Offlimits Music Festival
teamLab Phenomena Renowned pianist Ludovico
Welcome to TPiMEA
Peter Iantorno Editorial Director
If I had a dirham for every time I’ve heard a PM utter the phrase, ‘this project was my baby from the start’, well, I would probably still be a few short of being able to buy a pint at Mr Toads… I might have enough for a half though! The sentiment behind this well-used expression was thrown into stark relief for me recently after celebrating the birth of my second daughter last month, and while I’m sure my wife will not welcome the comparison I’m about to make, I believe that in many ways, delivering a live event is a bit like having a baby.
Before I get cancelled for saying this, hear me out… Just like a pregnancy involves months of preparation, check-ups and anticipation, the best live events all come with extensive planning, creative brainstorming, technical preproduction and rehearsals. Similarly, no matter how much you prepare, there’s still every chance that both childbirth and live events can take unexpected turns – whether that’s a 2am dash to the hospital or a last-minute technical glitch.
Childbirth and live events also both carry extremely high stakes, with adrenaline, stress and excitement in the buildup, a huge sense of relief, joy and exhaustion once it’s over, and a universal agreement of those involved to ‘never put ourselves through that again’ – until the next time, of course. And finally, both things are very much a team effort. While the precious new arrival and the stars on stage deserve all the limelight they get, behind it all are teams of professionals – from doctors and midwives to hardworking live events crew – who make the whole process possible.
Mu ch like my recent life-changing event, our cover story for this issue, Offlimits Music Festival, was undoubtedly a landmark occasion for those behind it. After speaking with Sia Farr – CEO of Theory Eleven Entertainment, which organised the event – I certainly got the feeling that he was almost as happy with his delivery as I was with mine. Read our production profile on Offlimits on page 38
Elsewhere in the issue, we have comprehensive coverage of SOUK WONDERS by Dragone (page 48) and the launch of Abu Dhabi’s newest cultural destination, teamLab Phenomena (page 60). We also have an in-depth interview with People’s CEO, Tim Elliott, as the company celebrates its 10th anniversary (page 10), we congratulate the winners of this year’s TPiMEA Awards (page 18), we look back on SLS Expo and the inaugural SET Awards (page 86), and much more.
Enjoy the issue.
First Look
10 Tim Elliott
As People celebrates its 10-year anniversary, the company's CEO shares his story and speculates on what the next decade might hold.
Event Focus
18 TPiMEA Awards 2025
The Middle East live events industry's favourite night out returns, as this year's winners are revealed.
22 Lusail Sky Festival
Qatar celebrates Eid al-Fitr with a spectacular drone show by Lumasky.
24 Fearless Zain
LD Luke Gregory Bonner recalls the task of lighting an ambitious production at The Arena, Kuwait.
30 Afrikaans is Groot
A who's who of the South African industry unite to produce one of the country's top annual events.
Production Profile
38 Of flimits Music Festival
Ed Sheeran headlines a new genre-spanning festival at Abu Dhabi's Etihad Park.
48 SOUK WONDERS
The latest work from the creative masterminds at Dragone reimagines a traditional Diriyah marketplace.
60 teamLab Phenomena
Abu Dhabi's newest cultural attraction is launched in grand fashion.
Interview
72 Showpower: sustainability in the Middle East
CEO Paul Schurink discusses the growing demand for eco-friendly live events in the region.
74 Rock-it Cargo on India's growing live events market
Fresh from Lollapalooza India, Chris Palmer considers the expansion of the country's live events market.
Feedback
76 World Stage Design 2025
As the event makes its Middle East debut, Project Director Jacqui George previews WSD 2025.
In Profile
78 THE Production TEAM
The company supplying trained and reliable on-site personnel throughout the Middle East and beyond.
80 Gearhouse South Africa
From humble beginnings to a major force in SA.
82 Gear Heads
Sennheiser Spectera and ROXX NEO Series go under the microscope.
86 Regional Round-up
The latest news from the MEA region, including a report from SLS Expo and the inaugural SET Awards.
Editorial Director
Peter Iantorno
Tel: +44 (0)161 476 8360
Mobile: +44 (0)7763 233637 e-mail: p.iantorno@mondiale.co.uk
Contributing Editor
Stew Hume
Mobile: +44 (0)7702 054344 e-mail: s.hume@mondiale.co.uk
Contributing Deputy Editor
Jacob Waite
Mobile: +44 (0)7592 679612 e-mail: j.waite@mondiale.co.uk
Staff Writer
Alicia Pollitt
Mobile: +44 (0)7508 441986 e-mail: a.pollitt@mondiale.co.uk
Commercial Director
Fran Begaj
Mobile: +44 (0)7852 336728 e-mail: f.begaj@mondiale.co.uk
Account Manager
Matilda Matthews
Mobile: +44 (0)7413 555978 e-mail: m.matthews@mondiale.co.uk
Account Manager
Tom Dyson
Mobile: +44 (0)7306 505230 e-mail: t.dyson@mondiale.co.uk
Digital Content Manager
James Robertson
Mobile: +44 (0)7725 475819
e-mail: j.robertson@mondiale.co.uk
Marketing and Event Manager
Alice Clarke
Mobile: +44 (0)7752 392465 e-mail: a.clarke@mondiale.co.uk
Marketing and Event Assistant
Charlie Moore e-mail: c.moore@mondiale.co.uk
Chief Executive
Justin Gawne
Mobile: +44 (0)7768 850767
e-mail: j.gawne@mondiale.co.uk
Mondiale Group Chairman
Damian Walsh
Graphic Design & Production
Dan Seaton: d.seaton@mondiale.co.uk
Jez Reid: j.reid@mondiale.co.uk
Accounts
Lynette Levi / Sarah Miller: ar@mondiale.co.uk
Cover Photography
Offlimits Music Festival by Theory Eleven
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Tim Elliott, CEO, People
As People celebrates its 10-year anniversary, the company’s CEO, Tim Elliott, sits down with TPiMEA to share his story and looks ahead to what the next decade might hold…
Having led the delivery of some of the UAE’s most important and impressive events – including the Special Olympics, Al Hosn Festival, and several Eid Al Etihad celebrations – over the past decade, Tim Elliott and his company, People, have become interwoven into the fabric of UAE culture. An ardent advocate of the arts, passionate about sustainability, and committed to supporting the next generation of production talent, the People CEO continues to bring his creative flair, hard work and dedication to everything he turns his hand to.
Growing up in the UK, Elliott’s passion for the arts was ignited from an early age, with his parents, Steve and Helen Elliott, producing on one of the most prestigious, bestdocumented versions of the play Peace Child when he was just three years old. First performed in 1990 at Taunton’s Monkton Heathfield School, it was then taken to London’s Shaw Theatre, with children from 20 different countries coming together on stage. “I was passed around backstage, looked after by whoever had time between scenes,” Elliott commented, looking back on what proved to be a formative experience. “Everything we’ve done at People stems back to the original Peace Child story and the power of how you can change lives through the power of theatre.”
