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Istanbul Festival 2026 TPiMEA Awards

Marwan Pablo

CONNECTME26

Adriatique at Petra

The industry’s favourite night out levels up with a huge show at Coca-Cola Arena

The Alexandria-born-and-bred rapper makes a triumphant return to his hometown

A technical showcase where the event becomes the demonstration

Jordan’s iconic UNESCO World Heritage site is transformed into a vibrant music venue

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INTRODUCTION

Welcome to TPiMEA

Peter Iantorno Editorial Director

As someone who is infinitely more comfortable backstage than on stage, the thought of striding out into the spotlight to deliver an opening speech is one that would usually terrify me. However, as Fran and I waited in the wings at the Coca-Cola Arena preparing to open the TPiMEA Awards, it dawned on me that this wasn’t like most shows. Rather than a venue full of strangers with no emotional connection to the event, we were talking to a room full of friends, who were all supportive and fully invested in the success of the evening. This feeling of support is something that, for me, defines this year’s TPiMEA Awards. Right from the early conversations with the Coca-Cola Arena team as well as our Technical Partner, A Loud Minority, we experienced firsthand as an event organiser the kind of creative flair and technical excellence that I so often write about within these pages. It was clear from an early stage that this show would be a massive step up from anything that we had done previously, and with every new supplier who joined the party, that feeling only grew. As anyone who was in the room with us will attest, this year’s TPiMEA Awards delivered on a whole new level technically – and that is thanks to the combined efforts of many, many people. All of this year’s incredibly deserving winners are listed on page 8, with a full technical rundown of exactly how the event came together on page 38. Away from the TPiMEA Awards, our cover story this issue comes from Turkey, with the fifth annual Istanbul Festival. Taking its design cues from Ottoman architecture, the main stage hosted an eclectic lineup including Central Cee, Tiësto, and ATEEZ. Read our interview with İbrahim Kandemir Design Studio, which created and production managed the stage, on page 54. Elsewhere in the issue, we speak to the creative team behind Egyptian trap star, Marwan Pablo (page 18), we report from Creative Technology Middle East’s massive technical showcase, CONNECTME26, (page 30), there’s an in-depth First Look interview with MDLBEAST’s new Executive Director of Events & Experiences, Angela Selkirk (page 10), and much, much more. Enjoy the issue.

Middle East

Contents 54

Cover Story Subscribe online

www.tpimeamagzine.com

TPiMEA Awards 2026

Meet this year's deserving winners.

First Look 10 Angela Selkirk

Having delivered some of the region’s biggest live events over the past 16 years, Angela Selkirk is embarking on an exciting new chapter, aiding the development of the Saudi Arabian live events industry in her new role at MDLBEAST.

Event Focus 18 Marwan Pablo

Alexandria's hometown hero returns, backed by a spectacular stage and lighting design.

24 Adriatique Presents AA

RB Event Technology delivers a turnkey technical production at the UNESCO World Heritage site, Petra.

30 CONNECTME26

Creative Technology Middle East and NEP Group throw open their doors for a technical showcase where the event itself became the demonstration.

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

Production Profile 38 TPiMEA Awards 2026

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

54 Istanbul Festival

A massive Ottoman architecture-inspired stage, created by İbrahim Kandemir Design Studios.

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

66 From Riyadh to the world

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

RWS Global's AJ Gardner on the transformation of KSA.

In Profile 68 Artnovi

Mondiale Group Chairman Damian Walsh

Immersive experiences that leave a lasting impression.

Graphic Design & Production Dan Seaton: d.seaton@mondiale.co.uk Jez Reid: j.reid@mondiale.co.uk

Feedback 72 Beyond the press office

Accounts Jodie Matthews / Sarah Miller: ar@mondiale.co.uk

Ancy Alexander reflects on the importance of an effective communications strategy in live events.

74 Slow and steady

Daniel Pycock of VA361 Productions draws parallels between his experience finishing the Dakar Classic and what it takes to succeed in the events industry.

76 Gear Heads

Renkus-Heinz IC Live X Series and Look Solutions AURA ONE hazer go under the microscope.

Cover Photography Istanbul Festival by Kandemir Design Studio Printed By Buxton Press www.buxpress.co.uk www.tpimeamagazine.com www.tpimeaawards.com www.tpimagazine.com www.tpiawards.com @TPiMEA_Magazine

78 Regional Round-up

The latest news, including Star Dimensions' new dry hire operation opening in the UAE.

Hamburg Messe

6.-8.10.2026 Stand A1 - D04

Digital Content Manager James Robertson Mobile: +44 (0)7725 475819 e-mail: j.robertson@mondiale.co.uk

Interview 64 The Event Verse: AccredTix

The new free-to-use platform aiming to bring increased accountability and efficiency to live events.

LEaTCon

Senior Account Manager Matilda Matthews Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk

36 UAE Pro League Awards

An all-star cast of collaborators come together to deliver a sparking ceremony worthy of celebrating the very best of the Middle East live events industry.

AURA ONE

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

Account Manager Tom Dyson Mobile: +44 (0)7306 505230 e-mail: t.dyson@mondiale.co.uk

A football-themed celebration in Abu Dhabi.

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THE 2026 WINNERS PRODUCTION MANAGER OF THE YEAR

THE NIGEL BEATON STAGE MANAGER OF THE YEAR

SHOWCALLER OF THE YEAR

EVENT COORDINATOR OF THE YEAR

ROBERT EATOCK

LISA PEARSON

LOUISA ALLEN

ZYRA KAYE MOSTER

LIGHTING ENGINEER OF THE YEAR

LIGHTING DESIGNER OF THE YEAR

FAVOURITE LIGHTING RENTAL COMPANY

MONITOR ENGINEER OF THE YEAR

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PRG EVENT SERVICES

RYNO BROUWER

FOH ENGINEER OF THE YEAR

SOUND SYSTEM DESIGNER OF THE YEAR

FAVOURITE SOUND RENTAL COMPANY

VIDEO SPECIALIST OF THE YEAR

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COMMS & NETWORKING ENGINEER OF THE YEAR

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FAVOURITE HEALTH & SAFETY COMPANY

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THE COMPANY CULTURE AWARD

THE GREEN AWARD

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MDLBEAST SOUNDSTORM 2025 GREEN BEAST PROGRAMME

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THE TPiMEA INDUSTRY RECOGNITION AWARD

OUTSTANDING EVENT PRODUCTION OF THE YEAR

ALEX WUERFEL

EID AL ETIHAD 54

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SUPPORTERS

FIRST LOOK

Angela Selkirk, Executive Director of Events & Experiences, MDLBEAST Having delivered some of the region’s biggest live events over the past 16 years, Angela Selkirk is embarking on an exciting new chapter, helping to shape the development of the Saudi Arabian live events industry in her new role at MDLBEAST.

It’s often said that ‘mother knows best’, but for Angela Selkirk, the first time her colleagues dubbed her ‘the mother of events industry’, her reaction was less than enthusiastic. “I didn’t know how I felt about this,” she recalled, discussing the incident, which happened earlier in her career before she even had her own children. “I’m so proud of being one of the few women in a leadership position in the region, and it felt like that achievement was being minimised.” Yet while the wording may have missed the mark initially, Selkirk later realised that the comment was not meant as an affront to her hard-earned technical expertise or operational excellence, but instead it reflected her characteristics as a leader. “I’m totally fine with that term now – in fact, it’s quite an honour,” she commented. “I understand now that it is more about how I try to foster a positive environment in which everyone has the opportunity to thrive, while still ensuring that projects are progressing as we need them to.” Today, Selkirk is a mother in every sense of the word; away from work, she and her husband are raising two sons, who have grown up alongside her career, visiting event sites and watching their mother’s journey unfold from backstage. Professionally, she has continued to develop her leadership philosophy, becoming a mentor, advocate and trusted leader to countless colleagues throughout the industry. Across more than 16 years in the Middle East’s live events industry, Selkirk has built a reputation for delivering Middle East

some of the region’s most ambitious projects, while sticking firmly to her leadership ethos. Whether managing complex crowd operations at Abu Dhabi’s biggest concerts for Flash Entertainment, overseeing one of Expo 2020 Dubai’s busiest zones, helping shape the future of King Salman Park, or now leading MDLBEAST’s events production, she has consistently placed people at the centre of the equation. Now, as MDLBEAST’s newly appointed Executive Director of Events & Experiences, Selkirk finds herself at the centre of Saudi Arabia’s evolving entertainment sector. Here, TPiMEA sits down with Selkirk to discuss her unconventional route into events, the lessons learned from some of the Middle East’s biggest projects, and why for her, “operations are built at the speed of trust”. What sparked your interest in the live events industry? Growing up in Canada, my parents often took me to concerts, and I’ve always been drawn to that energy that only comes with the live experience. Strangely though, while I have always been drawn to the energy that only comes with the live experience, getting into the industry professionally wasn’t something that came onto my radar until a little later in my life. I started my career in Toronto, spending 11 years working in retail, category management and procurement. It helped me develop an understanding of products, suppliers,

Middle East

FIRST LOOK

negotiations and commercial strategy – knowledge and experience that has served me well in the events world. That was the path I thought I’d stay on until my life changed rather suddenly after I met my now husband on a blind date in New York. He was living in Abu Dhabi at the time and after a lot of long-distance travel and several international meet-ups, I eventually packed up my life, sold everything I owned and moved to the UAE so we could live there together. I arrived in Abu Dhabi in 2010 with a vague plan of finding another role in retail then one evening I happened to meet a friend of Lee Charteris, who was at that time Vice President of Flash Entertainment, and he put me forward for a job working as an event assistant on the FIFA Club World Cup. Despite my complete lack of event experience, Lee must have seen enough in me during the interview to take a chance on me, and I was thrown straight into the role. I was pretty useless at at the job at the beginning, helping wherever I could but probably being more of a hindrance than a help on occasions. However, I found that first taste of the live events world so incredibly fascinating that I was hooked from the start. I then made it my mission to learn as much as possible about the whole events ecosystem, and thankfully I learned quickly enough that Flash Entertainment decided to keep me on permanently. Middle East

What were the some of the main lessons you learned from the seven-and-a-half years you spent with Flash? Stevie Wonder was one of the first productions I worked on. Not many people get to start their careers backstage on those kinds of shows, and I remember being completely captivated by what happened behind the curtain. While everybody out front was quite rightly locked into the incredible performance, I was busy trying to understand how all the moving pieces came together to make that performance possible. That curiosity really shaped the rest of my career. I was learning quickly that everything in events is connected. I remember a show where there was a problem with the audio, which took the artist off stage for 15 minutes in the middle of their set. If we couldn’t get it fixed quickly, there was a risk that the artist might not have come back out, resulting in a potentially very dangerous situation with tens of thousands of disgruntled fans. That 15 minutes felt like hours, but thankfully, the team did an incredible job and the artist dealt with it like the true professional they are. It was a scary moment but a valuable lesson that a single point of failure has the potential to ruin an entire event. I progressed through several roles within Flash Entertainment, eventually becoming Operations Manager, which gave me such a breadth of experience in everything

from deploying security and medical teams to monitoring crowd movement. Looking back, those early years really shaped the way I approach events today. On the planning and organisation side, I also leaned heavily into my procurement background, putting a lot of work into improving our supplier and freelancer network. Back in the early 2010s, most of the knowledge base, skills and equipment required to put on a major concert was based outside the region and as soon as the show was over, we would be right back to square one. So, I made a real effort to engage with more local suppliers in the UAE, learn what they were passionate about, find out their capabilities, and see if we could deliver a more successful event by encouraging some competition in the market. You eventually moved on to work at Expo 2020 Dubai… How was that experience? I was hired into an operational role at Expo 2020, and it was a position that suited me really well because again I was able to get an overview of several different verticals and try to pull them together into a cohesive plan. I joined Expo in 2018 at a time when much of the masterplanning was still in process, so we were in effect designing our own city. My main concern was with visitor behaviour and how guests would interact with the spaces. It was a fascinating process. When it came to operations, I handled Jubilee Zone – the busiest on the site with only two dark days during the entire six months and some acts being confirmed with just two days’ notice. The planning cycle was constant, and it was an incredibly demanding period, but I had the privilege of leading a truly outstanding team who found joy in the everyday operations throughout the whole process. As well as the huge operational learnings, Expo was also a massive cultural education for me and the team. For example, we discovered that some fans tend to selfregulate, writing their queue numbers on their hands before a show so everyone could wait in comfort and there would be no disagreements. On the other end of the spectrum, we also encountered audiences with very different approaches to rules and crowd behaviour, and we had to adapt our plans based on the demographics and dynamics expected on site. Who have been the people who have influenced you most throughout your career? I’ve been incredibly lucky because there have been so many. Lee Charteris gave me my first real opportunity in the industry, while Haidar Shukry was another person who believed in me before I necessarily believed in myself. Then there was Clive Stephens, who became one of my strongest advocates. He taught me a lot about leadership and, importantly, about motivating people rather than simply managing them. That’s a distinction I think about a lot. You can manage a process, a schedule or a budget, but people are different. People need to feel that what they’re doing matters. They need to understand why they’re doing it and feel trusted and empowered. I think mentorship works in both directions. I’ve taken something from every person I’ve worked with – from very senior people to people much earlier in their careers than me. I’m still learning all the time, and that’s one of the things I enjoy most about this industry; you’re constantly surrounded by people who know something you don’t. Is that something you try to pass on to your teams? Absolutely. You can climb to a certain level in any organisation by being good at your job, but there comes a point when being successful in yourself is no longer enough. I consider successful leadership to be a different level of achievement, where the role is far less about what you can do and far more about what you can empower others to do. My job is to bring people together, give them clarity and create an environment where they can do their best

Above left: The Park stage at Soundstorm 2025. Above (top-bottom): Selkirk’s role at Expo 2020 Dubai brought huge operational learnings; Her two sons have grown up around the live events industry; Selkirk with Haidar Shukry and Lee Charteris.

