clearly visible on camera and produced a nice clear beam with a prism effect sometimes used,” Douglas revealed.
SLS Productions’ Lighting Technical Head on the project, Amal Hariharan, was also impressed with the performance of the Skylos. “They stood out significantly, thanks to their extreme beam intensity, which made them the visual centrepiece for some key show moments,” he commented. “Their IP66 rating gave us full confidence to use them in an outdoor
environment with unpredictable weather, and the Skylos handled wind, dust and rain without any performance degradation.”
Th e rig also included 96 SGM P-5s, which were used to bathe the audience in their respective team colours, 114 Luxibel B Blast Pros around the outline of the stadium at mid-level, used for their bright strobe LEDs on stings during the halftime show, as well as 48 Robe Spiiders for more audience wash and 16 FORTEs connected to a RoboSpot system.
Douglas also worked with the Laser Saga team, ensuring that the lighting blended seamlessly with the lasers to create a “cohesive and impactful” visual experience. “For the trophy lift, I managed both the lighting and special effects –triggering 20 Showven Technologies SPARKULAR JETs and the confetti burst precisely on cue,” he recalled.
Th e project was something of a milestone for Douglas, with it being his first major show operating an MA Lighting grandMA3 using MA3 software. “Initially, it was a little intimidating, but
“The halftime show demanded the most focus and preparation. Programming all the cues and syncing them precisely with the timecode was a major task. You can fine-tune endlessly, but there’s always a sense of tension leading up to that live trigger moment.”
Alex Douglas, Lighting Programmer
thanks to my experience with MA2 and the fact I had four days to program, I was able to adapt quickly,” he reflected. “I also invested in a few MA Tools plugins, which improved my programming efficiency. Once I integrated those, I found MA3 to be extremely intuitive and powerful. I’ll definitely be working in MA3 mode more often.”
Douglas described “finding the right balance” as the most challenging aspect of his role. “It’s sometimes easy to forget when programming in perfect darkness how good the lighting looks compared to when the video screens, projection, lasers and stadium emergency lights are on.
The lighting can easily get lost among all of this,” he reflected, noting how doing less with “slower movements, less colour and fewer chases” ended in a better result.
A fully automated timecoded performance, the halftime show was undoubtedly the highlight of the project for Douglas. “The halftime show demanded the most focus and preparation,” he stated. “Programming all the cues and syncing them precisely with the timecode was a major task. You can fine-tune endlessly, but there’s always a sense of tension leading up to that live trigger moment – you never know what
might happen. That’s why it’s such a relief when everything runs exactly as planned.”
Lo oking back on his first time working with 555, Douglas described the project as “a great experience”. He added: “The 555 team were relaxed yet professional, and I genuinely felt their trust in me to help deliver the show. Their team brought a lot of positive energy.” He also praised the contribution of both SLS Production. “I’ve had the pleasure of working with SLS Production before, so it felt like reuniting with family. Akshay Talele, in particular, was a huge support.”
‘We love pushing boundaries’
Laser Saga was tasked with creating a largescale laser setup for the multimedia show. “We had the challenge of integrating with a precise programming and timecode synchronisation into an overall scenario with the client’s creative teams,” began Laser Saga’s Serge Lomadze, explaining his company’s role on the project.
The Laser Saga team’s process began with receiving the project brief and identifying the budget before conducting a site visit and coordinating with the other stakeholders.
“We then ensured that we were aligned with Creative Director, Luca Taschini before entering the preprograming stage based on a draft animatic from the creating teams,” Lomadze recalled. “Then came kit allocation, logistics and the formation of the final team for onsite works, before the technical setup of equipment and network deployment commenced.”
Laser Saga deployed its LS-NYX40 laser systems for the show. “In total, the show setup had 36 laser systems, controlled by our Laser
Media Server to run the timecoded show smoothly from Pangolin Beyond laser control, all via complex network,” Lomadze described, noting that Laser Saga was responsible for integrating the lasers and supplying all required kit including network infrastructure for the lasers. “Power and support were graciously provided to us by SLS Production,” he added.
With just two days allocated for setup and adjustments, the timeline proved to be the main challenge. “A lot of safety issues needed to be considered, with VIPs, tight security, multiple broadcast cameras and video projectors all part of the project,” Lomadze stated. “All these factors needed to be considered in the design and zone setup to create a visually appealing show and remain well within the safety limits demanded by the venue setup and VIP protocol.”
While the lasers were used sparingly, the significant inventory meant that when they were deployed, they created quite the impression.
“We love pushing boundaries, and a setup of 36 high-power laser systems was one of larger kits to be integrated in the show,” Lomadze noted. “We improve with every show; every show we are working towards making it better, bigger, bolder and pushing the boundaries. We enjoy seeing new requirements coming from clients requesting large-scale setups after seeing this event come to a total success.”
‘Visibility from all angles’
SLS Productions’ video department was tasked with enhancing the visual experience, incorporating a 360° projection onto a central structure, which took the form of a gigantic replica of the King’s Cup trophy in a box. “For the central structure, we deployed eight Barco 32K projectors,” stated SLS Productions’ Video Technical Head, Velmurugan Eakambaram. “An additional four Barco projectors were used specifically for the structure, with two more positioned behind it to eliminate shadowing. This setup ensured seamless 360° coverage and optimal visibility from all angles.”
Rig ging provided a significant challenge, with wind conditions forcing the SLS team to think on their feet. “While hanging the equipment was the initial plan, we opted for ground stacking to maintain stability and safety,” confirmed SLS Productions’ Project Manager, Rahul Mehta.
Eakambaram was particularly pleased with the projection quality achieved with the Barco projectors, as well as the performance of the RTX 4500 graphics card and the Datapath FX4 processors, which “played a key role” in the seamless signal distribution.
‘C ollaborative execution’
SLS Productions’ audio team, led by Audio Technical Head, Arunkumar Narasimhamurthy, provided a comprehensive Meyer Sound PA system to reinforce the existing stadium speakers. A total of 20 PANTHER L, four PANTHER W and six LEOPARD loudspeakers were joined by 14 2100LFC and six 900LFC, ground-stacked to deliver low-end. Audio processing was via five Meyer Sound Galileo GALAXY 816 processors, while MAPP 3D software ensured clarity across the audience. Luminex GigaCore 10 and GigaCore 30i switches helped deliver redundant AVB audio processing throughout the network.