While he was too young at the time to have strong memories of the backstage experience, Peace Child would prove to be pivotal in Elliott’s professional journey, as it was the power of that production that prompted noted dancer and tireless campaigner for peace, Kathleen Tacchi-Morris, to donate her life’s savings to the development of a new multipurpose performing arts and community space in her name, which became a second home for Elliott throughout his school years.
“As the centre was being built on a patch of land next to my school, it was my job to take photos of the site every day,” he recalled. “The building was completed when I was around 14 or 15, and from then on I spent pretty much every waking moment outside of school there, doing whatever I could, from serving interval refreshments to helping with lighting, sound and staging.”
Cl early bitten by the bug after his early and intense exposure to theatre, Elliott’s choice of career comes as no surprise. What is notable, however, is the way he has channelled his dedication, creativity and leadership skills into the creation of a company that serves a much greater purpose than simply putting on outstanding events.
In this in-depth interview, the People CEO looks back at how the company has grown over the past decade, discusses the passions that drive him, and looks ahead to what the next 10 years might hold.
How did you progress from the early days to becoming established in the live events industry?
By the age of 16, I had become Technical Manager at the Tacchi-Morris Arts Centre, so I was running 150 different shows a year, all done before and after school. As part of that, I had the opportunity to design and build sets for dance festivals, musicals and shows. I had a particular passion for lighting, but I also got a valuable grounding of how to do sound, stage design, show-calling, stage-managing –everything really.
On e of the people who worked on Peace Child was Mark Wallace, who at the time ran a company called Mark Wallace Associates, which over time evolved to be part of Jack Morton Worldwide. Mark and I had kept in touch, and he always said that when I was old enough, I could come and work with him. This happened for the first time when I was 17 and he invited me to work with him on the G8 Summit in Gleneagles. On the first day, Prime Minister Tony Blair was arriving by helicopter, and I found myself filming his arrival. I had never appreciated the level of detail that goes into a summit on that scale, and it changed my way of thinking about live events.
Af ter that I freelanced for several years on a lot of government and corporate events as well as film premieres. I was lucky enough to be connected to a few people in the industry, including Mark ‘Foggy’ Fogwill, who used to run a company called Touch and gave me many opportunities in my early career. He now works for People as our fulltime Technical Director – and he just won the Production Manager of the Year at this year’s TPiMEA Awards!
Eventually I went to work for a company called Reflex, which later merged with another company called With to form With Reflex Group (WRG). As WRG expanded, I was asked to set up offices in Qatar, Abu Dhabi, and Hong Kong, before returning to London to become joint Managing Director of WRG, which at time had 250 people.
What was the motivation behind the launch of People?
After WRG was acquired by private equity, I felt that the drive of the business became more money and less creative, so at that time I chose to leave and set up People.
Pe ople was born in both London and Abu Dhabi at the same time and was the result of a group of young friends deciding to take the leap and join unpaid initially. We had very little money, but we all shared the same strong vision of changing people’s lives through live experiences.
We wanted to put on shows that could creatively have an impact on humanity in some way, knowing that not every event can do that, but that we would always strive towards
that aim. We wanted to build an agency that people enjoy coming to work in; we wanted to work with clients who valued us and who we shared a good rapport with; and we wanted to work with audiences that we believed we could have an impact on.
What were the early days of the company like?
The industry was pretty seasonal at the time, so we were very busy in the UK in the summer and very busy in Abu Dhabi in the winter. Of course, nowadays, those seasons are gradually combining and blending into one, which is a great problem to have. We were lucky enough to win projects in both locations from the start, and we had a fantastic group of people who came together to deliver above expectations and get the company off to a great start.
Ou r first show in Abu Dhabi was in Hazza bin Zayed Stadium, to celebrate Al Ain FC winning their 12th championship. We’d come up with the idea of having people jump out of a plane to deliver the trophy into the stadium, and we got the call two weeks before the event to say that we’d won the pitch. I immediately flew out from London to the UAE and personally drove round every supplier and freelancer who had looked after me in my previous life and asked for support.
Th e reaction was incredible, and trucks full of kit were sent to Al Ain with no quote, no spec, no design, and
everyone just dug in to make it work. While of course we’re a much more sophisticated operation nowadays, we maintain that startup mentality, and we continue to cherish those long-term relationships of those who showed faith in us from the start.
What have been some of your favourite memories over the years with People?
There have been many, but a big one was the Al Hosn Festival. Back then we didn’t tick many of the procurement boxes, but we won the pitch on the strength of the creative, and with the support of the client, we were able to employ around 200 freelancers for a few months in the build-up to the show, which was a major catalyst when it came to building our freelance family.
The Special Olympics World Summer Games in Abu Dhabi was another incredibly special project. That show was special not only because it was a huge stadium gig, but because it was the first time that we genuinely felt that the concept of changing lives through live experiences could actually happen.
Ou r pitch for that project was unusual in that it didn’t contain any visuals. Instead, we explained that the show would be designed by the community of the Special Olympics, and we would build a team of people from that community to create the show with us. It was their story,
and we wanted them to be able to tell it their way. The idea was approved unanimously and so began an incredible journey where we ran music, dance and writing workshops with people of determination, as they’re now known in the UAE, and we learned new skills from those people.
I still get goosebumps thinking about a particular moment on that show when we had someone up on stage who used to be extremely shy and unable to speak in public, and they got up in front of 44,000 people to speak about the power of people of determination. The Special Olympics was a perfect example of the kind of work that we really want to deliver – it had scale, impact, and was a great representation of our values.
Another big moment that year was delivering the fan zones in eight cities across the UK for the Cricket World Cup. That was a pitch against 20-plus other agencies, which we wouldn’t ever do now, but we were delighted to win the right to produce such large-scale public events in the UK, and it really boosted our reputation for being able to deliver in the sporting segment internationally.
How has your ongoing relationship with UAE Eid Al Etihad developed over the years?
Our journey with Eid Al Etihad started on the 49th National Day in 2020, when we were called a few weeks before
the show to take over the design and build of the majlis areas – handling the audience experience up to the seating area. We worked day and night to deliver that project, and I personally worked solidly for four days and four nights to pull off that experience. While we were pleased with what we’d produced, we were always striving to be part of what was on the other side of the grandstand.
Ou r involvement grew from there year on year, first being awarded the operations of the event, then the technical production of the show without any creative scope and it culminated last year in us being trusted to deliver the entire experience, from building the road leading to the site to writing the storydirecting the show. I also acted as Artistic Director, which was an incredibly proud moment on a show of such scale and importance for the UAE.