Middle East

FIRST LOOK

work. It’s about taking on board every person’s issues, both personal and professional, and trying to find that balance between offering support yet continuing to demand the very highest standards. It’s an incredibly humbling experience and a responsibility that I don’t take lightly. What brought you to Saudi Arabia following your work on Expo 2020? I got an opportunity to join what was then known as productionglue, a TAIT company, working as Director of Operations for Soundstorm 2022. It was my first experience of Saudi Arabia, and I was immediately blown away by the scale and potential. It was an entirely new challenge, a new ecosystem for me to navigate and an experience that would of course stand me in very good stead for the future. After Soundstorm 2022, I had the good fortune of being introduced to the then CEO of King Salman Park, George Tanasijevich. We hit it off immediately and despite there being no specific position available, he decided that he wanted me involved in some capacity, so I joined with a remit of contributing to the development of the park. I spent three happy years there and had an overview of everything from designing and theming public realm strategies to commercial entertainment assets and analysing how guests would interact with spaces, and I loved every minute of it. Tell us about your new role as Executive Director of Events & Experiences at MDLBEAST… My role is really about connecting the creative vision with what it actually takes to bring those experiences to life. As Executive Director of Events & Experiences, I oversee the planning and execution of MDLBEAST’s events production, working across teams to make sure what we deliver is ambitious creatively, but also seamless, safe, and genuinely built around the audience operationally. For me, it comes down to constantly raising the bar, while also building the teams, processes, and capabilities to keep delivering at that level consistently. MDLBEAST sits in a unique spot right now, where music, culture, entertainment, and destination Middle East

development all come together, so there’s real opportunity to think beyond individual events, toward the broader experience we’re creating for audiences and the wider industry around us. MDLBEAST just won the Green Award at the TPiMEA Awards for its Green Beast programme at Soundstorm. What is your personal approach to sustainability? Firstly, we were delighted and honoured to take home the award. It’s fantastic for MDLBEAST to receive the recognition, and for me personally it was such a pleasure to spend an evening in such a relaxed and celebratory environment that was full of so many people I’ve spent years working alongside in the industry. From a more general standpoint, I believe that sustainability is much broader than people sometimes make it. Obviously, there are the very visible elements – waste management, recycling, energy consumption, materials, transportation and all of those things that went towards MDLBEAST winning this award. They’re incredibly important, and we absolutely need to keep improving in those areas, but I also think about sustainability from an operational perspective. Are we using our resources intelligently? Are we designing systems that can be repeated and scaled without creating unnecessary waste? Are we making decisions that are efficient not just for one event, but for the long-term development of the industry? Sustainability has to be real, both environmentally and operationally. It starts with asking whether we need something in the first place, and what impact it has. It means designing things so they can be reused rather than rebuilt every time, and building operational processes that become more efficient with every event, so we reduce waste and our environmental footprint as we grow. In Saudi Arabia, where entertainment is scaling so quickly, getting this right from the start really matters. And then there’s the human side, which I think is particularly important. An industry isn’t sustainable if we’re constantly bringing people in, using them for one project

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FIRST LOOK

and then losing all that knowledge when the project finishes. We need to develop people and retain knowledge. That’s one of the reasons why I’m so passionate about programmes such as BeastED. What role does BeastED play in the long-term development of MDLBEAST and the Saudi Arabian industry in general? It’s incredibly important because ultimately the future of this industry is about people. We can build amazing venues, bring the biggest artists in the world to Saudi Arabia, and create incredible festivals and experiences, but if we don’t develop the people who are going to deliver the next generation of those experiences, we’re not building a sustainable industry. What I love about programmes like BeastED is that they create a pathway. There are people who may have never considered events as a career, or who haven’t had access to the kind of opportunities that allow them to build experience. Giving those people exposure to the industry can completely change the direction of their careers. It’s about so much more than just giving somebody a job. It’s about giving them knowledge, confidence and the opportunity to work alongside people who have experience they can learn from. I’ve benefited enormously from mentors throughout my own career, so I understand how powerful that can be. The other thing that’s important is that we’re not just developing people to fill today’s roles; we need to think about the roles we’ll need in a decade and beyond. The industry is changing incredibly quickly in everything from technology and scale to audience expectations and the way people interact with live entertainment, and we need people who can adapt alongside that. There’s been a lot of talk about Saudi Arabia’s Vision 2030, but what would success look like for you by the time we reach 2030? What’s particularly interesting about Saudi Arabia is that entertainment isn’t simply something happening alongside the transformation of the country. It’s a core part of quality

Middle East

of life, which is a pillar of Vision 2030. We have a major part to play in that journey. I don’t think you can work in Saudi Arabia right now without feeling that you’re part of something much bigger than yourself. For me, success would mean seeing MDLBEAST continue to lead through music, culture and experiences while also contributing to the wider development of the industry. I’d like to see stronger local capability, stronger partnerships and more people coming through who are able to take on senior roles and eventually mentor the people coming after them. That’s how industries become sustainable. And of course, we have to continue creating incredible live experiences – that’s the fundamental part of what we do. The better experiences we create for audiences, the more people we can inspire to engage with the industry and consider it as a career. As someone who has spent a long time working in highly demanding positions professionally, how do you switch off outside of work? I’m actually quite introverted, which people sometimes find surprising. So much of my time at work is spent surrounded by people, talking, making decisions, solving problems and responding to issues. So, when I’m not working, I really value quiet time. I love to travel and see new different parts of the world, and I love to read – both experiences take me into a new environment, either physically or mentally, where I’m able to switch off for a while. And, of course, my family – my husband and our two boys – are incredibly important to me. The boys have grown up alongside my career, which means they’ve seen a lot of the behind-the-scenes reality of events. They understand what I do, which I’m very grateful for. It’s such a privilege to be in a position where I can play a part in initiatives that contribute to the wider development goals of Saudi Arabia, and to be able to pursue those goals with the full support of my family as well as my incredible team is a real honour. Photos: MDLBEAST www.mdlbeast.com

EVENT FOCUS

Marwan Pablo: Live in Alexandria The ‘Egyptian Godfather of trap’ makes a triumphant return to his hometown, with a spectacular lighting and stage design to match the home crowd’s high expectations…

Africa

EVENT FOCUS

When artists return to perform in the place where they grew up, the show often brings with it an intangible added element of importance, with local fans eager to reconnect with their hometown hero. Yet, for Alexandria-bornand-bred Marwan Pablo, when he brought his distinctive blend of trap, rap and contemporary Arab music to Alexandria’s Antoniades Music Arena, according to Manager, Donia Gamila, it was very much business as usual. “Every show gets the same level of seriousness from us regardless of where it is,” she told TPiMEA. “That consistency is intentional.” While the artist sets the tone and creative direction for his live shows, Gamila pointed to the “significant amount of trust” that is placed on the technical and creative teams to deliver on his vision. “Marwan continues to feed in throughout the process; it’s a fluid dynamic rather than a fixed handoff,” she explained. “The goal with every show is to create something seamless, where the technical execution is invisible and what the audience Africa

experiences is just the show. That standard doesn’t shift.” Julien Yammine, founder of Fu Studios, played a key role in helping to realise the artist’s vision, delivering an “aggressive, high-impact visual language that reflects the artist’s style” in his lighting and screen design. “I wanted the design to have a strong sense of energy and attitude, while still giving us enough flexibility to build intensity throughout the show,” he stated. The idea was to incorporate as many complementary lighting elements as possible, allowing a “powerful visual punch” to be delivered whenever the music called for it. “At the same time, the strong presence of LED screens throughout played a major role in the design, creating a large visual canvas that worked hand in hand with the lighting and helped make the stage feel constantly alive,” Yammine explained. The lighting rig was built around a combination of high-output fixtures, pixel sources and atmospheric effects, all working together to create what Yammine described as a “very dense

and impactful” visual setup. The rig consisted of 140 LED Top P4 LED strobes, 153 1m LED pixel bars with 18 10W sources, 69 Vello LED XP-800 moving washes, 66 LightSky F450 beams, 58 LightSky Superscopes, 24 flame jets, 16 audience LED blinders, 10 fog machines, 10 haze machines and two LightSky followspots. “The LED strobes and pixel bars were used to create a strong graphic and rhythmic layer across the stage, while the moving washes and beam fixtures provided the main movement, aerial effects and punch,” Yammine described. “The Superscopes added another layer of high-intensity effects, particularly for moments where we wanted the stage to feel more aggressive and dynamic,” he added. The LD was pleased with the combination of the large number of fixtures, the extensive LED screen presence and the atmospheric effects available to him. “Rather than relying on one type of fixture to carry the show, the idea was to have multiple lighting elements working together, giving us a lot of flexibility in how we responded

to the different energy levels throughout the performance,” he explained. Yammine was also happy with the use of LED pixel bars. “Having them integrated both along the stage floor and on the overhead trusses created a strong sense of continuity between the physical lighting rig and the screen content,” he described. “They also gave us a lot of flexibility in creating synchronised moments with the animations. We could use them to build subtle visual movement and then push them into much stronger, punchier lighting bumps when the music called for it. That combination of animation, pixel movement and high-intensity bursts created some of the visual moments I was happiest with on the show.” Cairo-based Center Stage Lighting and Rigging was brought in as technical supplier for the project – an appointment that Yammine was onboard with from the start. “I’ve worked

with their team numerous times on previous projects, and I have a very good relationship with them, which made the overall execution much smoother,” he reported. “Having an established level of trust and familiarity with the team was particularly valuable given the tight schedule and the scale of the setup.” The tight timeline was exacerbated by the fact that all the equipment had to be trucked from Cairo to Alexandria before the installation could begin. “This meant that logistics, setup and programming all had to be handled within a very compressed timeframe, so coordination between everyone involved was extremely important,” Yammine stated. Reflecting on the achievement, the LD thanked Artist Managers Ramez Moufid and Donia Gamil for their “constant trust” throughout the project. He also praised programmer and

operator, Alex Douglas [recently named Lighting Designer of the Year at the TPiMEA Awards] as well as Rana Yammine for their “amazing execution and operation” of the lighting and visuals. “Their work was a huge part of bringing the design to life,” he added. “Overall, I’m very pleased with how the project came together,” Yammine concluded. “The biggest success for me was that we managed to achieve the feeling and energy we wanted to communicate to the audience through the combination of lighting, screens and visual elements. It was also a particularly meaningful show because it was Marwan Pablo’s homecoming. That added another layer. The scale and intensity of the visual design helped make the moment feel as significant as it was.” Photos: @mohamed.ahmed.photography www.instagram.com/marwanpablo

Africa

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EVENT FOCUS

Adriatique Presents AA: Live at Petra The ancient UNESCO World Heritage site is transformed into a music venue, with a turnkey technical production from RB Event Technology.

Middle East

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Carved into Jordan’s sandstone cliffs more than 2,300 years ago, the UNESCO World Heritage Site of Petra doesn’t naturally lend itself to being a venue for live music. However, for one night only in early July, the iconic site was transformed into a high-tech production environment fit to host a performance from Swiss electronic music duo, Adriatique. Tasked with finding the balance between delivering a world-class concert experience while respecting the sanctity of the ancient site, RB Event Technology served as technical production partner for the event, delivering the complete audio and lighting infrastructure. “Our scope included technical planning, system design, equipment supply, installation, programming, testing, system optimisation, and show-day operation,” began RB Event Technology’ Business Development Manager, Jeries Hawatmeh. The RB Event Technology team started work on the project well in advance of show day. Middle East

“During pre-production, we worked closely with the event organisers and the artist’s technical team to review technical riders, production requirements, venue logistics, and deployment strategies,” Hawatmeh recalled. “Strong preparation, clear communication, and attention to detail are fundamental to every project we undertake, particularly in locations as unique as Petra.” Following a detailed planning phase, the RB Technology team carried out the installation of the complete audio and lighting systems, followed by programming, testing, and system optimisation. “Once the artist’s touring team arrived, we worked together throughout rehearsals and soundcheck to fine-tune every element of the production before doors opened,” Hawatmeh explained. The unique sit brought its own specific technical and logistical challenges including restricted access, sensitive archaeological surroundings, and strict preservation

requirements. “Every aspect of the deployment, from transportation and system positioning to cable routing and installation sequencing, was carefully coordinated to deliver a world-class production while fully respecting the historic site,” Hawatmeh explained, also noting the further challenges presented by the outdoor nature of the show. “As with any outdoor production, environmental conditions and tight production schedules required careful planning,” he added. “Thanks to extensive pre-production and an experienced technical crew, the project was delivered efficiently and reliably.” The audio system was built around an L-Acoustics KARA II line array system, complete with the associated L-Acoustics amplification and processing, with FOH control coming in the form of a Yamaha RIVAGE digital mixing console. “The system was carefully designed and deployed to provide even coverage across the main audience area while also ensuring appropriate coverage for the backstage standing

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and production areas, maintaining consistent audio quality throughout,” Hawatmeh stated. The lighting design meanwhile struck the balance between enhancing the performance and highlighting the remarkable setting of Petra – all while complementing Adriatique’s signature visual identity. The lighting rig incorporated a range of ADJ fixtures including Hydro Profile, Hydro Wash X19, and Jolt Bar, as well as Showtec Sunstrip fixtures. The system was programmed and operated using an MA Lighting grandMA3 Full Size console which, in Hawatmeh’s words, “allowed seamless cue execution and dynamic transitions that evolved with the music while respecting the natural beauty of the venue”. The RB Technology team maintained close communication with the artist’s production team from the early planning stages, working directly with the tour manager to ensure that every

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technical requirement was fully understood and executed to expectations. “The collaboration was excellent throughout the project,” Hawatmeh reported. “This allowed both teams to work efficiently together during installation, rehearsals, and the live performance while ensuring the artist’s creative vision was delivered exactly as intended.” Reflecting on the success of the project, Hawatmeh was particularly pleased with how the technical production blended seamlessly with the extraordinary ancient setting of Petra. “The L-Acoustics system delivered exceptional clarity and consistency, while the lighting design enhanced the atmosphere without overpowering the venue. The close collaboration between all teams resulted in an unforgettable audience experience,” he commented, going on to share a message of appreciation to everyone involved. “Working

alongside an internationally renowned electronic music act such as Adriatique demands an exceptional level of technical precision and attention to detail. Every aspect of the production, from system deployment and programming to rehearsals and show execution, must meet the highest international touring standards,” Hawatmeh concluded. “We were extremely proud to work closely alongside the artist’s production team and tour manager, and even prouder that our team was fully prepared and on top of every technical aspect throughout the entire production. That level of professionalism and collaboration is what enables productions like this to be delivered seamlessly in a venue as extraordinary and unique as Petra.” Photos: RB Event Technology www.adriatique.ch @rb_eventtechnology

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CONNECTME26 Creative Technology Middle East and NEP Group throw open their doors for a technical showcase where the event itself became the demonstration, bringing together regional professionals from the worlds of live events, systems integration and broadcast.