“We have always been part of the DiGiCo ecosystem, with significant investments in
Opposite: 555 CEO, Marc Van Sintruyen, and Showcaller, Charbel Karam; Members of the project team pose pitchside. Above: Technical Producer, Kirill Kurnosov, with CEO, Marc Van Sintruyen, Project Manager, Dmitri Lesnikov, and Creative Director, Luca Taschini; Governmental Relations Officer, Fahad Alotaibi, and Director of Logistics at Ministry of Sport, Thamer Alfalah, with Happiness and Crew Manager, Cindy Van Pollaert; Lighting Programmer, Alex Douglas.
consoles and accessories, so the team didn’t think twice about assigning DiGiCo consoles for this show,” stated Narasimhamurthy, noting the SD12 and accompanying SD-Rack with 32-bit I/O cards that was stationed at FOH, with an Optocore network providing seamless desk-tostage connection.
Complete RF was entrusted to Shure, with Axient and PSM1000 IEMs, while stage monitoring was handled by four Meyer Sound MJF-212 loudspeakers.
For PM Rahul Mehta, the “technical reliability” and “collaborative execution” of the deployment were his biggest source of pride. “Most of all, the teamwork and logistics, smooth load-in, setup and programming that we were able to deliver was especially pleasing,” he reflected.
‘People levelling up’
For 555’s Happiness and Crew Manager, Cindy Van Pollaert, the success of the project was about more than producing an impressive show. “We wanted to showcase what we can
do outside of the world of motorsport,” she explained. “The more we’re working in this region, the better relationships we’re building. We’re serious about bringing in local talents and integrating them within the team, and we’re seeing results from this. We treat everyone as a person and not as a number, and it’s amazing to see people levelling up and growing with us.”
Va n Pollaert expanded on the importance of the human aspect of the project. “You can have as many lighting fixtures and fireworks as you want, but you must have the right balance with the human aspect for an event to be a success,” she said. “Many companies have great creative ideas, but I believe where we make a difference is in the human aspect of working with the 555 team – that’s something we can’t forget when everything in the events world is so demanding.”
For Van Sintruyen, the project was a prime example of the potential of the Saudi market. “Creative teams always have amazing visions about how a story should be told, but it was nice that Ministry of Sport shared our vision and
allowed us the flexibility to amplify the story to its full potential,” he commented. “The opportunities in Saudi Arabia are huge and we are focussed on that. KSA has become one of the leaders in entertainment globally. The ambition is huge, and they want to start right from the top. This allows us to produce shows to a high level. All the best agencies in the world are competing in Saudi and this is raising the level around the world.
“We are a fan-first agency and there are fans all over the world who are being introduced to sport through entertainment,” said Van Sintruyen, giving his final thoughts to TPiMEA.
“The gap between live entertainment and sporting events is becoming smaller and smaller, which is great for our industry and provides exciting opportunities for us all.”
Photos: 555 Live Experience www.555liveexperience.com www.slspro.net www.alexdouglasdesign.com www.lasersaga.com www.groupef.com
The making of Elrow XXL Dubai
Three years into Elrow’s Dubai residency, Festival Director Shiraz ‘Baz’ Baziko shares some insights from behind the scenes of the world’s most colourful party and reveals how Elrow is set for Middle East expansion…
Evolved from a Madrid social club back in 1870, Elrow has developed into a global force on the entertainment and festival scene, with offshoots in Ibiza, London, Las Vegas, Amsterdam and, of course, Dubai. After three years, Elrow XXL Dubai has become a firm favourite among the city’s party crowd, known for its maximalist aesthetic and celebratory vibe.
Someone who has played a key role in bringing Elrow to Dubai is Shiraz ‘Baz’ Baziko, who has been Festival Director for the previous three editions and continues to oversee Elrow’s regional activities through his company, Dubai Dance District.
Af ter a decade working at MTV, Baz got his first taste of Dubai’s events scene when he was brought in to produce a boxing match on the helipad of the Burj Al Arab with Floyd Mayweather in early 2022. “I made some great contacts on that project, and we started talking about how Dubai was
crying out for a proper dance music festival,” he recalled. “I was already in touch with Juan [Arnau, CEO of Elrow] and I brought up the prospect of Elrow launching in Dubai,” Baz added, tracing back the roots of the festival. “Dubai is a city that Juan likes and while he’d done a few shows there in the past, he always wanted to do something bigger, so, I put together a proper proposal and we took it from there.”
Th e first edition of Elrow XXL Dubai took place in February 2023 and, contrary to how things are typically done in the region, Baz and his team implemented an advance presale sign-up phase for the event. “Everything in Dubai tends to be very last-minute, but I’m used to taking a much longer run up at an event,” he explained. “The presale phase was very important for our first year, as it allowed us to gain a greater understanding of the audience very quickly – who is interested in these kinds of events, and what the potential audience size is. From there, even before
we went on sale, we could tweak how we did things to cater to the expected demand.”
As well as establishing audience size, this presale phase also allowed for a lot of important data collection. “The people who signed up in that first year became our core audience, and many of them have remained loyal to us and have come to multiple events subsequently,” Baz revealed. “We know who they are, what they like, and we send them offers, pre-sale opportunities and generally keep in touch.”
Th e three years of Elrow XXL Dubai so far have all taken place in different locations, with the first being held at D3, the second edition held at Media City Amphitheatre and the most recent event taking place at Jubilee Park, Expo City, in May 2025. “Dubai is a city that loves the first of anything, so, the challenge going into years two and then three was how to maintain the momentum, keep it special and different,” he explained. “Moving venues has benefitted us, and with Elrow we have the luxury of the event having a different theme every year, so each year is distinct from the previous one.”