How much of a focus do you place on building the industry inside the UAE?
We are a local business, and we are committed to investing back into the UAE both in terms of talent and production resources. In fact, 75% of the people working on last year’s Eid Al Etihad were based in the UAE. There’s certainly been a shift in the time we’ve been in the UAE, with the country now boasting a strong supplier network and many of the freelancers now living in the country full time.
Tell us about the family of brands that make up People&Co…
The People&Co. group is made up of four brands: People, which is the core creative agency that delivers traditional event work; Spectaculars, which delivers large-scale ceremonies; Spaces + Places, which delivers high-end temporary architecture; and Film x People, which creates independent films.
We decided to create these clear divisions because our work became so versatile while at the same time, we had such tailored talent. This subdivision enables us to allocate the right resources to the areas where they are best placed and have the most interest in and means that we can become very good at all the individual disciplines.
Wh en we set up People, we established some core principles – and one of those was that we will ‘go where our people grow’. If a member of our team is particularly passionate about one aspect of what we do, or something that we don’t do yet, we will endeavour to provide them the opportunity to grow in that area. The second we decided to launch those individual brands, it felt like the team slotted into place perfectly.
What’s your approach to sustainability?
Sustainability is incredibly important to everything we do at People. When we started working on improving our sustainability, we found out that we could either do it on an event-by-event basis or we could do it in a more holistic way, and it quickly became apparent that it’s possible to create a much more meaningful change by embedding sustainable practices into everything we do and driving for it to become entrenched in our day-to-day lives.
We’ve started the journey and there’s a long way to go, but we have invested in a foundation and systems that mean that we’re no longer waiting for the client to ask for sustainable solutions; we’re telling the client that we’re going to operate sustainably and delivering on that promise even when it’s not specifically requested.
A small example is from the past few Eid Al Etihad shows – the previous two of which have been ISO20121 certified –where we’ve had spare fabric left over from manufacturing all the sofas and the furniture. We chose to keep that fabric and it’s now been reused for various purposes, including for the sofas in our new People Studio.
We c are passionately about how we can we build a sustainability movement beyond just ticking boxes, and the nicest thing I find is that there are a lot of people in our business who share this same passion and are leading our sustainable journey.
Tell us about the new People Studio…
We’ve taken an additional new, unique space at twofour54 in Yas Bay that is under a grandstand, so the roof slants from the ground to three or four storeys high. We fitted it out in sections, including a state-of-the-art film studio with edit suite for client viewings, a snug space for the team to relax, wind down and get over any post-event blues, and – at the heart of the space – the main workshop studio, which has been kitted out with a top-of-the-range AV system and a huge slab of shared work surface, and can be used for everything from pitch prep and client presentations to project startups and training.
On e of the first initiatives we ran in the space was something called ProjCo Bootcamp, where we invited a range of young talent from all corners of the industry to take part in a two-day The Apprentice -style experience. The idea was to give people hands-on experience of what it’s like to be a young runner, assistant or coordinator in the industry. The first edition was a great success, and we plan on bringing it back annually.
What’s your take on the Saudi market?
There’s no doubt that Saudi Arabia is an extremely interesting proposition. However, while we’ve had many
Above: People’s first show in Abu Dhabi saw a skydiver drop into Al Ain FC’s Hazza bin Zayed Stadium, to celebrate the club winning its 12th league championship.
approaches, we are not currently in that market. The work we have in the UAE and in various other countries all over the world remains our focus. Our clients who have provided trust and commitment are those we have chosen to focus on, and build long-term partnerships with.
How are you celebrating the company’s 10-year anniversary this year?
We’ve come up with 10 big ideas, which we’ll be rolling out this year to celebrate the anniversary. I can’t say too much about most of them at this stage, but they will be a combination of celebration, thanks to our team and suppliers, giving back to the community, and pushing us forward to take on the next 10 years.
As well as taking our team away for a week sailing from Italy to Greece in the summer, we have also announced an employee co-ownership structure.
Another initiative that we have brought in is a change in our fee structure, integrating something called the Giving Fund. Clients can opt into the People&Community Fund, which keeps the project fee the same, but part of the budget is allocated towards a fund that will be donated to good causes within the UAE community.
We have also invested in the building of a youth theatre in the UK, and we’re set to open the People Youth Theatre in
September, which will be run by David Duthie. The theatre will allow approximately 25 students between the ages of 14 and 21 to join each year from all backgrounds, all walks of life, and they will learn performing arts and put on two shows a year.
As well as funding the theatre, we will also support by giving opportunities to the students to be part of the various global ceremonies we produce.
What’s your long-term vision for the company?
We have always grown where our people grow and seized opportunities that take us on new journeys. We don’t have a north star of exactly where we need to get in terms of scale or size – that isn’t our primary driver.
All we want to do is continue to have a bigger impact through the work that we do. In the next 10 years, we are really interested in building our group, and our people are the ones who will make sure that we can do that.
Th ere are so many opportunities out there and the great thing is we don’t know what they are yet. I would like to think that whatever we become in the next decade will be different from what I could predict now, and if that is the case, that will mean we’ve been successful.
Photos: People www.experiencesbypeople.com
TPiMEA Awards 2025
Set against the new backdrop of Soho Garden, Palm Jumeirah, the seventh edition of the TPiMEA Awards celebrates excellence in the live events industry over the past 12 months…
With 500 attendees and 26 awards up for grabs, the TPiMEA Awards returned for its seventh edition, once again celebrating excellence in the Middle East events industry. The preparation for the Awards often begins long before we are able to celebrate the esteemed winners, with arrangements for this year starting with the selection of a new venue for this edition – Soho Garden, Palm Jumeirah.
Winners on the night included Coldplay’s Music of the Spheres World Tour – the mammoth stadium run that has been touring worldwide for three years – for achieving the feat of being Abu Dhabi’s largest concert series ever. Aggreko and Ethara were jointly awarded the Green Award, following Aggreko’s work as Ethara’s Sustainability Partner for several events including the Formula 1 Etihad Airways Abu Dhabi Grand Prix 2024. And industry veteran, Michael ‘Curly’ Jobson took home the coveted TPiMEA Industry
Recognition Award for his work in the industry that spans over four decades, including his outstanding contribution to the region in his current role at MDLBEAST.
“This year marked a big year for the awards,” stated TPiMEA Commercial Director, Fran Begaj. “With a new venue, there is always a worry that the attendance may drop or that things may not run smoothly, and while this year didn’t come without its challenges, I think we can look at the TPiMEA Awards 2025 as a huge success, with everyone having a great time.”