Trade shows and industry events are great for catching up with a large number of contacts in a short space of time, but when it comes to truly showcasing a company’s capabilities or connecting with people on a deeper level than simply swapping pleasantries, they aren’t the optimal environment. “Visitors may only spend a few minutes on a stand before moving on, and I felt there was an opportunity to create something far more immersive,” said Andy Reardon, President of Creative Technology Middle East (CTME), who created the first CONNECTME event in 2024. “My vision was to bring customers, partners, creatives and industry professionals together under one roof, giving them the time and space to explore the latest investments across CTME, experience technology in a real-world environment, meet the amazing team that power the projects and have conversations that simply aren’t possible within the constraints of a traditional exhibition,” Reardon explained. From the outset, however, CONNECTME was about more than client engagement. “While our customers remain at the heart of everything we do, education and industry development have always been equally important pillars of the concept,” Reardon noted. The 2024 event attracted more than 300 people over three days, including a dedicated education day that welcomed colleges, schools and universities from across the GCC. “I started my own career in this industry at the age of 17, straight out of school, and I will always be passionate about supporting the next generation of talent,” he stated. “I wanted students to see firsthand the scale, creativity, technology and opportunities that exist within our sector, and hopefully inspire some of the people who will go on to become the future leaders of our industry.” Fast-forward to 2026 and, despite a challenging period for the industry, Reardon was more determined than ever to bring CONNECTME back. “I felt the industry needed an opportunity to reconnect and re-energise, which led to the creation of reCONNECTME 2026.” For the first time, an entire day of the event was dedicated to freelancers. “These are the talented people behind so many successful projects across the region, and I wanted to create a space where colleagues, peers and friends could come together,” he said. “These individuals are an essential part of our industry’s success and deserve a platform that recognises the contribution they make every day.” Following reCONNECTME, the event returned to the core CONNECTME concept with dedicated Middle East

client, creative and production-focussed days. While the timing meant CTME was unable to host a dedicated education programme this year, with schools and universities only just returning from the summer break, plans are already afoot for future initiatives aimed at engaging and developing emerging talent. A statement of belief For Reardon, CONNECTME26 was so important because of what the industry has experienced over the past six months. “Across the GCC, many businesses have faced a challenging period. During times like these, it’s more important than ever that we come together, share ideas, maintain strong relationships and continue looking forward,” he stated. “Our clients are at the centre of that. The trust they place in us to support their productions, events and long-term technology strategies is incredibly important.” He described CONNECTME26 as “a chance to step away from day-to-day project delivery”. He added: “It allows us to spend meaningful time with our customers, listening, understanding their future plans and demonstrating how the latest innovations can help them achieve their goals. Those conversations are often where the best ideas and partnerships are formed.” Above all, Reardon saw the event as a matter of confidence. “Despite the challenges of the past

six months, innovation has not slowed down,” he asserted. “On a personal level, CONNECTME26 is also a statement of belief in the future of our industry. We made the decision to invest, to go bigger than in 2024, and to bring together the full strength of CTME and the wider NEP Group under one roof. That’s a significant commitment, but one that reflects our confidence in both the market and the people within it.” The event as the showcase CONNECTME26 was, in Reardon’s words, “on an entirely different scale”, more than double the size of the 2024 edition. With the support of NEP Group, it brought the latest innovations in audio, video, lighting, broadcast and systems integration together into one integrated experience. Visitors encountered regional-first technologies from the likes of Barco, ROE Visual, Panasonic and Epson, alongside immersive projection environments, a Future Tech Zone, a live listening lounge, lighting demonstrations, real-time previs workflows and an integrated systems showcase. “What makes CONNECTME 2026 unique, however, is that the event itself has become the showcase,” Reardon stated. “Every screen, camera, server, lighting system, activation, audio system and control surface is connected through an SMPTE ST 2110 IP infrastructure and managed through a central MCR. We can

monitor and visualise live operational data across the ecosystem, from network performance and media transport to switching, cameras, control systems and even power distribution. Rather than simply talking about integrated technology, we’re demonstrating it live in a real-world environment.” For Reardon, success was never going to be measured in footfall. “A successful CONNECTME26 isn’t defined by attendance numbers, it’s defined by the impact it has on people,” he said. “My vision for CONNECTME has always been simple: bring people together, showcase what’s possible, connect with our clients and create a platform where technology, creativity and collaboration can genuinely connect. In 2026, that vision is bigger than ever before. What started as a vision has become a reality thanks to the passion, creativity and tireless effort of an exceptional group of people across CTME and the wider NEP Group. I’m incredibly proud of what they’ve achieved.” Main Control Room At the heart of CONNECTME26 was the Main Control Room (MCR), demonstrating how the company could bring together multiple technical disciplines within one connected production environment. “Rather than operating audio, video, lighting, communications and networking as isolated systems, the MCR provided a central

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point of visibility and control,” explained Head of Technical, Tom Stocks. “A high-bandwidth IP infrastructure connected systems across multiple rooms, allowing signals, control and monitoring to be centralised within a controlled environment. This significantly reduced the technical footprint and infrastructure required within individual breakout and presentation spaces.” Video incorporated 12 media servers, 32 LED screens, 14 projectors, 70 digital signage displays, 24 cameras and approximately 160 million pixels. More than 900 lighting fixtures were controlled across 60 universes and 30,392 addresses, while the audio environment included 80 loudspeakers, 69 channels of amplification, a DiGiCo Quantum 338 and d&b Soundscape, integrated with CT’s existing in-house Q-SYS infrastructure. Two high-bandwidth media core switches sat at the centre of the integrated network, significantly reducing the amount of dedicated fibre required, with SMPTE ST 2110 transporting video and audio across the event and Panasonic KAIROS providing centralised screen management and switching. CT’s custom approach to control and monitoring gave the technical team real-time visibility of network, power, video, IP media and system health, helping engineers understand not only whether equipment was online, but how the production environment was performing. Custom Middle East

touch-surface control also allowed breakout spaces to be operated centrally. “Bringing system health, signal flow and infrastructure information into one environment gives technical teams greater visibility of the complete signal chain, helping them identify issues and isolate faults more quickly,” Stocks noted. Redundancy was considered throughout the design, including a control network ring, red and blue ST 2110 across the show, and redundant consoles and servers. “The important part for us isn’t simply having backup equipment; it’s having the monitoring and visibility to understand the health of the system and respond quickly if needed,” he stated. “The scale wasn’t the challenge; it was bringing so many different technologies and disciplines together.” For Stocks, the MCR also signalled where the business is heading. “It demonstrates that our role goes far beyond supplying individual pieces of technology,” he commented. “Increasingly, it’s about how we combine products, infrastructure, engineering and our people’s expertise to create complete solutions around the requirements of a project,” he added. “For clients, the same approach can provide greater operational visibility, simplified control, reduced infrastructure and technical footprints, faster fault identification and more efficient use of technical resources, whether that is for a single

live event, a permanent system or a complex multi-site production.” Networking The Integrated Networks department was central to the creation of the connected ecosystem. “Our team built a single connected fabric across the entire warehouse instead of a patchwork of local systems,” explained Head of Integrated Networks, Darius Charlery. A total of 41 network switches, including a mix of Luminex GigaCore 10, 14R, 20t and 30i interconnected with Netgear M4300 and M4250 series, carried the network, audio, lighting, video and comms on one shared backbone, expanding as each area came online. “Every voice on site ran through a Riedel Artist matrix, with SmartPanels and desk panels at fixed positions and 25 Bolero belt packs keeping crew talking on the move,” he described. “Audio travelled the same road via Dante distribution, and the system was tied into RTS, Clear-Com and NEP’s OB truck so venue and production operated as one conversation.” Wi-Fi 7 was rolled out on the project, deployed as a production layer rather than simply crew access. “CONNECTME26 asked one wireless layer to do what usually takes three – lighting control, video and audio sharing the same air in a warehouse full of metal, moving crew and dense RF,” Charlery explained. “Wi-Fi

7’s wider channels and Multi-Link Operation let a device hold more than one band at once, so a control packet isn’t queued behind a video stream. That’s the difference between wireless you tolerate and wireless you trust.” Where cable couldn’t reach, a pair of 60 GHz airFiber point-to-point dishes threw a gigabit link across open ground “in a beam barely wider than a pencil”, carrying audio, comms and network to positions that would otherwise have been cut off or cost a trench to reach. The entire converged fabric was monitored continuously, with Araneo watching the GigaCore estate port by port, UISP and UniFi Network covering the wireless layer and the 60 GHz links, and Riedel Director reporting on every intercom frame and panel. “Problems surfaced as they developed rather than as they were reported,” he noted. “That’s the difference between fixing something quietly and fixing it during a show. CONNECTME26 turned a warehouse into one connected venue. One network. Every voice on it.” Video The Video department presented its capabilities across three main areas: display, media servers and vision. “On the display side, we showcased a new generation of LED technologies designed for very different applications, from permanent installations to live events,” explained Head

of Video, Carlos Aguilar. “This included highly transparent LED, display technologies designed to allow audio to pass through the surface, and ultra-high-resolution solutions. We also demonstrated the latest generation processing, with improved colour management and support for SMPTE ST 2110, enabling more efficient and flexible video workflows point to point.” For projection, the team brought together high-output systems in the 20K-lumen class and above, ranging from single-chip DLP to RGB laser platforms, while the vision offering showcased the next generation of camera technology, including new sensor architectures, IP-based 2110 workflows and AI integration. The media server solutions on show demonstrated how multiple surfaces and systems can be synchronised, with increased processing power allowing complex layers of content, real-time graphics and creative systems to work in a single environment. According to Aguilar, the defining trend of the past year has been optimisation – and AI is part of that picture. “We have been incorporating AI into our workflows, primarily as a tool to optimise resources, automate repetitive processes and support more efficient production and system management,” he said. “The objective is not to replace the creative or technical team, but to give them better tools to work with.” In keeping with the ethos of the event, it was the integration that

excited Aguilar most. “Rather than presenting a collection of products, we demonstrated how display, projection, vision, processing and media-server technologies can be integrated into a connected environment,” he explained. “The story is about moving from individual pieces of technology to a fully connected video, audio, lighting and networks workflow, where every system contributes.” Lighting and Power CONNECTME26 saw the Lighting and Power department demonstrate several new technologies and workflows. Head of Lighting and Power, Sam Connolly, talked TPiMEA through the highlights, which included the Follow-Me tracking system, the new DigiFX functionality of the GLP JDC2 through a purpose-built fixture wall, and several configurations of remote followspot systems. “We also showcased our latest Depence visualisation suite, operating in real time alongside the physical lighting system,” Connolly stated. “This allowed visitors to see the accuracy of modern previs and how closely the virtual environment can replicate the final show.” The event also gave the department the opportunity to be among the first companies in the region to showcase several new fixtures, including the Robe Giga Pointe, Cameo ZENIT 33

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W1200 G2, Look Solutions AURA ONE and Martin MAC Aura Raven XIP. “These products represent some of the latest developments in output, weather protection, creative effects and fixture design,” Connolly explained. “They are also among the technologies we are currently evaluating as potential investments for the department over the next year.” Looking at equipment care, the team is also developing a process to formally incorporate checks of each fixture’s IP-rated integrity into its annual PAT inspection programme. Harry Reardon, one of the youngest members of the CTME team, was entrusted with leading the lighting previsualisation and programming. “The brief was to transform an 80,000 sq ft warehouse into one immersive landscape, so the challenge wasn’t just creating a central show experience, but ensuring every zone felt connected,” he explained. Two programming environments were set up – one at CT Middle East HQ and a second at Reardon’s home, allowing him to continue developing the show during evenings and weekends. Working on the audio track, he built the show organically, starting with the centrepiece before expanding effects, fixture groups and atmospheric looks across the facility. In total, more than 900 fixtures were brought Middle East

together on a single canvas, programmed to timecode and operated from an MA Lighting grandMA system with NPUs and a second console, alongside a grandMA RPU as backup. Once on site, the programming evolved around sightlines, warehouse infrastructure and fixture positioning, with additional specials and floor package elements introduced to enhance the look. The majority of the show ran from timecode, while OSC from the audio department triggered macros on the MA via QLab and Companion. A separate timecode feed was sent to the previs demo area, where visitors could watch the original Depence visualisation running live alongside the real-world show. “Knowing that we were opening our doors to more than 350 attendees from across the industry, including key clients, integrators, manufacturers and competitors, added an extra layer of pressure,” Reardon admitted. “After weeks of planning, programming and refinement, it was great to see the positive reaction and hear the feedback from attendees. Seeing the previs and the result side-by-side also demonstrated how effective the planning process had been.” Being trusted to lead the lighting previsualisation and programming on a project of this scale gave Reardon the opportunity to challenge himself both technically and creatively.

“Working alongside such an experienced team also allowed me to learn a huge amount throughout the process,” he noted. “Seeing the audience experience the finished result, and knowing that what began as a virtual concept had become a live reality, was undoubtedly the most rewarding part of the project.” Most importantly for Reardon, the event highlighted the collaborative effort behind a project of this scale. “While I was responsible for the programming and previsualisation, none of it would have been possible without the hard work of the wider CT Middle East team,” he said. “The amount of technology involved, combined with the pace of the installation, required everyone to work tirelessly to achieve the final result.” Audio One of the biggest developments for Head of Audio Tim Cook’s department this year was the introduction of the new d&b audiotechnik U-Series. “We’re proud to be the first rental house in the region to carry the system, and CONNECTME26 was a great opportunity for people to experience it first-hand,” he said. Cook was particularly pleased with the department’s PA demonstration. “It gave visitors the opportunity to properly experience the different systems we carry rather than simply

seeing them on display,” he explained. “People could walk in, choose a system, put on music they know and hear what it can really do.” He also highlighted the growing prominence of immersive audio, with more clients and productions looking beyond traditional left-right systems. “As one of the few rental houses in the region offering both L-Acoustics L-ISA and d&b Soundscape, we are well positioned to support that shift and provide the right immersive solution depending on the requirements of each production,” he stated. ‘Connected and empowering’ Dom Greatrex, Lead Project Manager of CONNECTME26, is all too used to the short timelines that typically come with projects in the region. However, he described being his own client as “a completely different experience”. From the initial idea around eight weeks before opening, the planning was a team effort involving every technical department alongside the company’s other business operations, with around 80 team members contributing. “This project required a lot of late nights, long meetings and co-ordination of departments,” he recalled. “A key element of this delivery strategy was empowering our technical department leads to make the right call at the right time in order to

keep us on track.” In a year when the region has seen “somewhat of a speed bump”, Greatrex felt it was important for CT to be “the beacon” for clients, freelancers and industry partners alike. A key difference from 2024 was the involvement of the wider NEP Group. “For 2026, we incorporated NEP into the showcase, giving a completely new dimension and allowing even greater cross-collaboration between some of our key clients,” Greatrex noted. “It was important for us, as an industry leader, to be proud to showcase the advancements we have made, the investments and the direction Creative Technology and NEP are going.” Delivering for Andy Reardon brought its own expectations. “As with anything Andy does, it’s normally bigger and better than the project before it, and CONNECTME26 was no exception,” Greatrex said, smiling. “I am sure he won’t mind what I say, but Andy is probably our most demanding client. While being incredibly farsighted, his eye for detail is unmatched, with an unrivalled pursuit of excellence,” Greatrex added. The Lead PM described the event as “connected, empowering and delivered incredible positivity to the industry”. He commented: “The moment that stands out for me is the initial looks on clients’ faces when they first

entered the facility, many of them not knowing what to expect. The reactions to seeing what we delivered this year were incredible, with many asking what the dates are for the next iteration!” Beyond the event “Visitors were asking when the next CONNECTME would take place before this one had even finished, and there may be no better measure of success,” said Condesa Valentina Sioufi, Marketing Manager at Creative Technology Middle East. “From a marketing perspective, we wanted to create something that would consolidate connections that continued beyond the event itself and demonstrate the level of expertise, technology, and innovation that Creative Technology brings to the table.” For Reardon, that success of the event reinforced the purpose behind CONNECTME and its role in bringing the industry together. “CONNECTME26 has reinforced its position as one of the region’s most distinctive industry engagement events,” he concluded. “The event is built around technology, but it is driven by the people, ideas and partnerships shaping what comes next.” Photos: Creative Technology www.ct-group.com 35

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UAE Pro League Awards 25-26 No.1 Events & Productions produces a football-themed celebration at Emirates Palace Mandarin Oriental Abu Dhabi, illuminated by a creative lighting design courtesy of Cueline.