As well as the venues changing through the years, the line-up has also varied, going from the likes of Idris Elba and Sonny Fodera in year one to a huge headline set from Fisher in year two, and a varied lineup including Kasia, Ilario Alicante and Franky Rizardo for 2025. “I’m personally more of a fan of the balanced lineup, because Elrow is an experience in itself,” Baz shared. “The artists are important of course and we couldn’t do it without them, but the atmosphere, the spectacle and the carnivalesque nature of an Elrow show is what people are coming to see.”
On e area that “has come on leaps and bounds” over the course of the past three years is the festival’s VIP offering – something that is always key in the Middle East market.
“Our VIP tables did incredibly well this year and I think that was in part down to how we designed the site, offering various options, both for those who wanted a perfect view of the stage and for those who wanted to be up close and personal with the DJs and part of the dancefloor,” Baz commented. “That really helped kick the event forward from a commercial perspective.”
Another commercial success from the 2025 edition came from partnerships, which Baz reported as being “brought to life” this year. “We had some great activations with brands including Bershka Music, Noon Food and African & Eastern, and this is the fruit of longevity in the market,” he explained, also acknowledging the importance of the ongoing partnership with Dubai’s DTCM (Department of Tourism and Commerce). “The fact that the event has now run successfully over multiple years means it’s easier for brands and government entities to have confidence that we’re here to stay and worth working with long term.”
While Baz retains an interest in several projects throughout the year, including Terra Solis by Tomorrowland, which he represents as Director of Music and Business Development, he’s already casting his mind towards Elrow XXL Dubai 2026. “We’ve learned something new from every event, and we use all these learnings to inform decisions for the following year,” he reflected.
“We know that Elrow is a brand that people like and it’s extremely effective in creating these huge moments and a unique celebratory feeling among the audience,” Baz concluded. “I always walk around the site and take it in from every vantage point and when that confetti blast goes off, the atmosphere is off the hook.
“You feel immersed in the aura of Elrow. This hasn’t faded in the past three years – it’s only grown – and it’s exactly what we get into the industry for.”
With Elrow now this year’s biggest show in Ibiza, and the brand also confirmed to be expanding into further Middle East territories before the year is out, it seems that the confetti blasts and streamers will be continuing for a long time to come.
Photos: Elrow www.elrowdubai.com www.dubaidancedistrict.ae
Elrow XXL Dubai 2025 took place at Jubilee Park, Expo City, in May 2025, following the festival’s 2023 debut at D3, and the second edition in 2024 at Dubai Media City Amphitheatre.
The importance of saying ‘no’
With Pop Up Global celebrating two years since its formation in the Middle East, Managing Director Amy Morris sits down with TPiMEA and reflects on what she’s learned on the journey so far…
The first time TPiMEA met Amy Morris, the Pop Up Global Managing Director was fresh off the boat, having taken her successful UK-based company and expanded into the UAE. Back then, Morris talked about the importance of being selective and waiting for the right opportunities, and now two years on, her belief in that ethos is stronger than ever. “Saying ‘no’ to requests has been crucial in our development,” she reflected. “It’s resulted in Pop Up Global now being known for working on only the best
projects. We’re now getting RFPs for projects that we would never have been considered for had we just taken everything that was thrown our way when we arrived.”
In the two years that Pop Up has been in the UAE, the company has worked with the likes of Miral, Majid Al Futtaim and Emaar to name just a few on some of the country’s most prestigious projects. “It’s been an incredible start, and we believe it’s only going to get better, as now more companies and people understand exactly what we do and what we can offer,” she stated. “The opportunities coming to us now are a result of the hard work we’ve put in so far.”
On the subject of specifying exactly what Pop Up does, Morris is unequivocal. “People once thought that we were an entertainment agency that has a roster of acts to pick from, but now I think it’s being understood that we are not that at all,” she stated. “We are a production house. We create entertainment from scratch, working with clients to plan and produce entertainment that adds a genuine value. There are plenty of entertainment agencies here that do a great job, and we’re happy to work with them when an aspect of the brief falls outside our scope.”
Return on investment (ROI) is always demanded, and Morris explained how Pop Up’s offering can bring a major financial benefit in the long-term. “You’re never going to see a direct ROI immediately because that’s not how investing in anything works,” she outlined. “However, in the long term, the ROI is great, because entertainment creates emotions; emotions create memories; and memories make people return to a destination time and time again.
“If you have a strong entertainment product, inevitably footfall will start to see an uptick, dwell time will increase, the venue will gain more social media traction, and a better reputation,” she added. “The stronger the entertainment product, the more return you’ll see. Our key clients are starting to understand that.”
Of course, it hasn’t all been plane sailing for Pop Up, and the Managing Director wasn’t afraid of admitting the steep learning curve that she encountered when the company entered the Middle East market. “In some ways, it’s gone exactly as I had planned it, but in many others, it’s been completely unexpected,” she shared. “I came into Dubai quite naively thinking that it wouldn’t be very different to the UK, and it would be easy to replicate our successful UK business here, but there are some significant differences that must be considered.”
One major difference Morris encountered was the amount of stock placed in personal relationships within the
business setting. “Relationships matter everywhere in the world, but they are even more important here,” she said. “As a new company in the region, it was hard to earn people’s trust. However, the upside of that is that now we have built some strong relationships, we’re seeing the benefit.”
Pop Up’s progress was recognised recently as the company took home the Best Employer of the Year <100 employees at the Middle East Event Awards. “I feel incredibly proud to win that award because Pop Up’s culture is the thing I’m proudest of. To be recognised for that within the first 18 months of us being here was massive,” Morris reflected, sharing some of the initiatives that she believes contributed to the win. “All of our staff get unlimited holidays. They all get access to a free anonymous therapist. We have a ‘fun fund’ where our staff get treated to activities and different things throughout the year. It’s not just something we talk about – it’s something that we live by every day.”