Ta king place on Thursday 24 April 2025, the event featured SLS Production as headline sponsor, with the SLS team also providing the majority of technical supply, including an installation of screens for the awards, and a Robe lighting floor package.
Aiding the event’s visuals was 3 Monkeys, which returned for a second year to curate the
content. “The 3 Monkeys team are a dream to work with; they are so welcoming, open to ideas and have such incredible, creative minds,” the Commercial Director added.
Also onboard was GES, which ensured that the new venue was decked out with everything TPiMEA; as well as CasaMilan, which supported the event with an array of show callers, stage managers and a compact camera package to bring attendees closer to the action.
“Every year, we work with an amazing team, and 2025 was no exception. I can honestly say we work in the best industry with some of the greatest people in the world,” she continued. “Our suppliers are often our clients, and yet on that night, we are their clients, which is an interesting dynamic, but one that wouldn’t work without mutual respect and communication.”
A pl ethora of sponsors and supporters backed the event including: Headline Sponsor,
SLS Production; Bar Sponsor, Unusual Rigging; Category Sponsors, 10K Used Gear, Adamson Systems Engineering, Al Laith, Barco, BeWunder, Coca-Cola Arena, d&b audiotechnik, GCC Events, Live Nation, MA Lighting, Martin Professional Middle East, Oasis Enterprises, Robe, Rock-it Cargo, SLS Expo, Sennhesier, SES, Solas, TAG, and THE Production TEAM; as well as supporters, NMK Electronics, Shure and EINO.
“This wouldn’t be possible without our incredible sponsors, who we are extremely grateful to. When we look at how we want to improve the awards year on year, a lot of that is led by wanting to make an event that people are proud to sponsor and support,” she stated.
“My personal highlight is seeing everyone get together and celebrate themselves, and their peers,” she concluded, reflecting on the event and looking ahead to next year. “We love being the event that people bookmark in their diaries as a ‘must-attend’, and it shows on the night with how happy everyone is. As for the TPiMEA Awards 2026, you’ll have to wait and see...”
Photos: Raymond Ramos www.tpimeaawards.com www.slspro.net www.3monkeys.net www.casamilan.co www.ges.com
PRODUCTION MANAGER OF THE YEAR
SOUND SYSTEM DESIGNER OF THE YEAR
WISSAM SHAHEEN
SFX OPERATOR OF THE YEAR
TONY SAMUEL
THE 2025 WINNERS
LIGHTING ENGINEER OF THE YEAR
MONITOR ENGINEER OF THE YEAR
LIGHTING DESIGNER OF THE YEAR
VIDEO SPECIALIST OF THE YEAR
FOH ENGINEER OF THE YEAR
CONTENT CREATOR OF THE YEAR
CLINTON HATTINGH ERIK PEARSON
LASER OPERATOR OF THE YEAR
HARRY BOYDE
LOGISTICS COORDINATOR OF THE YEAR
COMMS & NETWORKING ENGINEER OF THE YEAR
MARK 'FOGGY' FOGWILL
ROB TURNER
VALERIE GARD
ARMAN DAVID
ROGERS
JESSIE PONTILLO
Lusail Sky Festival 2025
Qatar celebrates Eid al-Fitr with a three-day aerial showcase, featuring a spectacular drone show created by Lumasky.
The Middle East has gained a reputation in recent years as a global leader when it comes to spectacular aerial events, and with Qatar’s recent Lusail Sky Festival, that status was given a further boost. Organised by Visit Qatar, in collaboration with Qatari Diar and held for three days at the start of April to coincide with the Eid al-Fitr weekend, the festival combined a vast array of aerial performances, including aerobatics, skydiving, skywriting demonstrations, high-speed jet displays, laser shows, and aerial pyrotechnics.
Playing a central role in the event was a spectacular daily drone show, created by Lumasky, which featured over 3,000 drones and 150 pyrotechnic-equipped aircraft combining with music, lighting and fireworks to mesmerising effect. “The show programme combined cuttingedge technology and bold creative concepts with seamless animation, creating a spectacular fusion of light and motion,” commented Lumasky’s Alex Podobaev, describing the company’s deployment. “In total, our team launched over 10,000 drones throughout the three-day event.”
Using drone show-specific hardware designed in-house along with proprietary software developed by the Lumasky engineering
team, the company claims to have developed “the fastest drones in the drone show industry worldwide”, enabling “more dynamic formations and transitions”. Podobaev stated: “While the average speed of other drones is around 3 m/s, our drones operate at speeds starting from 5 m/s and higher.”
For the first time ever, a specially developed LED drone aircraft was integrated into the performance. “It executed a complex manoeuvre, flying directly through a 3,000-drone formation,” Podobaev recalled, also noting the introduction of the company’s new product, flash-drones. “These feature high-intensity LED panels that outshine even pyrotechnics and can synchronise with other elements of the show, creating effects like sky flashes or strobe-like sequences.”
The drone show was accompanied by aircraft equipped with pyrotechnics and smoke bombs, which flew alongside the drone formations, further enhancing the immersive experience and synchronised visual impact of the performance.
One of the biggest challenges for the Lumasky team was the extremely short preparation time. “Additionally, precise synchronisation between drones, aeroplanes,
lasers, lighting, and music was critical,” Podobaev recalled. “Thanks to the extensive experience of our team, we were able to pre-program the show with all these elements in mind.”
Another key challenge was animation complexity. “Creating smooth animations for thousands of drones requires precise mathematical calculations to ensure both safety and visual appeal,” he explained, highlighting the first and last formations as the most difficult. “The first – a ‘diver’ figure – involved high-speed downward movement and required perfect synchronisation and altitude control. The diver formation assembled dynamically in motion to achieve a powerful ‘wow’ effect.
“The final formation was the appearance of the Visit Qatar logo,” Podobaev concluded.
“We received a request for a unique reveal and proposed a concept that connected the beginning and the end of the show through a ‘water’ theme. The challenge was to create a dramatic whirlpool effect within a limited flight zone and close audience proximity – but as the videos and photos show, we nailed it.”
Photos: Lumasky www.visitqatar.com www.lumasky.show
Fearless Zain
Lighting Designer, Luke Gregory Bonner of Curiome, discusses the intricacies of illuminating an ambitious in-the-round production at The Arena, Kuwait.
The family entertainment sector is growing quickly in Kuwait, with more and more shows taking place in the country every year. One series that has stood the test of time is Zain – an annual production that has taken place at The Arena for each of the past four years, telling a different story surrounding the same character every year.
For this year’s production, Fearless Zain, Lighting Designer Luke Gregory Bonner of Curiome was tasked with creating a design that would complement the ethereal staging and scenic elements, helping to portray the vision of Director, Samir Abdel Massih, and Producer, Michele Corbani.