The UAE Pro League celebrated its standout performers of the past year with a grand awards ceremony held at Emirates Palace Mandarin Oriental Abu Dhabi. No.1 Events & Productions designed and delivered the production with its creative and technical teams handling everything from creative direction and technical production to the co-ordination of live performers. No.1 Events & Productions entrusted Alexander Kotov, cofounder and Technical Director of Cueline, with creating a lighting design that would live up to the occasion. “This was a prestigious event with an array of high-profile guests,” he began. “There were senior officials, football stars, club representatives and, of course the UAE Pro League Chairman, H.E. Abdulla Naser Al Jneibi in attendance, so we needed a system that worked equally well for the VIP audience and for the broadcast cameras.” The overall concept from No.1 Events & Productions saw the ballroom transformed into a stadium with a playing field made entirely of LED floor, connected seamlessly to the main LED screen. “The venue presented several significant challenges – load capacity, a roof height of no Middle East

more than 6m and an unforgiving white ceiling,” Kotov explained. “With only 250kg per rigging point and with those points not located in our preferred positions, we had to make a couple of creative rigging decisions to get every fixture where we wanted it.” With the weight limitations and such a restrictive ceiling height, Kotov elected to use the Ayrton Rivale Profile. “It was perfect – its 4° to 52° zoom range meant the low ceiling was not an issue,” he noted. “Opting for the Rivale also allowed us to overcome the other issues of the white ceiling, the number of LED screens, and a laser performer with dancers, all of which meant we needed precise control of intensities and sharp shutter cuts to prevent any spill – the Rivale Profiles did exactly what we needed.” Rivale was used for both broadcast key light and automated followspots, with the two hosts followed by a Lumatrack tracking system. The busy space filled with dancers and MC movements, plus the LED screen system that flowed from the upright screens across the performance floor, meant inconspicuous yet effective floor lighting was essential. “We wanted floor-level lighting to break up the top light

without blocking the LED content, and around the audience where we couldn’t use bulky fixtures, so it was crucial to have small and neat fixtures everywhere,” Kotov explained. A total of 46 Kyalami were rigged in three positions: at floor level behind the performers, around the audience, and on top of the screen. “The Kyalami really proved their worth, giving us depth behind the performers at floor level, separating them from the top light without ever blocking the LED content, while the units around the audience and on top of the screen extended the same look across the whole room without intruding into the picture.” The wider team included: Show Director, Hassan Abdulhamid; Project Manager, Mohammed Navas; Timecode & Preprogramming, Konstantin Chaika; Technical Director, Mirco Resta; and Disguise Operator, Alexey Vlasov. “It was very satisfying to see the rig deliver on the day,” Kotov concluded. “A huge thanks must go out to the team at No.1 Events & Productions and all the crew involved.” Photos: No.1 Events & Productions www.no1events.net www.cueline.ae

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TPiMEA Awards 2026 An all-star cast of collaborators come together to deliver a sparking ceremony worthy of celebrating the very best of the Middle East live events industry.

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The TPiMEA Awards entered a new era in 2026, with a spectacular showcase of the Middle East’s best and brightest industry talent, held for the first time at Dubai’s Coca-Cola Arena. With the new arena setting providing a significant step up in size, scale and prestige from previous years, expectations were understandably high and the pressure to deliver an event befitting the occasion was very much on. “We knew that we wanted to create something special this year and bringing in strategic and experienced partners to help us deliver the event was essential to its success,” said Fran Begaj, Commercial Director at Mondiale Technology Media, which publishes TPiMEA and runs the TPiMEA Awards. “The teams at Coca-Cola Arena were easy to work with; their various department heads guided us through the challenges and demands associated with producing an event in such an impressive venue.” As well as the significant input and backing from the Coca-Cola Arena team, this year’s event relied heavily on the support from a catalogue of suppliers, including Technical Partner, A Loud Minority (ALM); Lighting Partner, PRG; Lighting Sponsor, Robe; Content Partner, More Eyes; SFX Partner, Laser Saga; Show Partner, CasaMilan; Middle East

and Crew Partner, Showforce. Unusual Rigging delivered the full production rigging package, while illumin8studios and Sennheiser provided key infrastructure for the event’s video control and wireless microphone requirements. “We were amazed by the level of support from the region in bringing this event together,” Begaj added. “We are extremely proud of the event and are looking forward to growing the TPiMEA Awards for the years to come.” Working together as one As Technical Partner, ALM was responsible for the technical design and delivery of the show from start to finish, including the production and lighting design, technical direction, rigging design and venue sign-off, video system and content workflow, as well as production management through load-in, show and load-out. “In practice, we sat between the TPiMEA team, Coca-Cola Arena and every supplier,” said ALM’s Karl Jenkins. “Our job was to make sure that what was designed could be built, rigged, programmed and run safely in a very short window: one day of load-in on 9 September, then show day and load-out on the 10th.” Having been engaged well in advance, ALM’s process started in January as the team

worked alongside Coca-Cola Arena’s technical department to ascertain how the venue’s inhouse inventory could be utilised most effectively. “We designed largely around what the venue already had, and I think that discipline made the show better,” Jenkins remarked. From there, a Vectorworks drawing became the single source of truth. “Marno Snyman, our Associate Technical Director, took it through nine revisions with the Coca-Cola Arena’s technical team and Unusual Rigging, so that motors, truss and load points matched on everyone’s paperwork,” Jenkins explained. ALM’s Senior Project Manager, Igor Kobelev, ran the schedule and issued the daily project planning, joining regular calls with each of the suppliers alongside the TPiMEA Awards team of Fran Begaj, Alice Clarke and Charlie Moore – from the early design phase up until show day. “Decisions were made swiftly and the right people were always in the room,” he reported. The ALM co-founder was pleased with how all the teams worked together. “The venue and a group of suppliers who would normally compete with each other worked as one crew, with one drawing and one plan,” Jenkins reflected. “On a two-day turnaround, that’s what gets you to a clean show. Moving to Coca-Cola Arena was

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a real step up for the event, and it was the right call. After the difficult months our region has faced, holding the industry’s own awards in the region’s flagship arena said something about the industry’s confidence in itself. Our whole team gave their time to this project because this industry has given all of us a great deal,” he added. “Seeing the room full, and the region’s best work recognised at that scale, made it worth every hour.” ‘A visually engaging experience’ The lighting design was led by ALM’s Design Director – and winner of the 2025 TPiMEA Lighting Designer of the Year Award, Ben Rogers. Describing the shift to the arena setting as “a serious level-up”, he shared his concept for the design with TPiMEA. “From the outset, I was looking to create an environment that both indulged the grand surroundings and retained the friendly and Middle East

engaging atmosphere of this well-loved industry event,” he explained. The core stage design was achieved through a combination of lighting, truss and screens. “We aimed to provide a clear framing for the winner photos and key moments of the show, and the fixture placement was structured to give clean architectural and dramatic looks,” Rogers described, noting that truss trim and fixture placement were curated to be as inclusive as possible from every guest position, framing the stage and seating area together. Complementing the main stage rig were seven flown 1m by 4m LED chandeliers, which served multiple purposes within the overall design. “As well as bringing some of the rig that was used to light each table down to a more intimate trim height, they also served as screen elements visible from all tables,” he explained. Lighting Partner PRG provided a full lighting package and pre-rig truss system, delivering

what Director of Account Management, Harry Lister described as “a broad and versatile lighting toolkit” to support the creative vision for the show. Among the more than 200 lighting fixtures were 84 Ayrton Nando 502 Washes, 60 Domino Profiles, 12 Domino Washes and 47 ROXX Cluster B2 FC fixtures. Lighting Sponsor Robe also supplied a range of lighting solutions, with layers of Spiiders, Spikies and iBolts achieving full-coverage effect lighting from the floor to the stage. PRG further supported the lighting package with a substantial Eurotruss pre-rig system comprising 22 PRT 2.44m and 21 PRT 3.05m sections – both in black. “The pre-rig truss provided a modular and efficient method of assembling and preparing the lighting positions before installation,” Lister commented. “By allowing the lighting fixtures and associated cabling to be prepared and rigged on the truss at ground level, the system helped streamline the installation process and reduce

POWERING WHAT’S NEXT. FOR THE INDUSTRY. FOR THE REGION.

EXPERT TEAMS. ESTABLISHED ACROSS THE MIDDLE EAST. Operating from three locations across the region, PRG's Middle East team delivers integrated lighting, video, audio, rigging and end-to-end production solutions for concerts, festivals, corporate events, brand experiences, sports, esports and special events. With deep local knowledge, technical expertise and proven production experience, our team understands what it takes to deliver across the region and are trusted to do it.

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the amount of individual fixture work that was required at height.” The TPiMEA Awards represented the latest collaboration between ALM and PRG, and both parties reported enjoying the experience of working together. “We always enjoy working with Karl, Ben and the rest of the team from ALM, and hope to collaborate again soon,” Lister stated. “This year’s TPiMEA Awards had a strong focus on creating a visually engaging experience, and it was encouraging to see the event continue to develop as a show for the live events and production industry across the Middle East,” he added. “It was exciting to contribute to a production where the technical infrastructure and creative execution were given such importance. We were proud to support the event as Lighting Partner and look forward to seeing how the production continues to evolve in future.” Rogers meanwhile noted that having “the great team at PRG on the ground meant that preparation, delivery and installation of the lighting was exemplary”. He stated: “With this show recognising the top talent in the region, the stakes were as high as Middle East

any, but all teams collaborated efficiently and the character of the event shone through. The night was a very real celebration of both the talent and the resilience of the MEA industry – a pleasure and a privilege to be a part of.” ‘Smiles, laughter and genuine energy’ SFX Partner Laser Saga provided an eyecatching laser and special effects package that further elevated the aesthetic of the evening. According to COO Charlie Creese, the discerning audience in the room played a significant role when it came to the creative decisions made, with the company keen to do something outside the ordinary. “We didn’t want to simply put a line of lasers across the downstage edge,” he emphasised. “It’s been done hundreds of times, and in a room full of some of the industry’s top talent, there was a risk that the lasers would become just another background element.” Instead, the Laser Saga approach was to consider the room as a 360° environment. “We deployed lasers from the stage, around the perimeter of the room and within the overhead

pods, which worked particularly well with the round-table seating layout because the audience was viewing the show from every possible angle,” Creese described. “The overhead pods also allowed us to introduce carefully controlled crowd-scanning effects, so when everything came together, it genuinely felt like the lasers were coming from everywhere rather than just from the stage.” On stage, Laser Saga deployed its custombuilt LS-NYX 65W RGB lasers which, according to Creese, had enough output to visually hold their own alongside the “absolute beasts” of the Robe iBOLTs. Around the sides of the room were LS-NYX 40W RGB units, which extended the laser look around the venue and were a big part of creating the 360° effect, while LS-Aether 15W units were installed within the overhead pods. “These were specifically configured for the application, with output reduced and additional restrictions applied so they could be safely used for the crowd-scanning,” Creese stated. For SFX, a combination of Spark Fabric and Showven units were deployed throughout the

show, with the big end-of-night confetti moment delivered via MagicFX Stadium Shots. Amid all the flashes and bangs, the Laser Saga team implemented its usual rigorous safety standards. “The backbone of our entire control system is safety,” Creese explained, noting that the company uses its own purposebuilt E-stop distribution system, which allows multiple emergency-stop points to be deployed throughout virtually any size venue. “Activating an E-stop isolates power to the laser and SFX devices within milliseconds, while our control systems, consoles and network infrastructure remain operational,” he added. “That means once the situation is confirmed safe and the system is re-energised, we can regain full operation immediately rather than having to reboot an entire control network.” The networking infrastructure ran completely on Luminex – as all Laser Saga projects do. “We’ve standardised around it because it gives us a very robust, industry-standard network platform that we know and trust,” Creese stated. “At FOH, redundancy is equally important. We operate main and backup control systems so that if we ever lose a primary controller, we can switch across and continue the show with minimal interruption.” Preparation proved to be crucial, with as much of the supply as possible built, configured and tested in the company’s warehouse before it reached site. On this occasion, the time gained meant that several members of the Laser Saga team were able to sit back and enjoy the moment when the show began. “We were part of the running of the show, but we were also part of the audience and the wider industry gathering in that room, which isn’t something we normally get to experience,” Creese reflected. “Ultimately, everyone was working towards exactly the same goal – creating the strongest possible show,” Creese commented, sharing his impressions of the collaborative atmosphere among the suppliers. “Every part of our industry has been dealing with many of the same challenges. Yet that night, the room was full of smiles, laughter and genuine energy. For a few hours, everyone was simply together celebrating the industry and the people within it.” ‘A demanding live environment’ With the venue configured in a three-quarter arena mode and all guests seated at round tables on the bowl floor, Coca-Cola Arena’s audio team opted to deploy its in-house d&b audiotechnik KSL system to cover the audience area. The system comprised 10 elements per side, supported by eight SL-SUBs positioned on the floor for low end and four AL90 loudspeakers to ensure even coverage throughout. Audio control came in the form of a DiGiCo Quantum 5 at FOH, with playback for all winners’ walk-up music delivered through the venue’s QLab system. A Sennheiser Spectera wireless ecosystem was implemented seamlessly into the production, with the newly released Spectera handheld microphone given its Middle East debut for the guest presenters and the host, Miqdaad Dohadwala, opting for a single SEK. “Our technical team collaborated closely with Sennheiser technicians throughout the event to ensure smooth implementation, reliable system performance, and a seamless audio experience from rehearsal through to show 45