Alongside UAE projects, Saudi Arabia is a major focus for Morris and the Pop Up team. “What I love about Saudi Arabia is the country’s strategy for Vision 2030 is focussed heavily on sports and entertainment,” she commented. “The leadership is very knowledgeable, and they really value high-quality entertainment, which aligns perfectly with what we can deliver.” While Morris remained tight-lipped on future
work in the Kingdom – “I’m under three different NDAs, for three different projects,” she shared – it seems more likely than not that Pop Up Global will be playing a major role in Saudi’s entertainment offering. “Again, we’re being selective about who we work with in Saudi Arabia. Saying ‘no’ to so many things has led us on this path, and it has enabled us to come into contention for the really high-quality, large-scale projects that we’re now being considered for.”
Lo oking ahead, Morris shared international expansion plans for the popular festive activation, The Grotto, which it delivered in both the UK and the UAE as part of the Creative Events Collective alongside Encore Lifestyle. “We want to work with IPs and brands that genuinely care about entertainment,” she added. “That might only be a select few clients, but the key is to keep quality high and continue to deliver the events that are rewarding, and we enjoy.
“We’re a small team of seven, and I don’t have any plans to grow much bigger,” she concluded. “I don’t have this overarching end goal because the world moves so fast, and everything can change in the space of a year. I have a plan for the journey, which is to remain small and continue working on projects that we love.”
Photos: Pop Up Global www.popup-global.com
Colour Sound commits to KSA
The proudly independent lighting and video rental outfit looks to place a greater focus on training and talent development, having established a presence in Jeddah.
Since the mid-1990s – a time when Colour Sound Experiment first had touring clients and freelancers working across the US – the rental outfit has been open about a desire to expand internationally. With no outside investors to answer to, the latest milestone in the company’s rapid expansion is Jeddah.
The journey from fledgling rental house to major name on the global stage has been marked by pivotal decisions and bold investments. One of the earliest watershed moments came in 1990, with the company’s first move into intelligent lighting. This was followed by the addition of LED screens in 2009. Over the past five years, Colour Sound Experiment has taken significant strides internationally, with the development of specialised departments helping to deliver consistency and quality across borders – with Saudi high on the list of priorities.
“We started looking into it around 1996 but couldn’t really afford to do it, so the dream remained dormant until COVID-19 provided a 14-month-long break,” Colour Sound Experiment Managing Director, Haydn Cruickshank said, reflecting on the company’s growth in the Middle East. “Although unwanted, the grounding of live events provided an opportunity to think about
business strategy and opportunities properly.” Colour Sound Experiment soon pitched for involvement in MDLBEAST Soundstorm in Riyadh. “We did a lot of reading up about what was going on in Saudi and the objectives of the festival, and we won lighting and video supply for four of the seven stages,” he recalled.
Having landed the gig, in Cruickshank’s words, the team “took a punt” – opening a subsidiary, establishing a warehouse in Jeddah, and shipping 18 containers of technical equipment overseas in a bid to secure further work in the region. “We chose Jeddah rather than Riyadh as it has a more relaxed vibe, a bit of an underground rave scene and is undergoing huge investment and development,” he said, explaining that what initially drew the company to the location was Saudi Arabia’s Vision 2030. “Bringing culture in the form of music and sport to the region, as well as a cultural liberalisation, very much appeals to us and fits our ethos.”
As h as been widely documented in the pages of TPiMEA, MDLBEAST has played a significant role in Saudi Arabia’s cultural revolution in recent years. “They are responsible for many of the international music acts that perform in the country, and the events they create also promote
respect and tolerance,” Cruickshank noted, having collaborated on several projects with MDLBEAST outside of the Soundstorm festival.
“From Saudi’s first nightclub to a purposebuilt arena in Jeddah, through to shows in a haunted hospital and 28 back-to-back shows for the Qatar World Cup; they are a very exciting company to work with, as they are creatively driven and have a real vision of exactly what they want to achieve.”
As with any region, training and talent development are key to growth. MDLBEAST offers training initiatives and schemes spanning a broad range of skills in the live entertainment and events sector – programmes that are supported by Colour Sound Experiment staff. “We have our own in-house training, too, both locally and in the UK, to try and build and upskill our own in-house roadies,” the MD reported.
Wh ile Saudi still has virtually no domestic event labour force, that is slowly beginning to change, according to Cruickshank. “This is one of our key objectives,” he said, boldly.
“S audisation is very important to us. The objectives of the government, and wider royal support for the events and live entertainment sector in trying to build a sustainable, domestic industry, are mutually beneficial – so we’re really trying to support, employ and train Saudi talent. Around 40% of our workforce in Jeddah are Saudi nationals.”
Loo king ahead, the Colour Sound team remains optimistic about what’s to come –though not without an awareness of current market pressures. “We’re very optimistic about the year ahead,” Cruickshank explained. “However, on the supply side, the current tariff and trade war certainly presents a challenge for all rental companies and most manufacturers. That said, we view this as short-term and relatively simple to mitigate.”
In closing, Cruickshank shared his ambition to contribute to the growth of live entertainment in Saudi Arabia and across the broader Middle Eastern market by building a domestic labour force of skilled events professionals and continuing to bring and enforce working practices borrowed from the UK and US.
“I ’d love to see the Middle East integrate with the touring and festival circuits of Europe and the US,” he said, enthusiastically. “It would be great for the region and, due to the seasonality of events there, could fit into the calendars of touring acts well.”
Photo: Joe Okpako www.coloursound.com
Colour Sound wins Lighting Rental Company of the Year at the TPi Awards 2025.
Previs Production
The team behind iRIG launches a new company aiming to deliver ‘data-driven precision’ to take the guesswork out of event production.
Going into a project in any venue, the starting point is always acquiring an accurate set of drawings to establish the parameters within which the production must fit. However, in some of the more obscure or underutilised venues throughout the GCC, it’s often the case that these drawings either do not exist, are inaccurate, or are lacking in the level of detail required to plan a large-scale production. This is exactly the issue that Previs Production aims to overcome.
“From our decades of experience, we know that there’s often a lack of meaningful information about event venues, both in terms of precision and content,” commented Previs Production’s Peter Heybutzki.
“For us, it’s crucial to understand the structural makeup of a venue – for instance, the ceiling structure and the availability of rigging points, or the possibility of creating them. Often, CAD plans provided to us are far from reality or overloaded with information that’s of little use to our trades. This is precisely where we come in.”