Th e LD had around 600 fixtures at his disposal, including moving spots, washes, beams, static colour-changing LED PARs and effects from the likes of Claypaky, Martin, CHAUVET, Light Sky and GTD, run off an MA Lighting grandMA2 Full Size console with a grandMA2 light as back-up, supplied by Zero One Production & Media Services, led by Fahed Ghanem. Bonner began by looking at renders
and 2D stage layouts within the set. “The lighting needed to accommodate both the set elements and flying, which this year included both characters flying around the stage and over the audience,” he explained.
Once the framework had been established, Bonner used WYSIWYG to model the lighting design. “During that process I was looking to see how best to cover the stage, actors flying about, and audience,” he commented. “I’m a big fan of audience lighting and really like to include them as part of the overall look. We also had to light for cameras – both still and moving – keeping in mind what angles the camera would see to get that photo just right,” he continued, adding that the concept of lighting for photos mostly comes into play during programming stage.
The design for Fearless Zain was radically different from previous years of the show, with a circular main stage connected via a thrust with backstage and an area behind two giant LED screens. This being the first time that Bonner had lit a round stage, there were a lot of different factors to consider. “I normally work in a boxed
area – a rectangular stage with everyone facing in one direction,” he stated. “As our stage was round and full of set and actors who were moving around constantly, I had to consider that the use of light was multifunctional – front light was now also backlight and side light depending on the viewing position within the arena, and vice versa.”
Th e LD credited his Associate Lighting Designer, Nigel Patrick Holbrough – who had experience with similar shaped stages – with helping to guide him through the process of lighting in-the-round. “Once accepting that there was only one downstage edge, I was free to move on with intensity, focus, colour, beam, as well as timing,” he added.
Fo cus positions followed similarly in patterns around the stage instead of across the stage. “Advanced trusses carried the load of most of front washes and spots, audience light and balcony spots for low angles such as sunrise looks and inner and outer circular trusses followed suit, with a mix of front and rear spots and washes,” Bonner described. “I also included some very narrow beam movers to help fill the
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large stage and push past the bright LED screens in the background, particularly with haze.”
In -ground LED pucks were installed around the stage edge to accentuate the roundness of the stage and thrust. “For specific scenes, I used truss toners for truss fins that poked out above the two giant LED screens, which also held washes and beams. To help fill the ceiling cavity, I added some vertical toned trusses, which also had a mix of beams and washes for specials,” Bonner recalled. “By toning the trusses in key scenes, we could add to the video content, further accentuating the mechanical, industrial feel.” More beam lights filled a small area in front of the LED screens, accentuating the screen curvature and adding an extra dimension.
Th e LD recalled how the lighting design evolved as the site was being built. “As we go through the story, there are always opportunities to add things to the main rig,” he explained. “For this show, we added seven custom gobos spread out over 32 fixtures.”
Af ter walking through the script, Bonner passed over to Associate Lighting Designer Holbrough, who created the MA3D based on the WYSIWYG model, including colour palettes, focus positions and cue-stacks. A selection of atmospherics added to the aesthetic. Strobes were deployed for lightning effects, plumes of smoke were released from machines positioned under the stage, general smoke machines were deployed in specific locations under the central stage lift, in the backstage entry to reveal the big LED tower, and in front of the two large LED screens to create clouds, all with fans. “I also used haze only for atmosphere before the start of Act 1 and then similarly prior to Act 2 during the interval,” Bonner revealed. “We also used some neat smoke bubble machines in the trusses that poured out smoke-filled bubbles, along with some snow machines and spark effects, which tied into the industrial factory imagery, giving a three-dimensional look of sparks as if from angle-grinders on steel.”
On e aspect of the project that stood out for Bonner was the creation of a silver-like colour. “We had a specific scene where we wanted to light this monochromatic world, full of metallic set pieces, and actors dressed in wiry costumes set to a world without colour,” he recalled, noting how he mixed cold blue, pale and cool lavenders to achieve the desired shade. “We had a lit stage but kind of dull, which was the point.”
Th e show was written by Heba Hamada, and May Al Saleh was the Executive Producer. Scenic architects Patrick Howayek and Nancy Elias led the set department; Omar Youssef of Orora handled video; Raja Saade took charge of flying elements; Doss oversaw choreography; and Tony Mouarkech was Stage Manager. The play was sponsored by Zain.
While no project is ever without its issues, Bonner stressed importance of a solid team. “This team has stayed pretty much the same since I joined the company in 2018, and we all work towards the common goal of the project,” he concluded. “Everyone on the team understands that their role, while important, is not as important as the common goal. We don’t do what’s best for us; we do what’s best for the project – this is why it works. We are all proud of the success of the project, as one.”
Photos: Fahed Abou Ghanem, Azizalkhudhair www.curiome.com
Above: Lighting Designer, Luke Bonner of Curiome.
Afrikaans is Groot
A highlight of South Africa’s events calendar, Afrikaans is Groot continues to grow year after year. Ahead of 2025’s centenary celebration of the Afrikaans language, TPiMEA looks back on last year’s biggest ever show and asks, how will organisers top it this year?
With an all-star lineup packed with some of the most popular Afrikaans artists backed by an expert creative and technical team with a genuine passion for the project, it’s no surprise that Afrikaans is Groot (AIG) is one of South Africa’s most popular annual events. A celebration of Afrikaans music and culture, the event has become so popular that last year’s iteration saw nine shows take place over two consecutive weekends, with more than 70,000 people flocking to Pretoria’s SunBet Arena to take in the spectacular cultural experience.
Produced by Coleske Artist Management under the leadership of Technical Director, Ian Vos and Creative Producer, Barry Pretorius, the show’s set and stage layout were designed by Günther Müller of MGG, which also supplied a turnkey technical solution for the event.
“I think I can speak for everyone on the show when I say that AIG is not just another job on the calendar – it’s the one we look forward to every year,” Müller told TPiMEA. “It’s a passion project. We put everything into it, and we reap the rewards with the fulfilling experience it provides for the audience, artists, and crew.”
With AIG celebrating its 10th anniversary in 2024, the event has reached elite status within South Africa and as such it attracts not only the
top Afrikaans artists but also a who’s who of the South African live events industry. Two of the country’s best-known lighting designers, Joshua Cutts and André Siebrits from Visual Frontier, led on the lighting side, while the vastly experienced Kyle Freemantle, who recently joined DWR Distribution on a full-time basis, served once again as Head of Audio.
Th e impressive 50m wide stage traversed the complete width of the arena, with the spectacular diagonally orientated stage design featuring a vast LED deployment and several triangular lighting trusses made from special Prolyte triangular corner truss pieces. “This isn’t a design that we can put together in the space of a few days,” Müller explained. “It’s the culmination of weeks and weeks of work, with countless revisions to ensure that every single element is as good as it can be.”