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delivery,” commented Coca-Cola Arena’s Head of Technical Services, Julian Chetty. Ryan Burr, Head of Technical Sales & Application Engineering, Sennheiser Middle East, was pleased with the performance of Spectera. “It delivered exactly what we expect from a nextgeneration wireless system in a demanding live environment,” he stated. “The TPiMEA Awards provided a great opportunity to demonstrate how the new Spectera wireless handheld microphone’s bidirectional wideband architecture can deliver reliable, high-quality audio while giving production teams greater flexibility and control. The system performed seamlessly throughout the event, reinforcing the value of Spectera for live productions where reliability, efficiency and performance are critical.” For Fadi Costantine, Technical Application Engineer, Sennheiser Middle East, seeing Spectera perform in a live awards environment was particularly rewarding. “This is where the Middle East

benefits of the technology become tangible,” he explained. “The combination of stable RF performance, low latency, and bidirectional communication gives engineers a more streamlined workflow while maintaining the audio quality expected from Sennheiser. The TPiMEA Awards were an excellent showcase for how Spectera can simplify wireless infrastructure without compromising performance.” ‘Everyone was willing to go the extra mile’ Coca-Cola Arena also supplied all the LED hardware and cabling, including the venue’s in-house ROE Visual VST 4.6mm LED system, Analog Way switching platform, Zenith 200 switcher, and NovaStar H2 processors. “The video design featured two curved 9m by 3m LED screens positioned on stage, complemented by a central 5m by 5m LED screen,” Chetty said, describing the video setup. “This was further enhanced by two 5m by 5m IMAG screens, located stage left and stage right, providing

excellent sightlines throughout the venue, as well as the seven four-sided chandelier LED screens.” Control and content management for all LED displays were supplied and operated by iIlumina8studios, whose team managed the video systems throughout the event. “In addition, we integrated our venue’s Arenamation Live platform with Resolume, which played a key role in the overall awards presentation workflow, delivering nominee content, award announcements, winner reveals, and supporting awards show graphics seamlessly throughout,” Chetty added. For illumin8studios’ Steve Critchley, having won Video Specialist of the Year at the TPiMEA Awards 2025, he had no hesitation in getting involved in this year’s production. “Sometimes a quick phone call leads to something pretty special,” he remarked. “When Karl called me to ask if I’d be interested in deploying the video playback system at this year’s TPiMEA Awards, I jumped at the chance!

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PRODUCTION PROFILE

My only stipulation was that I could use the media server of my choice.” After completing an intense training period with LightAct just the week before the event, Critchley made the bold choice to put the system through its paces on this year’s production – and thankfully, he was pleased with the result. “It was incredibly fast and flexible,” he stated. “Building the show was quick, making changes was straightforward, and we were still able to swap out and update elements just hours before the show.” Yet while he was delighted with the way the technology performed, that was only part of what made the event special for Critchley. “Every single person involved genuinely wanted to be there. Everyone was passionate, everyone was willing to go the extra mile, and everyone wanted to deliver something that would make the industry sit up and take notice. That kind of atmosphere is infectious,” he enthused. “I’m incredibly proud to have been part of this adventure and genuinely excited about where it goes in the future.” ‘The volume of content was huge’ As Content Partner, More Eyes handled the custom creation and development of video content across all screens, delivering content to 38 LED surfaces throughout the venue. With 30 award categories and 35 sponsor and partner logos to integrate, as well as different content for the arrival, dinner, main awards and after party to consider, the More Eyes team was kept busy. “The volume of content was huge,” recalled More Eyes’ Pete Thornton. “Deliverables were split between either PNG image format, NotchLC or Resolume DXV videos. We worked with a mixture of assets and sizes – some designed for individual screens and some that were more complex and needed to run across multiple surfaces simultaneously at key moments.” The More Eyes team utilised a range of software, including Adobe Photoshop and Illustrator for the core editing of graphics and logo content, and After Effects, Premiere and Notch for animating, editing and sequencing, to help bring the striking and colourful TPiMEA Awards branding to life. When it came to highlights, Thornton was especially pleased with the intro VT. “It was the only deliverable featuring integrated audio, so we were able to really dial in the audiovisual synchronisation,” he recalled. “It was essential that this video looked good as it played a key role in the evening. It was designed to grab everyone’s attention after dinner and refocus the room and transition smoothly into the start of the main awards. Technically, it was our most complex challenge, requiring content mapped across multiple screens.” He was also proud of the content designed for the tickertape-style Arenamation screens running around the entire venue. “There are lots of limitations on file formats, specific layouts and playback considerations to content with, so this wasn’t straightforward,” he explained. “To get various styles of text and branding content to look good with all of these restrictions was a real technical challenge but I’m happy with the result.” Thornton praised the “fantastic” team of suppliers behind the awards. “Everyone operated at a high level of expertise in their respective departments, which gave us total confidence that the handover from our content delivery to Middle East

integrating with the live playback system would run smoothly. The TPiMEA team did a brilliant job establishing a clear, accurate running order for the main awards; managing that much data is notoriously tough, but they provided a solid foundation and kept us constantly updated on changes,” he concluded. “A special mention goes to Steve Critchley; as our most direct point of contact, he did a great job keeping the technical execution seamless.” ‘The icing on the cake’ Unusual Rigging delivered the full production rigging package for what Project Coordinator and Supervisor Cyd Acanto described as “an exciting and technically demanding project on an exceptional scale”. Deploying a team of seven riggers and six local crew on the project, Unusual supplied and

installed 94 one-tonne D8+ electric chain hoists, 216 running metres of truss supporting lighting, video and sound systems, dedicated rigging solutions for the LED chandeliers, and complete production rigging infrastructure to support the event’s technical production requirements. “This project brought together a large-scale combination of lighting, video, audio, trussing and decorative rigging, requiring careful planning, coordination and precise execution to achieve a safe and clean installation,” Acanto commented. “From the initial rigging requirements through to the final installation, our team worked closely with the production and venue teams to deliver a complete rigging solution.” The TPiMEA Awards also relied on the extensive manpower of Showforce, which delivered 72 crew shifts over the course of two days around the event. “As Coca-Cola Arena’s

in-house crewing provider, we really know the venue inside out, work well with all their suppliers and have a fantastic relationship with the operations team,” stated Group Managing Director, Gemma Charity. “We have a great rapport with the TPiMEA organising team as we’ve worked alongside them on the TPi Awards in the UK for the past couple of years. Being able to bring all that experience together and work across all departments to support the event’s build and de-rig made perfect sense, and we were thrilled to be involved.” With the company also taking home the inaugural Favourite Crewing Company Award, it was a big night for the Showforce team. “Finally having an award that recognises the hard work and support that crewing companies provide to organisers, promoters, agencies, venues and 49

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suppliers for the first time was long overdue. We are integral to the delivery of the amazing events our region has built a global reputation upon,” Charity stated. “To have the opportunity to thank the thousands of crew and the back office teams who have worked tirelessly over all these years was important not only to us at Showforce but the entire crewing community. Becoming the first ever recipient of the award was the icing on the cake. We were able to come together as an industry and celebrate our achievements.” ‘A massive step forward’ As Show Partner, CasaMilan had a team on hand throughout rehearsals and the live show to ensure that everything ran seamlessly. “We live behind the scenes of the behind the scenes, so naturally our focus is to ensure the show flow runs smoothly,” Stefano Milan explained. “Rehearsals were planned to take into consideration any potential hiccups, stage entry and exit was fully planned, and all guest hosts were briefed to ensure that they were confident to go onstage with the right attitude, motivation and, most importantly, a big smile!” With a full day allocated to go through all the show elements including SFX, video content and Middle East

all the stage movements, the CasaMilan team engaged with all the parties involved throughout. “The luxury of a full day of planning was amazing and really helped in converting the plan into reality,” Milan commented. Reflecting on the event as a whole, Milan was impressed with the progress made from previous years. “This was a massive step forward,” he commented. “The TPiMEA Awards has always been about the people and the connection within the industry, and this year the atmosphere felt incredibly friendly and relaxed, yet everyone managed to focus on what was happening on stage, which can be difficult in large venues.” Malcolm Giles, Senior Director of Venue Services at Coca-Cola Arena, also gave his impressions on the new and improved format: “Hosting the TPiMEA Awards for the first time at Coca-Cola Arena was a tremendous privilege and a fantastic opportunity to recognise the incredible talent, dedication, and hard work that our industry invests in delivering world-class events,” he commented. “It was particularly rewarding to see an idea that had been discussed for some time between Justin [Gawne, CEO at Mondiale Technology Media] and myself finally come to life.” For Giles,

seeing the venue filled with so many industry professionals, all coming together to celebrate the achievements of their peers was a real pleasure. “The atmosphere in the venue was electric throughout the evening. The energy, positivity, and sense of community in the room made it a truly memorable occasion for our team,” he concluded. “We were incredibly proud to play our part in hosting such a prestigious event and hope everyone who attended enjoyed the experience as much as we did. We look forward to welcoming the industry back to CocaCola Arena and building on the success of this year’s event when we host the TPiMEA Awards again in 2027.” Photos: Marlon Gotingco www.tpimeaawards.com www.coca-cola-arena.com www.aloudminority.com www.prg.com www.robe.cz www.lasersaga.com www.sennheiser.com www.moreeyes.co.uk www.unusualrigging.com www.showforce.com www.casamilan.co

PRODUCTION PROFILE

Istanbul Festival 2026 The fifth annual Istanbul Festival takes place on a massive Ottoman architecture-inspired stage, created and production managed by İbrahim Kandemir Design Studio.

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From Glastonbury’s iconic Pyramid Stage to the ancient monument-inspired Consciencia stage at Tomorrowland, some of the world’s best festival stages take their design cues from the great architecture of the past. This year’s Istanbul Festival followed this trend, with the design for the main stage taking its inspirations from the geometric principles found in the work of legendary chief Ottoman architect and engineer of the 1500s, Mimar Sinan. “We were particularly interested in how different spans, proportions and repeated forms come together to create a coherent architectural language,” explained İbrahim Kandemir, whose design studio was tasked with the stage design and production management. “We wanted to connect that approach with the energy of contemporary Istanbul and the festival’s diverse musical identity.” Organised once again by Focus Istanbul, this year marked the fifth Istanbul Festival, with an eclectic lineup including the likes of Central Cee, Tiësto, ATEEZ and Argy joining Turkish Middle East

stars including Gökhan Türkmen, Serdar Ortaç, as well as Edis and Gülşen in back-to-back performances over 16 days in August. To accommodate such a range of artists, Kandemir Design Studio developed a massive 70m by 28m stage. “At this scale, arch geometry is a powerful way to create a distinctive silhouette while framing the artist,” Kandemir explained. “Arches of different sizes draw the eye towards the centre and establish a rhythm across the stage façade. Their relationship determined both the overall appearance of the stage and the arrangement of its lighting and video layers.” As well as the impressive scale of the stage, it was important that the design maintained a tangible connection to Istanbul. “We expressed that connection through proportion, balance, geometry and spatial impact. The result was a stage rooted in the city’s architectural heritage and expressed through contemporary live production technology,” Kandemir stated. “A festival stage needs its own identity, but it must also give different artists room to establish

their visual worlds,” he added. “The arches provided the stage’s consistent architectural character, while lighting and LED content allowed different atmospheres to emerge within it. At the heart of the design was the ambition to support both a strong festival identity and the artists’ creative freedom.” Bringing both the design and production management responsibilities together allowed the Kandemir Design Studio team to stick closely to the original concept from ideation through to technical planning and on-site delivery. “We began with the overall silhouette and the audience’s relationship with the stage,” Kandemir recalled. “Our key questions concerned how to frame the central performance area, how the geometry would be read from different distances, and where the technical systems should sit within that composition.” Stage drawings were produced in Vectorworks, with LED surfaces, lighting positions, PA locations, stage platforms and operational areas all considered alongside

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the main arch geometry. “We then developed the design into a technical drawing package covering plans, elevations, equipment layouts and detailed drawings, and that became the shared reference for the different teams working on the production,” Kandemir explained. Syncronorm Depence was used for previsualisation, while MA Lighting grandMA3 consoles and Resolume were used for lighting and video programming. “The geometry of the screens made it particularly important to prepare content for the correct surfaces in advance,” Kandemir recalled. “We shared technical drawings, MVR files and LED pixel maps with visiting artist teams, and we asked them to complete their content preparation and mapping before arriving on site. Previsualisation facilities and allocated programming sessions supported that process, allowing us to use the available on-site time for integration checks, testing and show-specific adjustments.” ‘Different intensities on the same stage’ When it came to technical overlay, all elements were considered as part of the whole package Middle East

rather than on an individual basis. “While each system needed to fulfil its own role, it was important that everything worked within the overall stage composition,” Kandemir stated. The PA design featured L-Acoustics K1 and K2 for the main and outfill systems. Each main left and right array comprised 14 K1 and six K2, while each outfill array comprised 12 K1 and three K2, making up a total of 52 K1 and 18 K2 across the main and outfill arrays. For flown low-frequency support, the design specified 12 K1-SB per side, 24 in total. Each of the two delay towers featured six K2 and six KARA II, with four KS28 positioned at the base of each tower. Additional KS28 subwoofers and KARA II front fills supported coverage at the front of the main stage. “Across a festival site of this size, the key consideration was how the different audience areas would be served as a whole,” Kandemir commented. “Alongside the main system, the positioning of the outfills, front fills and delays was important in addressing the sides, front and more distant listening areas. The technical package also included acoustic coverage simulations to support this approach.” Yamaha DM7 and DiGiCo

SD10 consoles formed the festival’s house FOH and monitor provision. Solid Technical Solutions installed the audience-facing audio infrastructure, while Loop installed and operated the stage monitor system. According to Kandemir: “This division of responsibilities allowed dedicated teams to focus on the requirements of the audience areas and the artists’ on-stage listening needs.” Solid Technical Solutions also installed the lighting rig, which comprised 676 fixtures. As well as 43 Ayrton Domino LT, the rig utilised a variety of fixtures from the Lotus Lighting range, including: 42 Elisium 800, 142 Premium 400, 214 Chameleon 3000T, 37 Scorpion 10, 131 ST-100 Aqua, and 67 Titan 1200 Aqua. The arch geometry was the foundation of the lighting layout. “By distributing fixtures along the architectural lines, we aimed to make the form legible through light, establish a rhythm across the façade and distinguish the different layers of the stage,” Kandemir explained. Positions on the towers, arches and stage front created a composition working from multiple directions. “For example, the Ayrton