Of fering what Heybutzki describes as ‘datadriven precision’, the company utilises the latest in measurement technology to capture the venue with millions of measurement points using a LiDAR scan to create a precise snapshot of any venue. “We then use this data to generate meaningful 2D or 3D plans,” he explained. “Furthermore, we offer a comprehensive planning service, from concept and design to out-of-the-box ideas through the creation of usable trade plans from the outset, always based on feasibility within the laws of physics.”
This provides Previs Production’s clients with transparent insight as well as an overview of the status and, consequently, their budget at any time. “This prevents unpleasant surprises regarding feasibility in relation to the budget,” Heybutzki added. “The safety of visitors, guests, and performers is always our top priority.”
As well as nailing down the structural elements, another important aspect to Previs Production’s offering is in previsualising the look and feel of an event in advance. “We can realistically present the entire show – lighting, video, SFX, drones, or fireworks – beforehand, as an image or animation,” Heybutzki noted. “This
is not only helpful for fulfilling the client’s wishes but also for saving valuable time at the venue. When each trade enters the setup phase with precise preparatory work, it’s a crucial factor in saving time and money, ensuring a relaxed event execution, and avoiding unnecessary stress.”
Th e company also offers the option of conducting pre-programming in-house. “Thanks to our extensive industry network, we can assist our clients in advance, regardless of which console, fixture, or media server is ultimately used for the execution,” Heybutzki said. “In short, with Previs Production, everything is ready to bump in. Precision with passion.”
Photo: Previs Production www.previs-production.com
Previs Production’s Peter Heybutzki is aiming to take the element of guesswork out of event production.
Sets Drapes Screens
The company delivering set-building excellence across the African continent.
In the world of live events, creating memorable experiences hinges on the blend of technical expertise and creative design. Sets Drapes Screens (SDS), the set-building subsidiary of Gearhouse South Africa, aims to be at the forefront of this fusion, delivering tailored set solutions that look to bring events to life across the African continent.
SDS began with a late-night conversation between Gearhouse South Africa’s Directors and then-Project Manager, Pieter Joubert, about a gap in the market. While local companies focussed on exhibition sets, few addressed the scale and complexity of live events. Their vision: a Gearhouse-affiliated service, led by Joubert, to better serve clients and raise industry standards.
Combining the deep set-building knowledge of co-Director, Craig Pretorius, with Gearhouse’s vision enabled SDS to define a unique space in the market as the first company in South Africa to offer both technical supply and in-house set construction. In its early years, SDS invested in state-of-the-art CNC machines and spray booths, and built a versatile team.
Towards the end of 2008, SDS integrated the Cape Town-based Scenic set building division,
bringing in Branch Manager, Jaques Gunning, and Branch Operations Manager, Burger Smit. This not only broadened SDS’s geographical reach but also enriched its talent pool.
Eight years on from establishing the company, the untimely passing of set-building veteran, Steve Collins, in 2015 marked a challenging period for SDS. Collins’ three-and-a-half years of consultancy had infused the company with decades of wisdom and experience, laying a solid foundation for future endeavours, and the arrival of David Smith as Branch Manager brought renewed energy and expertise, with his carpentry skills complementing Joubert’s rigging and scaffolding knowledge.
Over the next five years, the company more than doubled in size, excelling in studio sets and introducing innovations such as South Africa’s first borderless dual-view screens. The company also has a comprehensive stock of fire-retardant drapes for hire.
“While we have always invested in the technology and machinery, what also came after 2015 were dedicated drafting, operations, and project teams,” explained Joubert. “We borrowed from the exhibition industry model but tailored it
to fit the live event industry and the unique setup of Gearhouse Group.”
SDS plays an integral role within Gearhouse Group, offering services aligned with the group’s broader technical capabilities. Under the guidance of Ben Swanepoel in Johannesburg, Burger Smit in Cape Town, and Pieter Brink in Durban, SDS delivers everything from fully customised set manufacture and modular stock solutions to bespoke furniture, premium drapery, and screen rentals.
As ide from its custom set-building offerings, the company has established itself as a reputable supplier of high-end drapery services, offering a diverse range of drapes, kabuki and festoon systems. With a focus on safety, SDS ensures that all draperies meet international safety standards while maintaining a luxurious aesthetic.
Over the years, SDS has delivered for a range of high-profile events – from international summits and award ceremonies to brand activations for Johnnie Walker, Heineken, Don Juloi and L’Oréal along with major sporting events like the Africa League, FIFA, FIFA World Cup Opening Concert and IPL and entertainment productions including 17 consecutive Bidvest Chairman’s Evenings. SDS has also played a supporting role in world-stage moments such as the BRICS meetings, Mining Indaba and FIFA conference in 2013.
Alongside its work on live events, SDS has earned a strong reputation within the TV industry, with the company’s capabilities illustrated by the simultaneous live broadcast of six SDS-built studios – including SuperSport Studios 1 and 6, Deal or No Deal Wheel of Fortune Newsroom Africa, and The Masked Singer –all of which took place on a single evening.
Lo oking ahead, SDS is poised for further expansion. In late 2025, the Durban branch will introduce custom-built flight case manufacturing, offering robust, precision-designed transport solutions for technical equipment.
“O ur staff composition mirrors South Africa’s rich demographic tapestry and skillset,” Joubert concluded. “Our teams also integrate seamlessly with the broader Gearhouse operation.
Gearhouse has an intrinsic understanding of international standards, whether for corporate events or concerts, large or small. Being part of the Group empowers us to meet global expectations and deliver world-class services with impeccable finishes.”
Photo: Sets Drapes Screens www.setsds.com
Panasonic PT-REQ15
PRO LAB’s Video Brand Manager, Edgar Pulido, talks through the benefits of Panasonic’s flagship REQ Series projector.
Where does the PT-REQ15 sit within Panasonic’s projector offerings?
With its powerful 15,000-lumen output, the PT-REQ15 delivers the highest brightness in the REQ Series – a clear step up from the REQ12, REQ10, and REQ80, all while maintaining the same compact and lightweight design that makes the entire range so versatile and easy to install.