With Cutts concentrating on the artists and atmospheric elements of the lighting, Siebrits handled the programming. “This event has evolved into more of a Visual Frontier co-design,” Cutts stated, describing the strong relationship between the two. “We are a great team.”
Th e lighting rig comprised more than 800 fixtures in all, with almost half of that figure coming from Robe, including ESPRITEs, BMFL
WashBeams, Blades and Spots, LEDBeam 100s, 150s and 350s, Pointes, MegaPointes, Spiiders, Tetra2s and Squares, plus four RoboSpot base stations. “We had to be very flexible and dynamic and that’s what drove the fixture choice and why we wanted so much Robe,” stated Cutts, explaining the fixture selections.
Alongs ide the extensive Robe contingent were Roxx CLUSTERs, Clay Paky Arolla Spot MPs and Sharpys, ADJ Jolt Panel FX and Jolt Bar FX, as well as Martin VDO Sceptron 40. .
On e of the initial tasks for the lighting design was infilling the black spaces between the LED elements – something that the various Robe LEDBeam fixtures proved especially useful for, with three automated triangular-shaped header pods rigged over the downstage / forestage area, populated with LEDBeam 150s and Tetra2s on one side and a set of blinders on the reverse for contrasting effects. “We needed small, light and fast fixtures for this feature, so LEDBeam 150s were ideal,” noted Siebrits, describing the pods, which were rigged on three Kinesys motors each so they could pitch, tilt and change the structural appearance of the stage space.
Th e ESPRITES and LEDBeam 350s were alternated along two L-shaped trusses covering three-quarters of the side stage depth, and
from these positions, they could cover the stage with quality washes and highly effective beams. LEDBeam 100s were positioned left and right of the main screen for a low angle flare. “They are so small, light, fast and brilliant for small flicks and accents,” stated Cutts, adding that they generally tried to contour lighting to the geometric shapes in the stage and screen design.
Pointes and MegaPointes were the beam workhorses of the show, with the MegaPointes positioned along the front edge of the stage, calculated so they didn’t shine directly into the audience’s eyes when doing sweeping room effects. These positions also allowed the roof space between the stage and the audience to be filled with the beams. “We love the brightness, zoom, CMY mixing and the reliability of the MegaPointes,” said Siebrits. “We can still do virtually anything with them even though they are now considered a ‘classic’ fixture.”
LEDWash 600s were used as audience lighting, rigged in six trusses flown above the arena, and the Spiiders formed part of the back wall V-shaped feature lighting where the ‘flower’ effect and pixel capabilities could be maximised.
ES PRITES served as the main back light onstage, as well as covering specials on the band and dancers. The show featured multiple guest
artists, so specials were vital, and this year, three of those ESPRITES were also operated via the RoboSpot system. The BMFLs were the principal key lights – four also running on RoboSpots and the balance used for general stage front light, with the BMFL Blades especially used to light the band members.
“The Coleske Artist Management organisation really trusts us,” Cutts concluded. “This show is a big part of their identity and it’s an honour to receive and enjoy this professional respect from Arnold Coleske, Brendon Hargroves and Ian Vos, together with Barry Pretorius who has very strong and coherent ideas that help us all to work towards a production design that’s exciting, beautiful, and entertaining. Everything we envisioned for this came to life on stage.”
‘This is a unique performance’
Head of Audio Kyle Freemantle has witnessed the huge growth of AIG over the past decade, and he has always found DiGiCo to be a worthy control solution for the showpiece event. “DiGiCo consoles are at the top of my list because of their flexibility regarding Optocore networks and their ease of programming,” he explained.
While DiGiCo Quantum consoles got their first outing on the 2023 event, for 2024, the audio
team increased their capacity with a Quantum 338 and Quantum 326 at FOH and a Quantum 338 at monitors. “We are running an additional Dante network for all the radio-microphones and playback lines,” Freemantle described. “In total, we have just shy of 128 inputs across both the Optocore and Dante networks. All these inputs are fed via copy-audio and Dante to a pair of MADI/DANTE bridges, which feed two MADI recorders for our main recording. There is a backup recording, which is fed by the MADI outputs on the RMIO units to a DiGiGrid MGB to accommodate all 128 channels.”
Utilising a family of DiGiCo products has reduced setup times in the venue, with Freemantle appreciating the ease of using Fourier and DiGiGrid MBG for all their external processing. KLANG is in use for in-ear-monitoring, enabling a clear and consistent environment for the many performers featured during the concerts.
“Fourier runs all the effects and multiband compressors on the masters,” he stated. “Once you’ve loaded plugins for the first time, it’s easy and straightforward. It’s been great being able to use the Valhalla reverbs. The fact that its Dante I/O ties into our existing large Dante network makes load-in time much faster, and the backbone is much more robust than on other
brands. The need for third-party gear has also drastically reduced.”
With the show combining musical performances from a range of Afrikaans musicians with spoken word performances, Monitor Engineer Gert Watson was kept busy. “With a variety show like this one, where all the artists join each other on stage to perform a single number, I have countless button presses on the console for each song,” he commented.
“I was really surprised by how seamless the DiGiCo – KLANG integration is. Using KLANG on the artist’s aux sends did not affect my workflow or speed at all; it was so smooth that I almost never had to take my hands off the surface to fiddle with a laptop because everything was right there on the console.”
Such is the complexity of the show that two FOH Engineers were required, with Murray Lubbe looking after the band, tracks and additional instruments, and Paulo Azevedo mixing vocals. “Afrikaans music is vocal forward, so we need to have the acoustic space to ensure the vocals can be managed effectively,” explained Azevedo, who is a Producer and Executive Label Manager for Coleske Artists PTY – promoters and producers of the concerts. “There are some really quick cues in the group numbers, with people entering
and exiting in quick succession. This is a unique performance, with a full range of emotions for the audience, from excitement and comedy to nostalgia and legacy.”
AI G is staged in a variety format, with a full house-band that is adapted for each performance, with drums, bass guitars and keyboards being added or removed as needed. There are backing vocalists and 16 lead vocalists, who may also be playing acoustic guitar, all using radio-microphones and in ear monitors.
“B ecause the show is so big, the audio team have three full days to rehearse,” explained Azevedo. “We keep most channels in isolate throughout rehearsals and sound-check, then once the performance has settled, we start recording snapshots. The rehearsal days are full on before we even hit the first show, but it gives us the time to programme everything nicely.”
MGG added the Quantum 326 to its inventory just in time for the show, maintaining the company’s position as Africa’s largest stockist of DiGiCo consoles – something that comes as a source of pride for Müller.