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Domino LT fixtures were distributed across the centre, stage tunnel and PA tower positions,” he noted. “Repeated arrangements of Chameleon 3000T and Premium 400 fixtures followed the arches and background geometry, reinforcing the architectural rhythm.” The stage-front lighting added a separate, lower-level layer to the wider composition. “That variety was important in creating different visual intensities on the same stage,” he added. “We wanted to move between restrained moments centred on the artist and large-scale looks involving the entire façade. Equipment selection was considered in relation to those roles and the requirements of each position.” Special effects were provided by A Tasarım Group, with 26 flame positions and 26 jet-effect positions on the stage front. “These followed the shape of the stage front and were considered alongside the lighting layout,” Kandemir commented. “The intention was for the effects to reinforce the width and rhythm of the façade and contribute to the lighting and video composition at selected moments in the show. We treated effects as a layer that would accent moments in the artists’ performances and complement the overall visual language of the show.” A massive 1,231.5 sq m of LED was used in the stage design, with 564 sq m making up the large central screen, left and right background Middle East

surfaces accounting for a combined 329.5 sq m, each inner side screen measuring 124 sq m and the outer side screens coming in at 45 sq m each. “This arrangement divided the wide stage façade into distinct content areas while allowing the surfaces to work together as a single composition,” Kandemir described. “As the screen out-lines followed the arch geometry, the dimensions and pixel map of each surface became central to content preparation.” The video infrastructure used WATCHOUT, Disguise, and Resolume, with the platform varying according to the day and the artist’s show. “Visiting teams were required to provide playback systems capable of delivering at least three independent 4K outputs. However, festival house Resolume computers were provided for teams unable to meet that requirement,” Kandemir explained. “The aim was to distribute content correctly across the different surfaces and give artist teams a common technical framework for their preparations.” Solid Technical Solutions installed the video systems, while T4 installed and operated the video control system. AC-RD installed and operated the camera production system using its own infrastructure and equipment. “Within the stage design, we considered camera positions that would capture the artists, audience and architecture from different perspectives,”

Kandemir commented, noting that the technical camera plan specified six Blackmagic URSA Mini Pro 4.6K cameras, two Sony FX6 cameras and three PTZ cameras, alongside one Jimmy Jib, one motorised dolly and two gimbal positions. “Considering fixed and moving viewpoints together was important in bringing close-up artist coverage and the architectural scale of the stage into the same visual narrative,” he added. ‘The common thread was coordination’ While the İbrahim Kandemir Design Studio team led the project and oversaw every element from design development to technical team coordination, being able to call upon the combined efforts of a range of suppliers was important to its success. “Each discipline’s expertise is as important as the way it works with the others,” Kandemir stated. “A lighting position can affect an LED surface or a camera angle, while a PA position needs to be considered in relation to the appearance of the stage,” Kandemir continued: “Our role in production management was to oversee those relationships and bring the teams’ requirements together within a shared delivery plan. The finished stage was the result of the design and the combined expertise of the technical teams.” Dividing the large quantity of LED into different geometric sections made content preparation

critical. “Artist teams needed access to accurate dimensions and pixel maps in advance so that the central and side surfaces could work together,” Kandemir explained. “We managed this by sharing the technical package early and asking teams to complete their mapping before arriving on site. This created a workflow that reserved on-site time for testing and final checks.” Another consideration was consistency between the lighting drawings, console files and previsualisation project. “Different teams were preparing for the same system using different tools, so it needed to be clear which files were current and how the fixture profiles should be used,” he added. “Sharing the current show files and the relevant fixture-profile information was an important part of that technical communication.” Managing programming and rehearsal time was also essential. “We allocated specific slots for visiting teams’ overnight programming, daytime setup and soundchecks, and offered previsualisation facilities as part of the preparation process,” Kandemir continued. “The common thread through all of these challenges was coordination. On a complex stage, making a design work in practice depends on the right information reaching the right team at the right time. That was one of our main priorities in production management.” Looking back over the project, Kandemir was particularly pleased with how the original geometric concept developed into a cohesive design language the defined the entire stage. “When the proportions of the arches, lighting positions and LED surfaces worked together, the initial design intent remained clearly visible. As a design team, we place great value on an idea retaining its character throughout delivery,” Kandemir commented. “It was equally important that the stage gave different artists room to create their own worlds,” he added. “Maintaining the festival’s visual identity while allowing lighting and content to produce different atmospheres was the balance we had been working towards from the beginning. The audience encountered the same architecture but could experience it differently with each performance.” From a production management perspective, he was pleased to follow the relationship between design and implementation throughout the process. “Being able to assess with the teams how a decision in the drawings would affect lighting, video, audio or operations was also an important part of developing the design,” Kandemir stated. “A stage of this scale is built on the knowledge and effort of many people,” he concluded. “The coherence the audience sees is the result of the collaboration taking place behind the scenes. One of the things we are most proud of is how the different disciplines came together to realise a shared idea. “For us, a successful festival stage is one where the contributions of the designers, artists and technical teams reach the audience as a single experience.” Photos: Kandemir Design Studio www.istanbulfestivali.com www.ibrahimkandemir.com www.solidtechnical.com www.atasarimgroup.com 61

Middle East

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The Event Verse launches AccredTix The new free-to-use platform aiming to bring increased accountability and efficiency to live events throughout the Middle East and beyond…

Above: The Event Verse co-founders, Ieva Irbina and Alex Wiseman, with Chief Technical Officer, Max Mitschke.

The technology that powers live events is advancing at an incredible rate, with the festivals and tours of today boasting a level of technical wizardry that would have been considered impossible just a few years ago. However, one area that has tended to lag behind somewhat is back of house operations, with the entire innerworkings of an event often left at the mercy of an irregularly updated spreadsheet. “This is exactly why we decided to develop AccredTix,” stated The Event Verse’s Alex Wiseman, introducing the company’s new free-to-use platform for accreditation and back of house operations. “The idea is that event organisers can move away from relying on Google Sheets and emails and start using a system that gives them accountability and Middle East

auditability from day one.” Launched in 2024 by Wiseman and fellow co-founder Ieva Irbina, The Event Verse has delivered back-of-house logistics on some of the world’s biggest live events and festivals – in the Middle East, Europe and the US. And with the development of AccredTix, the company is rolling out its technology for free, allowing event organisers at every level to benefit. “There’s a huge barrier to entry for accreditation systems: people have to sit through demo calls, sales pitches, and spend hours evaluating platforms before they even know if it’s right for them,” Wiseman explained. “We’re opening it up. Anyone can sign up and try it. Some people will only ever use the free tier and that’s fine. For us, it’s more of a community service than anything else at this stage.”

The free tier opens the full AccredTix feature set to every venue and event producer, giving users access to accreditation, guest list, catering, accommodation, vehicles, inductions, document collection, advance forms, drag and drop pass designer and communication modules – all set up and ready to go in under 10 minutes. “We’re trying to show producers that they can have a system that manages their data, makes their site safer and more secure, and makes life easier on the ground, without having to spend hours going through sales calls and setup processes.” While the free tier is more than adequate for small events, the platform is also offered in two paid tiers, with the £49.99-per-month AccredTix Pro incorporating an inbuilt AI teammate, Ada, who can perform some of the most mundane tasks such as increasing allocations, preparing reports and bulk operations that would traditionally swallow up time on busy event days for accreditation staff. “Ada is never going to take over the company,” Wiseman laughed, when probed over the potential uses of the platform’s new AI companion. “The key to using AI effectively is not teaching it what to do; it’s teaching it what not to do. We’ve trained Ada to take away the most monotonous and time-consuming tasks, leaving the real people working on events with more time and headspace to make the right calls.” The highest level of the platform, AccredTix Enterprise, is for production teams who require additional support, with The Event Verse’s in-house team of developers – led by Chief Technical Officer, Max Mitschke – on hand to create unique modules to suit the specific requirements of an event or venue. AccredTix is also linked with The Event

Verse’s Scan Verse RFID technology, allowing event teams to order handheld scanners that will be shipped already pre-configured for their event and ready to use as soon as received. AccredTix Enterprise went live in summer 2024 and has since issued more than 200,000 accreditation QR codes and managed over 100,000 guest list tickets, being used by use by clients such as Cuffe & Taylor, SJM Concerts, Drumshed, Broadwick Live, Creation, AEG Presents, TAIT and SXSW London to name just a few. Looking ahead, Wiseman hinted at several opportunities for further development within the AccredTix platform, including the potential addition of workforce management and procurement functions. “They are two of the biggest features that our users are asking us for,” he explained. “We want our users to be able to see the full picture of their event operations – from crew costs and accommodation through to travel, logistics and resource planning.” With confirmed shows coming up in Saudi Arabia as well as the recent launch of the company’s US entity, Wiseman is optimistic that The Event Verse will continue on its mission to bring accountability and efficiency to events up and down the food chain. “Efficiency is where all of this comes from,” he concluded. “We understand that there isn’t unlimited money available in live events, so promoters have to prioritise. What we are trying to do is create solutions that make operations more efficient, more accountable and ultimately easier for the people delivering events.” Photos: The Event Verse www.accredtix.com www.theeventverse.com 65

Middle East

INTERVIEW

RWS Global: from Riyadh to the world AJ Gardner, Vice President of Operations for the Middle East, reflects on his first year in post at RWS Global, discusses the opportunities emerging from Saudi Arabia’s transformation, and shares his vision for the development of world-class entertainment experiences across the region.

and destination experiences. The entertainment landscape in the Middle East is ambitious, immersive, and happening everywhere. Entertainment is embedded into daily life, from parks and festivals to malls and public spaces. There is an emphasis on lighting, architecture, and atmosphere, creating thoughtful and inclusive guest environments. RWS Global is uniquely positioned because we can provide full turnkey support, from master planning and design through execution, operations, consulting, and special events. Our global network, combined with more than 25 years of collective GCC experience, allows us to support projects of any scale while remaining focused on guest experience. That balance is critical in the Middle East.

How has your first year at RWS Global been? Invigorating. To be a part of RWS Global, at such a pivotal moment of growth in the Middle East, there is nothing like it. I couldn’t imagine being anywhere else and am very grateful for RWS Global’s leadership and trust in me to help establish our Riyadh headquarters. There are some very exciting projects in the pipeline, both long-standing and new developments. One of the biggest highlights has been the global support and company culture. The passion and collaborative nature of our team members are world class. What makes the Middle East important to RWS Global? RWS Global has built a reputation for delivering world-class entertainment and elevating the guest journey across land-based attractions, cruises, mega-events, museums, Middle East

How important is Saudi Arabia to RWS Global’s regional growth strategy? There is an enormous appetite in Saudi Arabia and across the GCC for premium entertainment, and the region deserves the very best. Through our permanent operations in Riyadh, we have created a foundation for long-term growth and are excited to contribute meaningfully to the transformation of tourism and entertainment in the region. Saudi Arabia has positioned itself in a unique way, as the Kingdom is reforming its entire economic and cultural systems at the same time. The country’s transformation is unprecedented in its scale and vision. Its economic diversification to focus on tourism, cultural heritage, and entertainment will define the success of the Kingdom. His Highness Mohammed bin Salman (MBS)’s Saudi Vision 2030 development plan will go down in history as one of the most ambitious and well executed reform plans in human history. The vision is clear, purposeful, built to directly benefit the people of Saudi Arabia, and will bring prosperity and opportunity to the entire Kingdom. How is RWS Global helping to bring through the next generation of Saudi talent? Vision 2030 is a global phenomenon with the advancement and benefit of the Saudi people at its core. The approach is simple: listen to the Saudi people, understand their culture, and celebrate it. Developing local talent is essential, and it’s something I’m personally passionate about. Our goal is to help build a world-class entertainment workforce within the region by combining local leadership with global expertise. We want to bring international

Facing page: RWS Global’s Vice President of Operations for the Middle East, AJ Gardner.

educators, performers, and industry experts into the region to share knowledge, conduct training, and support longterm professional growth. Saudi professionals want to build careers here, and we want to support that ambition.

we use technology as a part of an experience. It is woven in seamlessly, so guests don’t get distracted by technology but become even more deeply invested in the experience, creating a more meaningful human connection.

In what other locations and sectors do you see the biggest opportunities for growth for RWS Global? The entire GCC region is ready for more growth. Much of the global attention has been focused on Dubai’s business sector, Abu Dhabi’s tourism, and Riyadh’s rapidly growing tourism-focussed infrastructure, but other GCC countries are eager to keep up. From experiential airports to gigatheme parks, destination water parks, luxury resorts, and immersive museums, we are witnessing the development of an entire region. RWS global specialises in realising ambitious dreams. We provide world-class experiences, backed by decades of client and guest satisfaction. This includes master-planning, development, production, operations, and even localised training and development.

What is your approach to selecting technical partners? Our approach is focused on trust, expertise, and alignment. We maintain strong technical expertise in-house, but occasionally, we need to bring in partners whose specialised skills complement our team and support the specific requirements of a project. We evaluate not only technical ability, but also cultural fit, collaboration style, and a proven track record of delivering at a high level. Since any technical partner is a representation of us, it’s essential that they share our commitment to delivering our client’s vision.

How is technology changing guest expectations in entertainment and live experiences in the region? Experiences are expected to be fully immersive and even personalised. The rapid advancement of technology allows us to push the boundaries of the guest experience and send them on a journey like never before. We are in the business of creating, in-person, human moments. When

What are your goals for RWS Global in the region? Our focus is simple: deliver world-class entertainment, at scale, supported by our international network and grounded in local culture. Training, workforce development, and operational excellence will be central to our growth. We’re here for the long term, committed to contributing to the region’s success and creating experiences that resonate with families and communities. Being part of KSA’s evolution is a privilege, and we’re excited about what’s ahead. Photos: RWS Global www.rwsglobal.com 67

Middle East

IN PROFILE

Artnovi: experience over technology From national celebrations to experimental art installations, the Artnovi team creates immersive experiences that leave a lasting impression.