It ’s built for impact, whether you’re lighting up an auditorium, staging a theatrical show, creating an immersive exhibit, or powering a live event. The REQ15 delivers crisp 4K resolution (with Quad Pixel Drive on), fully sealed optics, and rock-solid durability. It’s made to handle high-pressure environments like projection mapping, 360° setups, broadcast shows, and even fast-paced live gaming with ease and reliability.
What are the main features that will benefit end users?
The Quad Pixel Drive converts native WUXGA (1,920x1,200) into true 4K (3,840x2,400) using two-axis, 240Hz pixel-shifting/drive, delivering crisp, smooth 4K visuals without pixel artifacts. The projector also has ultra-Low 0.6s latency
and 240Hz support, making it perfect for fastaction video and esports.
Th e sealed, dust-protected (IP5X) optical engine comes with a 20,000-hour lifetime and redundant laser diodes ensure continued brightness if one laser fails, while the lightness and compactness increase portability. It delivers full brightness on AC 100-240V power, suits new optional lenses with throw ratios from 0.308:1, ET-FMP50 Series media processors, and function boards for the Intel SDM standard-compatible SLOT to support AVoIP transmission.
Th e REQ15 Series supports 360° projection for mapping on floors, walls, and 3D objects.
A built-in gyro sensor shows pitch and roll changes on the OSD, allowing installers to align the projector angle accurately without needing a second person.
How can the Panasonic PT-REQ15 integrate with HIVE technology?
At the heart of Panasonic’s PT-REQ15 projector lies a powerful integration capability with HIVE’s Beeblade modules, made possible through support for Intel SDM. This allows HIVE’s media playback and control technology
to be embedded directly into the projector, removing the need for external video players and drastically reducing setup complexity and hardware clutter.
The result is a streamlined, plug-and-play system that centralises projection mapping, edge blending, and content playback all within a unified HIVE-controlled environment. This deep integration empowers creators with intuitive control over even multi-projector installations, delivering precise geometry alignment and synchronised visuals without the usual tangle of cables or auxiliary devices.
A striking real-world application of this innovation was revealed at the ISE exhibition in Barcelona, where the Global Teleport experience transported visitors through a series of immersive environments using multiple PT-REQ15 units.
Thanks to HIVE’s embedded Beeblade technology, the installation delivered seamless transitions between continents, dynamic visuals, and synchronised content, demonstrating how compact integration and centralised control can elevate storytelling to dazzling new heights.
What kind of support does PRO LAB offer to customers investing in Panasonic products?
At PRO LAB, we offer extensive support on every phase for those looking to invest in highquality projection systems such as the PTREQ15. From the very start, our team is here to support you with system design, planning for your workflow, and choosing the appropriate lenses and accessories for your project. We offer training on remote management tools and integration with platforms like HIVE to ensure you maximise your setup’s potential.
Af ter installation, we continue to support you with services tailored to your needs, fast troubleshooting, and access to spare parts when needed. Every new Panasonic projector purchased comes with a standard three-year or 20,000-hour manufacturer warranty covering the light source and key components. If any issues arise, our team is ready with repair services and replacement options to keep your system running smoothly. Whether it’s a complex setup or quick postsales support, PRO LAB is your trusted partner in the region, committed to dependable service and long-term support.
Photo: Panasonic www.eu.connect.panasonic.com www.prolabllc.com
Disguise X1
As Disguise launches its new portable design software, Chief Product & Technology Officer, Raed Al Tikriti, explains how this is set to benefit Middle East users.
What is Disguise X1?
X1 is a game-changing new software-only solution that will allow creative teams to design, map and deliver their visual content using only their laptop or hardware of choice – no need for Disguise servers. With one 4K output, X1 will allow users to run small to medium shows and experiences wherever they are, offering ultimate portability, with no compromise on power.
What are some of the features that will benefit end users?
X1 users will be able to plug their licence key into their laptop to instantly access the latest version of Designer. Show visuals can then be imported into Designer from any real-time graphics tool, including Notch, Unreal Engine, TouchDesigner, Unity and more, thanks to Disguise’s RenderStream protocol. The software also supports all major tracking and automation systems, including Kinesys, TAIT Navigator and PSN.
To h elp users hit the ground running, X1 includes a ready-to-use and ever-expanding content pack, featuring high-impact Notch and TouchDesigner effects – from pulsing DJ-style visuals to beautifully crafted motion looks, all created in-house by Disguise’s Creative Services team. Each look will also be rendered
as a high-quality video ready for seamless playback and looping, giving users maximum flexibility to elevate every show, however they choose to deliver their content.
X1 also enables users to preview the content on a 3D mini-replica of their stage or environment. Users will also benefit from the Designer timeline – a feature that enables users to schedule and edit all the visuals needed to run their show or experience live.
If more powerful hardware is required for a larger production, show files can be transferred between X1 and a Disguise server easily without any need to rebuild.
Why is X1 suited for the Middle East?
Disguise has powered the largest shows, experiences and attractions in the Middle East for the past 20 years, from the Burj Khalifa to MDLBEAST Soundstorm, but the industry is evolving – smaller productions now want to make the same visual impact as their main stage counterparts, and creators need the flexibility and freedom to make that happen.
We expect strong demand in the region. With the Middle East increasingly emerging as a hub for touring, location-based experiences, and trade shows and expos, there are many ways for creative teams to benefit from the flexibility of X1 – from powering
live performances at festivals, to projection mapping onto buildings, and driving corporate brand activations. Whether it’s LED or projection, no display surface is too complex. With the addition of X1, the Disguise ecosystem can now cater to the Middle East’s full spectrum of projects – from large-scale megaprojects such as NEOM and Qiddiya, through to smaller shows touring around the region or pop-up experiences that don’t have space for server racks. Clients now have the flexibility to scale their production up or down seamlessly with Disguise, wherever their vision takes them.
What kind of product support can Middle East-based X1 users expect?
With X1, users will always have an active licence to access the very latest version of the same software used to power visuals on 95% of the world’s top-tier live shows. An X1 licence instance enables video playback at up to 4K DCI resolution, while an optional second X1 licence can be used for 1:1 redundancy, with options for manual or auto failover. X1 users will also have access to the same level of expert 24/7 support as other Disguise users –wherever they are in the world.