“Kyle Robson and the whole team at DWR got our brand-new console flown in, prepped and delivered to site in record time; it is due to this amazing teamwork and help from Ian Staddon
and his team at DiGiCo that we are able to push to get these results,” Müller commented. “We will continue to invest in DiGiCo. The local support from DWR and international support from Ian and the team really gives us confidence in the brand. We never feel like ‘just another customer’ at the bottom of Africa. We are valued and have a personal connection with the team at DiGiCo, which will keep us coming back for more, because they keep it personal.”
Looking back on the production, Müller recalled his own personal highlight of the “goosebump moment” when Afrikaans rock legend Francois van Coke performed two of his most popular songs as a guest artist.
“Every night I would take off my comms at that point in the show and just absorb the atmosphere from the audience,” Müller recalled. “To be there while a full house sang these iconic songs at the top of their lungs with tears in their eyes is what makes all the effort we put into the show worth it.”
Photos: Anriette van Wyk, Kief Kreative, Quintessential, Ruben Roos www.mgg.co.za www.robe.cz www.digico.biz www.dwrdistribution.co.za
Offlimits Music Festival 2025
Abu Dhabi’s Etihad Park hosts a new genre-spanning festival, headlined by Ed Sheeran, that breaks boundaries for the UAE…
With huge headline artists, iconic stages and spectacular technical productions, the world’s best festivals all share certain characteristics that make them successful. However, when it comes to the festivals at the very top of the tree – the Glastonburys and Coachellas of this world – there’s something intangible and almost impossible to describe that makes them so much more than the sum of their parts and all but guaranteed to sell out year after year. It is this elusive X factor that Offlimits Music Festival aimed to capture with its inaugural edition, taking place on 26 April in Abu Dhabi and boasting an eclectic lineup headlined by Ed Sheeran.
Catching up with TPiMEA after the dust had settled at Etihad Park, Sia Farr, CEO of event organiser, UAE-based Theory Eleven Entertainment, reflected on the success of the festival’s maiden iteration. “We weren’t sure exactly how Offlimits would be received, but the response couldn’t have been better – it’s been overwhelmingly positive,” he said.
Th e idea for Offlimits is one that had been percolating in the mind of Farr for many years before the festival was conceived. “We had been
toying with the idea for a long time to create something specifically for Abu Dhabi that would stand out in the world of music,” he revealed.
“We could have easily gone down the route of acquiring an international IP, but we decided that it would be much more impactful to create something original that would belong to Abu Dhabi and has the potential, in time, to become a legacy festival.”
While recent years have seen the Middle East make great strides in the festival world –most notably in Saudi Arabia with the rise of MDLBEAST-backed events – the region has historically struggled to attract the biggest names to its festival lineups, with the top-level stars often preferring to include the region as a one-off show or stopover on a world tour. However, with Offlimits, Farr was looking to change that.
“We’ve had many touring shows pass through the region, but I’ve never seen a show with that genuine festival vibe that you experience at the likes of Coachella or Glastonbury,” he stated. “We wanted to create something unique that would stand out and make Offlimits the must-attend festival in the country, and we knew that part of
the puzzle would be attracting AAA talent of the calibre of Ed Sheeran.”
Wi nding back the clocks on the process of putting the festival together, Farr described how the Theory Eleven team first embarked on an intensive period of research, which proved to be invaluable. “We looked at festivals all over the world and tried to understand what makes them successful,” he explained. “We then devised our own plan, drawing inspiration from the multicultural and diverse nature of the UAE to come up with something that has a USP of its own and is not an imitation of an existing idea.”
Fa rr was keen to credit the Abu Dhabi Department of Culture and Tourism (DCT), which he described as “an extremely strong supporter”. He added: “Without their engagement and the hard work of their team, this would not have been possible. They shared our vision, which was vital to the success of the project.”
Af ter engaging with artwork designers around the world, Farr ultimately decided to work with a local creative who grew up in the UAE. “This was a testament to one of the core elements I wanted to push with Offlimits, which is that we can create world-class festivals here
in the Middle East that have the qualities to stand out on a global stage. It’s all about bringing the right people and the right talent together.”
Ve ry much part of that package was renowned set designer, Florian Wieder –the creative brain behind the stages for the likes of U2, Beyonce, Eurovision, and Adele’s groundbreaking Munich residency. “I’m a fan of Florian’s work and was particularly mesmerised by what he achieved with Adele in Munich,” Farr explained. “Florian is a guy who has to really want to be part of a project before he takes it on, so the fact that he chose to jump into the project from its inception and have his fingerprints all over it is incredibly satisfying.”
With a prodigious talent such as Wieder onboard, Farr was keen to give him free rein and allow his creativity to dictate the direction of the project. “We leaned towards a more modern, futuristic aesthetic, in line with the UAE’s modern aspirations, but apart from this very general direction, Florian had complete creative freedom to take the initial concept and shape it in any way he saw fit.”
The result was a spectacular open-format festival featuring four stages: The T11 Main Stage, Meteor Stage, Club X Stage, and Head Stage. “The first design was mind-blowing,” Farr recalled. “It didn’t take long for Florian to grasp the parameters of what we wanted to achieve, and once we got onto site, it was amazing to see it all come together. Etihad Park is a very modern structure with a grass park area, so it carries through this old-meets-new vibe.”
As impressive as the creative and technical setup was, the success of the festival hinged on its ability to attract the right talent. “It’s very rare for AAA talent of Ed Sheeran’s calibre to come onboard for the first year of a festival, but we worked very hard on maintaining the right relationships over the past two years and thankfully Jon [Ollier, Ed Sheeran’s Manager] shared our belief in the project and we were able to have Ed headline, which was fantastic.”
As well as megastar Sheeran, the Offlimits lineup boasted a diverse array of artists, ranging from Filipino stars Ben&Ben and PalestinianJordanian R&B artist Zeyne, to the likes of Fun Lovin’ Criminals, Faithless, Kaiser Chiefs, and One Republic. “The diverse programming was a very conscious decision,” Farr explained. “We would have liked to have made it even more varied with elements of K-pop and Afrobeats, but we had limited slots and the timeline was short. It’s certainly something we’ll be looking to extend for future editions.”
‘Passion, precision, and people’
With the creative decided, attentions soon turned to the on-site delivery, and Theory Eleven left nothing to chance, opting to work with All Events Services (AES), which delivered the structural elements of all stages, FOH, VIP structures, automation, towers, finishing, scenic and décor, alongside long-term partner, SLS Production, which provided a turnkey technical solution.
“We had a very short and intense period in which to deliver an open-format festival site, and it was important for me to go with a boutique company that considered this project a priority,” Farr recalled, explaining his choice of technical supplier. “Having worked with SLS Production over the years, I had clarity of exactly how the working relationship would be, and they worked
“With a bold, creative vision, a tight 36-hour setup window, and soaring temperatures, this project was a true test of planning, teamwork, and technical excellence – and we delivered across all four of the festival’s impressive stages.”