Discussions of immersive experiences often begin with the technologies that make them possible. At Dubai-based creative studio Artnovi, however, even the most advanced tools have always been seen as a means of realising an artistic vision, rather than the starting point. Co-founded in 2015 by Maria Tkachenko, Creative Director, and Sergey Tkachenko, CEO, the studio is known for large-scale ceremonies, live productions, cultural projects and installations that bring music, movement, light, imagery and space together into a unified experience. “I have always been fascinated by the idea of bringing different art forms together,” Maria explained, recalling how the company began. “It was a question that occupied artists in the early 20th Century: could there be a work in which music, space, light, imagery and movement all exist on equal terms? I see space as a living composition, in which every element has its own voice, rhythm and meaning.” That question continues to shape the company’s work. Rather than placing one element above the others, Artnovi approaches Middle East

each project as a complete artistic environment in which every component contributes to the overall experience. “I wanted to move away from the familiar approach where one art form takes the lead and everything else accompanies it,” Maria explained. “I was interested in what would happen if music, imagery, light, movement and space created a single experience together.” Artnovi’s multidisciplinary practice spans creative direction, multimedia scenography, live shows and installations. The audience’s experience as a whole remains at the centre of its work. “We are particularly interested in projects where we can think about the entire experience, from the first idea and story through to the space itself and, ultimately, what a person feels within it,” Sergey commented. This openness has allowed Artnovi to work across a wide range of formats over the past decade, from large-scale public celebrations to intimate installations and theatrical productions. What connects them is a desire to create an emotional connection with the audience. “We do not begin with a technology or a format,” Maria commented, explaining the

process. “We begin with an idea and an emotion, then choose the artistic and technological tools that will help us express them.” There have been many memorable works over the years, but the projects closest to the co-founders’ hearts are not necessarily the largest or most technically complex; they are the ones that changed how they understood their own practice. One such project came in 2017, when Artnovi created an hour-long multimedia performance to mark the 200th anniversary of a historic exhibition venue. Live music, visual art and robotics came together in a production that expanded conventional ideas of performance, with a choir, soloists and a chamber ensemble performing classical music alongside visual art and sound design. “The show was actually controlled by robots,” Sergey recalled. “In front of the audience, they interacted with projection, kinetic and generative light, and triggered different processes throughout the space.” Another significant work was Theatre of the Future, a production exploring the relationship between humans and machines. In one scene,

robotic arms controlled a ballerina’s movements. “The machine became her partner on stage,” Maria recalled. “The robots controlled a human body, bringing one of our common fears about technology to the surface: the fear of losing control and becoming dependent on machines.” This dialogue between new artistic languages and traditional forms also brought Artnovi into classical theatre. In another production, the studio worked with dancers from the Vienna State Opera, combining classical ballet with stereoscopic 3D imagery viewed through 3D glasses. “I have always enjoyed that contrast, when a new artistic language enters into a dialogue with tradition rather than disrupting it,” Maria stated. Another recent project in which Artnovi played a key role was the UAE National Day celebration at Al Dhafra Fort, bringing together heritage, live performance and contemporary artistic storytelling. “The historic architecture, scenography, music, light, projection mapping, choreography, drones and technology all became parts of one story,” Maria explained, adding that the opportunity to engage more deeply with Emirati culture made the project particularly meaningful. “We did not simply want to create a spectacular show,” she added. “We wanted to understand the story we were telling and find a contemporary artistic language that treated it with care while speaking to today’s audience.” At Artnovi, artists, designers, engineers and developers work as one team. “We have worked together for many years. We handle creative development and the main scenographic production in-house, which allows us to preserve the integrity of the original vision at every stage of delivery,” Sergey emphasised. This combination of artistic and technical expertise enables Artnovi to create its own objects, mechanisms and interactive systems, developing solutions around the idea behind each project. The UAE has become a particularly important base for the company. Beyond the scale of local projects, Sergey values the diversity of people and ideas around the studio. “Living and working in such an international environment has broadened our view of the world,” he reflected. “Encountering different cultures, traditions and ways of thinking naturally changes how you see the world and, over time, what you create.” As interest in immersive experiences grows across the region, Maria offered her own definition of the term. “For me, immersion is about the depth of an experience,” she said. “A single powerful thought can be immersive. So can music, an image or any genuine emotion evoked by art. When a thought, image or feeling continues to live within you long after you have encountered a work, that is true immersion.” The same philosophy informs the studio’s approach to new technologies. Artificial intelligence is rapidly changing creative processes, but Sergey sees it primarily as a practical tool rather than a substitute for human creativity. “AI has already become a natural part of our lives, and above all I see it as a very useful and powerful tool,” he stated. “I do not think we should be afraid of AI. We need to learn to use it well and understand where it can genuinely help.” For Maria, openness to new tools is inseparable from the value of an individual artistic 69

Middle East

IN PROFILE

voice. “Having your own creative voice has become even more important,” she observed. “AI can help you find a form or realise an idea more quickly, but it can’t live your life. And that life is where your own artistic thinking comes from.” For all the discussion of technology, the challenges Artnovi faces today remain largely human. When content can be created faster than ever, standing out requires more than impressive imagery. “It is becoming easier to impress someone for a few seconds, and harder to create something they will truly remember,” Maria commented, reflecting on how to preserve depth as the pace of work increases. “How do we become faster without becoming more superficial? How do we use new technologies without becoming dependent on them?” For Sergey, maintaining quality also depends on how the team works under tight deadlines. “Sometimes the largest projects have surprisingly Middle East

short preparation periods,” he said. “That is when a team that has worked together for many years becomes especially important.” The Middle East is a key focus for Artnovi’s development. “There is a rare combination of scale, ambition and openness to new ideas here. We are particularly interested in projects that combine these opportunities with an attentiveness to cultural identity,” stated Maher Mohammed Al Shahaimi, Growth Director. “We see great potential in working with heritage as a living part of the present and a foundation for the future. Artnovi’s role is to find a contemporary artistic language for these stories while preserving their meaning and connection to place and people,” he added. “These are the projects in which we aim to be a creative partner, helping to shape the vision from the outset.” Europe also remains an important focus, particularly in theatre, opera, ballet and live

performance. Maria sees opportunities to develop new scenographic ideas in collaboration with directors. “There is something unique about theatre: a living person and a real space, where the impossible can happen right in front of you,” she explained. “I want our work to stay with people. It does not necessarily have to exist physically for very long; sometimes a project lasts only a few minutes. But if, years later, someone still remembers an image, the music, the space or simply a feeling that they experienced during one of our projects, I consider that as one of our greatest achievements.” “Time is the most valuable thing we have,” Sergey concluded. “If someone gives us a few minutes or hours of their life, I want us to give them an experience that stays with them for much longer.” Photos: Artnovi www.artnovi.io

FEEDBACK

Beyond the press office PR practitioner Ancy Alexander muses the importance of an effective communications strategy to the overall success of an event.

Having spent the past 18 years working in public relations, I’ve seen firsthand that when it comes to making events a success, good PR is just as important as strong overall planning and execution. I know this might sound like a bold claim to many organisers who pour their hearts and souls into every event, but before you write me off as a self-serving PR person, allow me to make a case for why public relations should play more than just a supporting role in the world of events. Using communications to inform, influence and persuade has existed for centuries, dating back to the ancient Greeks, who would send out heralds to promote the Olympic Games throughout the country months in advance. Middle East

Of course, methods of planning and execution have evolved significantly over the years, but it seems that when it comes to PR, many among the region’s event sector are lagging behind what was common practice all those years ago. Nowadays, it is not uncommon to hear about how many crucial roles and departments are plugged in too close to the event date. Often, one person or team juggles multiple roles while already handling other core responsibilities. This happens all over the world, but it is particularly prevalent in the Middle East, where project timelines are famously short. In many organisations worldwide, PR is still seen as a reactive function for when a problem arises, to secure media coverage and, if applicable, influencer engagement. So, it is not entirely surprising that the same gap exists in the Middle East. Media relations and coverage are only one part of what is possible for stakeholder engagement and reputation building through events. In their book, Successful Event Management: A Practical Handbook, Anton Shone and Bryn Parry insist that: “It is vital that event planners have a thorough understanding of their attendees”. PR provides this understanding and key intel. Strategic planning is often tied to finances, with the number of visitors and tickets sold contributing to an inherited tendency among many event organisers in the region to think of PR as a limited function. The expectation is to write and issue press releases and manage the press office, with no time to plan communications building up to the event, or maintain momentum to keep the target audience and stakeholders informed and interested after the show. In today’s ecosystem, working with influencers adds another layer of visibility. However, multiple cases have revealed that reach does not guarantee impact. Finding and working with the right creators for each show also requires time and careful planning. With sufficient time, and a seat at the decision-making table, PR practitioners who are experts at finding stories in seemingly ordinary moments and conversations can do a lot more for an event. An event can run without dedicated PR or rely on a fragmented approach led by someone juggling social posts, reels, box-office duties and even flowers for the VVIP area, but it misses a major opportunity. When the active audience and stakeholders feel connected to an organisation or event through carefully planned communications, it not only drives attendance but also increases the perceived value of attending and hosting the event, ensuring continued attendance and trust in subsequent editions and new shows. Companies that understand this incorporate PR earlier in the event life cycle rather than later, and that is often their unique advantage. Photo: Ancy Alexander

FEEDBACK

Slow and steady wins the race Daniel Pycock of VA361 Productions draws parallels between his experience finishing the 2026 Dakar Classic and what it takes to succeed in the live events industry.

Above: Daniel Pycock with business partner and codriver at the 2026 Dakar Classic, Fran Gómez.

Early on, the more experienced drivers told us that speed was not what made a finisher in the 2026 Dakar Classic. I quickly realised that what we needed to reach the end was consistency, strategy, teamwork and lots of grit. My business partner, Fran Gómez, and I were taking on the rally in a 1993 Mitsubishi Pajero. We started planning our speeds more carefully and thinking about how to look after the car mechanically. We looked for gentler routes where we could and were willing to sacrifice speed to protect the car. Each decision had to take account of what we would need from it for the rest of the rally. I see the same need for preparation in my work in live event production at VA361 Productions. Equipment needs the appropriate care and preparation before you depend on

Middle East

it. If that work hasn’t been done, finding out during delivery is too late. With the team, I need to understand how people are doing. Our production team already has a system, with tools and processes to do the job. What they need most from me is motivation, support and someone who listens. For me, that starts with reading the room and understanding where the stress is being felt. I try to ask the right questions and read the person in front of me. What do they need from me right now? How can I help them move from stress or fear towards motivation? The response depends on the person and the moment. Sometimes humour helps. Sometimes I need to listen more carefully to understand what support is needed.

Fran and I needed that support from each other at Dakar. We used humour a lot, and when everything felt a bit too much, we would hand over and swap between driving and navigating. That change of role gave us some variation. We kept each other’s morale up and tried to lift each other when we were low on energy. For a production team, it helps to discuss who can support whom before the job gets difficult. At your next crew briefing, ask where the most demanding stretches of the job will be and who can help if someone needs relief. Where a handover is possible, the person taking over needs the right skills and a clear understanding of the job. Our role swaps gave us a practical way to share the load. There was also a commitment I had to make to myself. With a challenge this big, I think you need to make yourself a promise and decide you’re going to keep it. Whatever the day brings, you’re going to show up for yourself. Then you have to do it again the next morning. The hardest moment came about three days from the end. After several 16-hour days in a row, extreme temperatures, very little sleep and high stress, I was exhausted. One morning, facing another 16-hour day after only three hours’ sleep, with a damaged car and me running on fumes, I considered not getting up to continue. But I had promised myself I would finish. So, I got up and dealt with each challenge as it came. On a production, it is important that everyone in my team feels able to tell me if they are struggling with anything. They need to know that I will listen and help them work out what

to do. That means paying attention to the signs as well as what people say. When we reached the finish line, I was proud of the full process. I was proud of Fran, our mechanics and the whole team. I was also proud of our colleagues whose car had rolled on the second day and who had to abandon the rally. They were part of the team I was proud of, even though their race had ended early. I was proud that we had stuck to the plan and seen the project through to the end. All the decisions about pace, the care for the car, the changes of role and the encouragement between us were part of getting there. I had kept my promise to myself, and I knew how much the team had helped me do it. A personal suggestion that might help on your next production is pretty simple: while checking progress during the build and making sure everything is on schedule, try asking, “How are you getting on? Is there anything I can do to make things move along more easily for you?” You might spot a way to work more efficiently that is harder to see when someone is dealing with a heavy workload. They might also benefit from strategic input or help deciding what to prioritise. Let the person and the situation guide what you bring to the equation to help the production keep moving. For me, that is how helping and supporting your team becomes part of getting the project to the finish line. Photos: Jesús Pérez @Chuseto www.va361.com 75

Middle East

GEAR HEADS

Renkus-Heinz IC Live X Series Pavel Shemiakin, Managing Director of AVAIL MEA, and Karan Kathuria, Director of Sales & Business Development, Renkus-Heinz, talk up the manufacturer’s versatile line array solution.

When it comes to line array systems, aside from the obvious requirement for high power, versatility, scalability and digital steerability are characteristics that can truly set a solution apart. According to Pavel Shemiakin, Managing Director of UAE-based Renkus-Heinz distributor, AVAIL MEA, the company’s IC Live X Series possesses all these qualities and more. “The IC Live X Series serves as a highoutput alternative to traditional mid-size line arrays, bridging the gap between pointsource, vertical array, and beam-steering products, which is why the company refers to the ‘X’ as a crossover,” he explained. “It is a product that meets the requirements of both the install and live sound markets equally.” The series comes equipped with a raft of features, including the Acoustic Source Multiplier (ASM) waveguide. Karan Kathuria, Director of Sales & Business Development at Renkus-Heinz, elaborated: “Listeners experience flawless audio clarity, even in challenging, highly reverberant architectural spaces like houses of worship or ballrooms with high ceilings and glass walls. Whether sitting in the front row or the very back seat, audience members can clearly understand every word spoken or sung.”