Photo: Disguise www.disguise.one
Rock-it Cargo opens new facility
The new DWC Free Zone location paves the way for more efficient operations and cross-business cooperation across the GCL verticals.
Rock-it Cargo Middle East has moved to a brand-new, purpose-built facility at Dubai World Central (DWC) Al Maktoum International Airport Free Zone. The company also now operates its own fleet of trucks, adding control, speed, and flexibility to time-critical logistics.
Th e new 85,000 sq ft premises provides dedicated spaces for each of the Global Critical Logistics (GCL) verticals – DIETL (fine art), Dynamic International (film and TV), CARS (highvalue vehicles), as well as Rock-it Cargo.
“The move has been fantastic for us because it gives us all the space we need,” explained Rock-it Cargo Middle East Manager, Bob O’Brien. “It also means that the whole team is together under one roof, which is very helpful when it comes to working on cross-vertical projects.”
With Emirates confirming last year its intention to shift its operations from its current base at Dubai International Airport to the new DWC Al Maktoum Airport within the next decade, the move signals the long-term approach of Rock-it and the wider GCL Group in the region. “This moves underlines our long-term goals and commitment in the region with all eyes on the future growth of our ME business,” O’Brien stated.
The extra space and prime location mean that Rock-it Cargo now has the ability to receive intact shipments and pallets directly from airline to the warehouse. “This is a huge benefit, which saves time and ultimately keeps our costs down, meaning we can pass these savings onto our clients,” O’Brien added. The company has also invested in its own fleet of seven-tonne and
three-tonne trucks, giving it more control over local and regional movements.
“Owning our trucks makes day-to-day operations smoother, but it also shows our longterm commitment to growing in this market,” O’Brien commented. “It gives us flexibility when timing is critical and allows us to keep things moving without delay.”
Th e move follows hot on the heels of Rock-it Cargo’s UK office growth, and while the Middle East operation doesn’t necessarily have the same requirement for long-term storage currently, the ability to store and process equipment in the short term is hugely beneficial.
“D ubai has become a real global hub, and we have a lot of equipment passing through,” O’Brien added. A year on from formally opening Rock-it
Opposite: The new Rock-it Cargo Middle East facility signals the company’s long-term ambitions in the region.
Cargo Middle East, GCL continues to roll out its ambitious expansion plans.
Middle East Managing Director of GCL, James McSweeney, commented: “One of GCL’s goals over the past year was to have all the companies operating efficiently under the one roof, and moving to this fantastic new space facilitates that perfectly.”
With the footprint now firmly embedded in the Middle East and possible regional expansion to Abu Dhabi as well as exciting plans for Saudi Arabia through Rock-it Cargo’s partnership with SAL, it seems that Rock-it Cargo and GCL have their sights very much set on long-term success.
Photos: Rock-it Cargo www.rockitcargo.com www.gcl.global
Gallowglass launches in Saudi Arabia
General Manager KSA, Turki Alahmadi, looks ahead to an exciting future for the new operation.
Back in late 2024, TPiMEA reported on Gallowglass Group’s ambitious new training initiative, aiming to revolutionise the future Saudi Arabian workforce [TPiMEA #51]. The company is now taking its involvement in the Kingdom to the next level, with the formal launch of Gallowglass KSA, headed up by General Manager for the Kingdom of Saudi Arabia, Turki Alahmadi.
“We believe that this is the right time for Gallowglass to have a presence in KSA as the industry is growing and accelerating at speed here,” Alahmadi began, explaining the rationale
behind the expansion. “We are happy and excited to contribute to Saudi Arabia’s Vision 2030 and prepare to have a real impact on the Asian Games in 2027 and Expo in 2030, as well as the thousands of other events taking place here.”
With nearly three decades of experience in the UK and mainland Europe, Gallowglass has a wealth of knowledge that Alahmadi and his team will be able to call upon. “From major sporting events to film and television and from festivals to exhibitions, Gallowglass has always been at the forefront of excellence and innovation, and now we have brought that range of services to
support our Saudi clients,” the GM commented.
“The company’s vision and goals resonated with me, and I could easily identify with these ambitions,” Alahmadi added when asked what attracted him to the position.
Ce ntral to the Gallowglass KSA vision is the training and development of Saudi nationals. “Our plan is to have a 100% Saudi workforce at Gallowglass KSA several thousand strong, which will be quite some achievement. We are working with some local programmes and collaborating with the government and others to reach this goal,” Alahmadi revealed.
“It’s a key requirement that our Saudi staff are able to benefit from the knowledge we have acquired over 30 years,” he continued.
“Consequently, all of our people will benefit from training and qualifications just as our people do in the UK and elsewhere. We also intend that a selected number of our Saudi recruits will spend time in the UK undergoing further training.”
Alahmadi’s immediate task is to “educate the Saudi market”. He stated: “We must build awareness that a quality option exists that offers a trained, motivated and well-led young Saudi resource, which will also prove to be more costefficient than current options, as Gallowglass has proven time and again over 30 years.”
Lo oking ahead, the GM hopes to see Gallowglass expanding through the Kingdom to cover all the major cities in KSA. “This resource should also be exportable, servicing all the other event centres around the Gulf and beyond,” he said, looking ahead to what promises to be an exciting future for the company.
Photo: Gallowglass KSA www.gallowglass.com
Aurras Group invests in grandMA3
The company’s new MA Lighting grandMA3 light becomes the first to be permanently based in Cape Town.
Cape Town-based Aurras Group has continued its investment in MA Lighting, adding a grandMA3 light to its existing grandMA3 onPC Command Wing and grandMA2 onPC Command Wing and onPC setups.
Le d by Justin Heyman and Gareth Aitken, who merged their respective companies, TechX and Output AV, to form Aurras Group in 2023, the company works across a range of disciplines, including lighting, audio, video and AV, power, staging and rigging.