Middle East

The range has a modular design consisting of three combinable steerable-array modules (ICLX, ICLXL, ICLLX) that can scale up to 12 modules in a single array, as well as two matching subwoofers (ICLX-48S and ICLX118S). “It functions as an adaptable sound system that fits any size of event or space,” Kathuria commented. “A venue or rental house can configure the exact same hardware to gently fill a small corporate meeting or stack it to throw concert-level SPL across a massive venue. It’s also slim and visually discreet, so audiences can focus fully on the stage without a massive wall of speakers blocking sightlines.” The Dante-based IC Live X series features the advanced OmniBeam algorithm and RHAON II software control for a more efficient and simplified workflow. According to Kathuria, this means that, instead of spending hours manually configuring audio beams, each venue’s unique geometry can be automatically analysed to optimise coverage. “This ensures that the system is ready faster and consistently provides the best possible sound quality with minimal human error,” he commented. Kathuria went on to highlight some of the potential applications for the series, which include: performance spaces and auditoriums, live sound reinforcement and

concerts, convention centres and ballrooms, themed attractions and outdoor areas, and contemporary houses of worship. “With superior intelligibility, a light footprint, ultimate scalability, climate resilience, seamless smart integration and an elegant look and feel, the IC Live X Series is ideal for a broad spectrum of applications,” he noted. Rahul Mankar, Regional Sales Manager – MEA, had his say: “Renkus-Heinz gives designers the freedom to shape sound with purpose,” he commented. “Because when technology meets precision, sound doesn’t just fill a space. It defines the experience.” AVAIL MEA offers extensive support for Renkus-Heinz users in the region, with everything from system design assistance, technical training and product demos to regional warehousing, servicing, last-mile delivery and local fulfilment. “As a long-term Renkus-Heinz partner, the team offers deep expertise in system design, supply and deployment of Renkus-Heinz systems,” stated Shemiakin. “This spans from pre-sale and supply to after-sales stages, supporting AV consultants, integrators, and installers.” Photo: Renkus-Heinz www.renkus-heinz.com www.avail-mea.com

GEAR HEADS

Look Solutions AURA ONE Matrix Laser’s Michael Hilgemann shares the benefits of Look Solutions’ new flagship hazer. fine particles. An internal 5L fluid canister means it can deliver up to 70 hours of continuous haze. It can operate through W-DMX (CRMX by Lumenradio) as well as over Ethernet for sACN / Artnet. It also features a DMX-controllable diverter for the internal fan, with different speed settings for auto-swing, and fixed positions from -50 to +50°. Why is the AURA ONE ideal for the region? The AURA ONE is a modern, versatile, alternative for oil-based hazers. With no CO2 required, it’s an easy and efficient option for a range of uses across the Middle East. Where do you expect to see it used? The main applications are medium to large venues that require high volumes of haze, long hangtime and evenly distributed particles. The fact that it also offers very strong contrast for light beams and lasers on camera means that it is also ideal for broadcast environments.

Where does the AURA ONE fit into the Look Solutions haze range? The AURA ONE will mark the very top end of Look Solutions’ range of hazers, with 20 times longer hangtime and a significantly smaller particle size than its competitors.

What are its main features? It can be used worldwide, from 90 to 240V and 50 to 60hz. Despite being water-based and not requiring any CO2, the level of haze produced is comparable to oil-based solutions, with extreme hang times and very

Show Laser.... Stage Eﬀects....

When will it be available in the region? We are expecting to have the first units to purchase and rent here in the UAE by the end of October. Photo: Look Solutions www.looksolutions.com www.matrix-laser.com

www.matrix-laser.com

and Smoke.... ....is our Business Mail: m.hilgemann@matrix-laser.com Phone: +971.2.6459554

Middle East

REGIONAL ROUND-UP

Star Dimensions launches in the Middle East The Indian company opens a new dry hire operation in the UAE, starting with a major investment in d&b audiotechnik.

The Middle East has a new dry hire company, as Mumbai-based Star Dimensions has expanded into the UAE. Founded in 2000, Star Dimensions has been a mainstay on the Indian live events scene for more than a quarter of a century, and now the company is branching out to bring its offering to the Middle East. “We believe strongly in the long-term potential of this region,” stated Star Dimensions founder, Jay Mathuria, discussing the timing and rationale behind the launch. “The appetite for live music and large-scale events has grown considerably, and we see a clear need for more quality rental inventory to support it. Of course, we’re entering at a time of regional uncertainty, but this investment reflects our confidence in what comes next.” While he acknowledges the challenge presented by the current level of geopolitical uncertainty in the region, Mathuria also sees opportunities to grow, with some companies potentially more willing to dry hire equipment rather than making their own high-value investments. “We believe that when conditions Middle East

stabilise, the industry will come back with real momentum, and we want to be ready to support that demand. We are building for the years ahead,” he added. Star Dimensions is kicking off its entry to the region with a significant investment in d&b audiotechnik, with a broad range of d&b products including GSL, KSL and SL-SUBs as well as smaller systems and point-source loudspeakers all available in its inventory. “The variety of solutions we have invested in allows us to support different event sizes and applications, whether a customer needs a complete largeformat system, a compact solution or additional inventory to supplement their own equipment,” Mathuria explained. A longstanding d&b customer, Mathuria was never in any doubt of which brand to select for the company’s UAE launch. “We have built trust in the products, the people and the support over the past 15 years, so extending that partnership into the Middle East was a natural step,” he commented. “The SL-Series has a very strong presence in international touring, and we also see

the opportunity extending well beyond largeformat systems.” According to Brad Maiden, d&b’s General Manager, Middle East, India & Africa, the company has seen a significant increase in its technology being adopted by rental houses in the region. “We are seeing more and more d&b systems – especially SL-Series – and Jay and Star Dimensions’ commitment to support this growth is very exciting,” he stated. “Introducing best-in-class technology that is accessible to everyone and that supports quality productions is a positive step for the market,” Maiden continued. “We will be throwing our full support behind Jay, supporting him in letting our awesome industry here know that there is now a great inventory of d&b products available for hire, with more to come.” This initial investment is just the beginning for Star Dimensions in the Middle East, with the company set to add a variety of equipment across the spectrum of the live events world, from audio and lighting control solutions to LED screens, lighting fixtures, smoke and haze, chain motors and trussing. “At Star Dimensions, we are incredibly excited to bring our world-class inventory to the region’s dry hire market,” Mathuria concluded. “By positioning ourselves in one of the world’s fastest-growing high-demand entertainment centres, Star Dimensions is uniquely equipped to support a range of premium, large-scale productions with the absolute best in audio, lighting and video technology.” Photo: Star Dimensions www.stardimensionsintl.com www.dbaudio.com

ETC expands Middle East sales team Richard Burton joins as Field Project Coordinator, based out of the Dubai office.

ETC has bolstered its growing sales force in the Middle East and India, with the appointment of Richard Burton as Field Project Coordinator. In his new role, Burton will work closely with Regional Sales Manager Mark Larcombe, supporting ETC customers and projects across the Middle East and India while helping to further strengthen ETC’s presence and relationships throughout the region. Based in Dubai, Burton will work from ETC’s Studio in Media City, travelling across the UAE and the region as required. With 20 years of experience in the lighting industry, Burton brings extensive technical and regional expertise to the role. He is already well known to ETC customers and users across the

Middle East, having worked as ETC’s lead Eos trainer in the region for the past several years, as well as for ETC dealer Oasis Enterprises. Burton moved to the Middle East in 2015 and has held several significant roles across the region and internationally, including working as Lighting Manager at Dubai Opera House, as well as experience at the P.E.A.R.L. in London and the Royal Opera House in Muscat, Oman. “We’re thrilled to have Rich on board,” stated Mark Larcombe, Regional Sales Manager. “With his experience, knowledge, and previous work with ETC, he is a natural fit and a valuable addition to both ETC and our customers.” Photo: ETC www.etcconnect.com

asembl.group acquires Noble Live The company expands Middle East operations as regional demand continues to grow. International events collective asembl.group, together with Formation Global, its specialist exhibitions partner, has acquired Noble Live from veSpace. Penny Noble will continue to lead Noble Live Dubai alongside her experienced local team on the ground, while Formation Global will continue to complement the group’s Middle East proposition through its specialist exhibition and interiors expertise. “This isn’t simply about expanding our footprint; it’s about investing where our clients are investing,” commented Gavin Farley, CEO of asembl.group. “Over recent months we’ve continued to see strong demand throughout the Middle East, with projects moving forward despite wider challenges across the region. That confidence has given us the opportunity to strengthen our presence by bringing Noble Live into the asembl.group family and expanding our team on the ground.” Anita Lowe, CEO of veSpace, the previous owner of Noble Live, said: “Noble Live has built an outstanding reputation in Dubai under Penny’s leadership, and it was incredibly important

to us that the next chapter for the business was with organisations that shared the same values, entrepreneurial spirit and ambition for growth. We firmly believe that asembl.group and Formation Global are the right fit to take Noble Live forward.” Penny Noble, Managing Director of Noble Live Dubai, added: “Joining the asembl.group family is an exciting milestone for Noble Live. Our clients will continue working with the same trusted team they know today, now supported by an international business that shares our ambition for growth and excellence. This investment allows us to build on everything we’ve achieved while creating even greater opportunities for our clients, our people and the future of the business.” The addition of Noble Live marks another significant step in asembl.group’s international growth strategy. With established operations across the UK, UAE and APAC, and a growing network of specialist partners worldwide, the group continues to invest in regional expertise where client demand is strongest. Photo: asembl.group www.asemblgroup.co 79

Middle East

REGIONAL ROUND-UP

Fidato to distribute APG and Active Audio in India The nationwide agreement gives the two French brands a single distribution partner. Arbane Groupe has appointed Fidato as the exclusive distributor for both APG Audio and Active Audio across India. The agreement covers the entire Indian market, with Fidato taking responsibility for distribution, channel development, sales, service and market expansion for both brands nationwide. “What attracted us to APG and Active Audio was the combination of strong acoustic engineering, product quality and the complementary nature of the two brands,” stated Naveen Sharma, Managing Director of Fidato. “Together, they allow us to address a wide spectrum of the Indian professional audio market with solutions that are technically strong, reliable and relevant to the evolving needs of our customers and partners.” According to Sharma, the strategy will be application-led rather than product-led – an approach that reflects the direction that

Fidato sees the Indian professional audio market heading in, with demand shifting towards solutions that go beyond basic sound reinforcement towards better intelligibility, coverage and overall experience. “This is why we believe it is the right time to introduce APG and Active Audio more strongly into the Indian market,” he said. “Both brands bring a very strong French engineering heritage and a solution-oriented approach to acoustics. They give us technologies that can address real challenges in Indian projects rather than simply adding another loudspeaker option to an already crowded market. Our role will be to make their technology accessible, understood and well supported in India.” For Fidato, the agreement represents a step beyond adding two names to a portfolio. “Partnering with Arbane Groupe represents an important milestone for Fidato,” Sharma

concluded. “This agreement is not simply about bringing APG and Active Audio to India. It is about bringing proven technologies, strong engineering and new possibilities to our customers and partners. For our customers, this partnership ultimately means greater choice, betterengineered solutions, and the confidence of having strong local support behind world-class audio technology.” Photo: Arbane Groupe www.arbane-groupe.com

Beats Light & Sound backs HK Audio in India The company invests in a range of options, including the second COSMO system sold in India. Delhi-based Beats Light & Sound has made a substantial investment in HK Audio for its live sound inventory. Supplied by Hitech Audio Video, the order included the second COSMO system sold in India, alongside products from the CX and POLAR ranges, which will be used at professional live events. The 56-unit order comprised 24 COSMO C 10, 12 CS 218 subwoofers, eight CX 12, four CX 8, four CX 210 LT and four POLAR 12 MK2 systems. Together, they give Beats Light & Sound a range of options for different venues and productions. “The sale of the second COSMO system in India is an important milestone for us,” Middle East

commented Manik Gupta, Director of Hitech Audio Video. “Beats Light & Sound’s investment shows the growing industry appetite for highperformance live sound solutions here in India. We are delighted to see COSMO gaining ground and look forward to supporting the team as they put it to work.” Andrew Kirubakaran, Application Engineer at Hitech Audio Video, also had his say: “One of COSMO’s strengths is the flexibility it gives a rental company,” he commented. “With this inventory, Beats Light & Sound can put together systems to suit a wide range of venue sizes and production requirements. We can’t wait to see

it out at their events.” For Beats Light & Sound, the investment comes down to how the system performs on the job. “We look for sound quality, reliability and flexibility in the systems we choose,” commented owner Sanjay Chaudhary. “COSMO impressed us with its clarity, headroom, coverage and efficiency. We’re excited to add it to our inventory and bring it to our customers across a wide range of live productions.” Photo: Beats Light & Sound www.beatslightandsound.com www.hitechavs.in www.hkaudio.com

DWR opens Durban office The new space features a demo room, a fully stocked warehouse and a dedicated training facility. DWR Distribution has officially opened its new Durban offices. More than 100 friends, clients and industry colleagues attended an opening party at the new facility on 1 September. Michael Taylor-Broderick leads the Durban team, along with Nick Barnes and Jade Manicom. “Thank you to everyone for joining us on this special evening; we were overwhelmed with the turnout,” commented Taylor-Broderick. “It’s wonderful to have a space we can call our home. Even though we haven’t been away, we are back.

It’s just great to know we can invite clients over for demos, that training becomes easier, and to have a chat over coffee.” The new space has been designed with the industry in mind, featuring a dedicated demo room where clients can experience products firsthand, a fully stocked warehouse, and a dedicated training facility named in honour of the late Roy Wood. Photos: DWR Distribution www.dwrdistribution.co.za

HIVE Media Control partners with DWR Distribution to expand into South Africa New distribution partnership brings HIVE’s scalable media playback solutions to South African AV and entertainment markets.

HIVE Media Control has appointed DWR Distribution as a distributor in South Africa, expanding access to its range of media players and control solutions across the region. The partnership will give DWR customers access to HIVE’s complete product portfolio, built around its Beeblade media engines and modular enclosures. DWR will initially hold local stock of selected Beeblade models and enclosures, while offering access to the wider HIVE range for projects requiring different levels of performance. “DWR has an outstanding reputation in South Africa, not just for the technology it supplies but for the expertise and support that sits behind it,” commented Rory Jervis, Chief Revenue Officer at HIVE Media Control. “They understand the types of ambitious visual projects HIVE was designed for and have the technical capability to support customers from initial specification through to deployment and ongoing service. We’re really excited to have them representing

HIVE and helping us establish a much stronger presence in the region.” For DWR Distribution, HIVE adds a flexible media playback platform that complements its existing expertise in projection, AV and entertainment technology. “HIVE is an exciting addition to the DWR portfolio and gives us a powerful, scalable and cost-effective media playback solution for our customers,” commented Duncan Riley, Managing Director at DWR Distribution. “We see strong opportunities across the markets we serve, particularly where customers need sophisticated media playback without the complexity and cost traditionally associated with high-end media servers. The HIVE team has built a really impressive platform and we’re looking forward to introducing it to customers across South Africa.” Photo: DWR Distribution www.hive.run www.dwrdistribution.co.za

Above: Bruce Riley, Matt Wyche, Dylan Jones, Werner Nieman and Duncan Riley from DWR Distribution. 81

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