A lighting programmer by trade, Heyman has a long history with the MA platform, and decided to stick with grandMA3 due to its repeated appearance on technical riders. “All the touring LDs know the system, and as we want to service our shows and clients to the highest possible standards, it was a natural step on every level to get onboard with grandMA3,” he commented.
While other major South African rental companies also have grandMA3 available, their consoles will tend to move around the country to where they are needed, but the Aurras desks will stay in Cape Town to serve the plethora of local shows and events.
Aurras’ lighting department is headed by Julian Schouw, who, together with all their LDs, programmers and techs, was consulted by Heyman and Aitken before making the purchase and was an integral part of the decision-making process. Support from the MA Lighting’s Southern Africa distributor, DWR, was also important when considering the eventual purchase.
Au rras typically services up to 20 shows and events a week of varying sizes including DJs, Afrikaans festivals and music shows, and when the grandMA3 consoles are not used on the company’s shows, they will often be out on cross rentals. “It’s been a brilliant investment so far,” noted Heyman. “The consoles are out virtually all the time.”
Photo: Aurras Group www.dwrdistribution.co.za www.malighting.com
3DB Event Production host its first Industry Golf Day
The inaugural 3DB Industry Golf Day brings together friends, partners and industry professionals for a day of golf at Jumeirah Golf Estates, Dubai.
Off-site industry days provide a rare opportunity to step away from the day-today intensity of deadlines and deliveries, and instead focus on connection, shared insight, a little relaxation, and some light-hearted competition – and with its recent Industry Golf Day, 3DB provided exactly that.
The event brought together a diverse cross-section of companies that work behind the scenes in making the region’s major events happen throughout the year.
Sponsoring the event was Ogma Safety, Aggreko, DNA Event Services, All Events Services,
Rock-it Cargo, High & Wired, 3 Below, TPiMEA Magazine, Heineken, Hello! Social and Dubai Golf.
“It was great to welcome so many friends and contacts to Jumeirah Golf Estates for the first 3DB Industry Golf Day,” enthused Jamie Watkins, Sales Director, 3DB Event Production. “On behalf of 3DB, I must thank my colleagues for their support and pay special mention to all the sponsors for their help and input into making the day a massive success.
“This was a lot more than just a social outing; it was a way to highlight the collaboration and mutual support that underpins the live events
world, and we couldn’t have been happier with how the day went.”
Attending on behalf of TPiMEA was MONDO-DR Editor, Todd Staszko. “Credit to 3DB for planning and executing such a well-run event,” he commented. “Their attention to detail and understanding of what makes the events community tick was evident.”
Shane Manning, Managing Director, High & Wired Events, said: “When Jamie first reached out to find out if we were interested in joining them to host a golf day, it took me less than two seconds to say ‘Yes!’.
“I n this industry, it’s always difficult to find that time to meet up, but I knew that this was the kind of event that many of us wanted and needed. The vibe of the day was perfect, and as long as Eddie and Jamie keep asking us, we’ll be the first one on board – whether it be golf, go-karting, or, dare I say it, a cycling event – I’m sure there is a handful of people cursing that suggestion!”
JJ Trichardt, Founder and Managing Partner, All Events Services, added: “It was a perfect swing with industry peers that drove success both on and off the course; here’s to many more rounds of innovation, excellence, and partnerships that go the distance.”
Adam Rhodes, Event Sector Leader at Aggreko, credited the 3DB team for the “huge” effort that went into organising the event. “It’s a fair amount of work required to bring it all together, and it couldn’t have gone much better,” he stated. “There was a nice mix of people from the industry, and we had the opportunity to showcase some of our battery and solar technology, providing energy to a Heineken bar on the course and the afterparty. Overall, it was a perfect environment to spend time with everyone that you see so often but never get a chance to catch up with properly. Hopefully, it becomes a staple in the events calendar.”
Bob O’Brien, Manager Middle East, Rockit Cargo, added: “Rock-it Cargo Middle East is delighted to support this event and industry day out. The industry in this region needs an event like this where our colleagues and clients have a rare opportunity to socialise and network together.
“Live events in the ME region is a very challenging industry, and it’s important we can take an occasion like this to mix business with some fun. We were delighted to assist and be able to sponsor accordingly, and we look forward to always being a part of what I think will be an annual event in our industry calendar.”
Photo: 3DB www.3db-dxb.com
Ovation invests in L-Acoustics
The company adds L2 to its inventory, supplied by NMK electronics.
Ovation has strengthened its dry hire capabilities by adding the L-Acoustics L2 system to its arsenal.
The purchase comprises 12 L2, four L2D, and 32 KS28, supplied through the manufacturer’s long-standing partner, NMK Electronics.
Ovation’s inventory already includes 5XT, Syva, and Kara II. “We have always believed in investing in technology that stays relevant for the next decade,” said Kevin Fernandes, Director, Ovation. “After extensive research and deliberation, the L2 checked every box – it’s riderfriendly, future-ready, and designed to meet the highest expectations in the live production space.
“As a dry hire business, it’s vital that we invest in widely recognised, in-demand gear,” Fernandes added. “The L2 system not only strengthens our current offering – it helps us attract new opportunities across concerts, touring shows, corporate experiences, and more.”
With many K2 systems already present in the region, Ovation aimed to differentiate themselves by choosing the cardioid-enabled L2, designed for tighter setups, faster load-ins, and premium sound performance.
“L 2 is the evolution of our iconic line arrays,” explained Cyril Mattar, Regional Manager, L-Acoustics. “It uses the latest technologies with cardioid built-in, allowing rigging and derigging to happen extremely fast which makes all of our rental partners more efficient on site. Its significantly smaller footprint also means more units can fit in a truck, further increasing operational efficiency. We are thrilled to see Ovation adopt the L2.”
Jes se Dullabh, Business Unit Manager, Pro AV Division, NMK Electronics, said: “We are thrilled to supply the L-Acoustics L2 system in Dubai to a valued partner like Ovation. Our relationship spans decades, and seeing it grow through such cutting-edge projects is incredibly exciting. The L2 system will now power some of the region’s most important shows and concerts.”
Photo: Ovation
www.nmkelectronics.com
www.l-acoustics.com
www.ovationdubai.com