Howard Letch, COO, SLS Production
extremely hard on the project on an extremely tight schedule.”
Describing the project as “a landmark moment”, SLS Production’s COO, Howard Letch, was delighted with the company’s delivery. “With a bold, creative vision, a tight 36-hour setup window, and soaring temperatures, this project was a true test of planning, teamwork, and
technical excellence – and we delivered across all four of the impressive stages of the festival,” Letch commented.
Starting with the centrepiece of the festival, the T11 Main Stage, key to Wieder’s striking stage design was a massive LED canvas, which prioritised scale, clarity, and audience coverage, allowing dynamic visuals, camera feeds, artist
branding and real-time VFX to be displayed flawlessly. The LED comprised a 25m by 11m main screen made from Fablux 3.8mm panels; a TP Link 3.9mm Mesh LED screen; as well as pillar screens measuring 1.5m by 11m and 5m by 11m, made from Absen PL3.9mm.
The visual spectacle was complemented by an extensive lighting rig, including Robe Spiider, Forte and MegaPointes. Also on the rig were Ayrton Cobra and Rivale, Claypaky HY B-EYE K20 for dramatic aerial scenes and big beam moments, as well as Chauvet Professional Colour Strike Ms for wash, and Luxibel B Blast Pro strobe bars. Robe BMFL were utilised as follow spots. Atmospherics were provided by Antari Z-1200III fog machines and Smoke Factory Hazer, with MA Lighting grandMA3 full size and light consoles used for control.
Mu ch like Ed Sheeran’s wildly successful + – = ÷ x (Mathematics) tour, the T11 Main Stage audio experience was delivered by a meticulously designed Meyer Sound PA. The system included PANTHER large-format linear line arrays for precise, high-SPL front coverage, with 2100-LFC and 1100-LFC subwoofers delivering thunderous, controlled low-end, and LEOPARD compact linear line supporting versatility in zone control.
De lay towers comprised LEO and LYON loudspeakers paired with 1100-LFC subs, ensuring consistent clarity and impact even for those on the furthest reaches of the venue. Side fills and DJ booth coverage was handled by LEOPARD, 900-LFC, and 1100-LFC loudspeakers, with MJF-212 and MJF-210 wedges providing
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low-profile, clean stage monitoring. Shure Axient ADX and AXT wireless monitoring systems were also deployed, with Shure SM58 KSM8, and KSM9HS microphones selected for live performance fidelity.
Hosting the likes of Fun Lovin’ Criminals, Faithless and Kaiser Chiefs, the Meteor Stage proved to be incredibly popular with the Offlimits audience. Characterised by its bold asymmetrical design, the stage utilised an eye-catching 910 sq m of INFiLED GXII Series 4.63mm LED, delivering high-impact content and real-time feeds even before sunset.
The lighting rig featured Robe MegaPointe, Spiider and BMFL WashBeam fixtures, along with Chauvet Professional Colour Strike M and Luxibel B Blast Pro, with 2.5k followspots, smoke, haze and fans, all controlled by an MA Lighting grandMA3 full size console and a light for backup.
A hybrid audio solution was deployed for the Meteor Stage, featuring both JBL and L-Acoustics boxes. The main PA comprised JBL VTX A12, A8 and VT4888 loudspeakers with VT4880A subs. L-Acoustics KARA II and SB18
fulfilled side fill duties, while X12 and X15 were used for monitors. Shure Axient ADX and AXT systems were also deployed, with SM58 and KSM9H microphones selected.
Le d by Managing Director, Edwin Cheeran, alongside CEO, Martin Luiz, and COO, Howard Letch, the SLS Production team on the project included: Technical Directors, Kevin Shyam and Praveen Jayakumar; Project Managers, Shubham Yesale, Bilal Satvilkar, Sharan Kokkuvayil, and Rahul Mehta; Site Managers, Anurag Mishra and Alphin K Steephan; Lighting HoDs Kiran Kumar and Amal Hariharan; Audio HoDs Arun Kumar and Sanhith Ernest; Senior Video Ops, Shafeeq Bin Shereef and Renald Blance; and Senior Video Tech, Mansoor Masood.
“At SLS Production, we believe that great events are built from the ground up – not just with world-class equipment, but with passion, precision, and people who make it all happen,” Letch stated. “When you love what you do, you do it with full heart – and this team delivered beyond all expectations. Massive thanks to the entire production crew and tech team
who helped make this ambitious production a success. We’re truly proud to be part of something this impactful.”
‘A bold new festival energy’ Gallowglass Health and Safety Middle East provided comprehensive safety and crowd management for the event from the start and throughout. “We were proud to be involved in bringing this groundbreaking production to life,” began Senior Safety Advisor and Branch Manager of Gallowglass Health and Safety Middle East, Declan Meenan, explaining the company’s scope. “Our involvement encompassed a 24-hour build schedule requiring seamless coordination between production, suppliers, and local authorities.”
Gallowglass led a pre-production review of all supplier documentation to ensure full safety compliance and inducted nearly 1,000 staff on-site. “Considering the time of year, additional emphasis was placed on heat management, hydration, and welfare,” Meenan explained. “Rising temperatures posed a significant
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challenge, making it critical to implement measures to keep both staff and attendees safe and hydrated throughout the day.”
From the moment doors opened, Gallowglass’ crowd management and safety teams worked closely with production to maintain smooth ingress and egress across all zones. “Real-time monitoring and communication between the four stages allowed us to distribute crowds fluidly, while keeping an eye on temperature-related risks throughout the day,” Meenan recalled.
“S eeing Etihad Park transformed from its traditional single-stage setup into a sprawling four-stage festival site was a testament to the dedication and collaboration of everyone involved,” he added. “Each zone offered a unique atmosphere and energy, seamlessly integrated into the wider venue layout. The combination of world-class production and meticulous planning allowed Offlimits to make a powerful and confident statement in its Abu Dhabi debut.”
De scribing the festival as “a rare and exciting moment”, Meenan reflected on another job well done at Etihad Park. “It was a privilege
for the Gallowglass team to play a role in the transformation and the delivery of every stage of production,” he concluded. “Offlimits brought a bold new festival energy to Abu Dhabi, and we’re excited to see how the event continues to grow in future editions.”
Talking of future editions, Theory Eleven’s Farr already has his sights set on what’s coming next. “We want to come up with more creative ideas for next year, and we’re already looking forward to tackling the challenges that they will bring, which will keep Offlimits as a first mover in the market,” he commented. “The vision for the future is to enhance the content, the quality, move towards a multi-day festival, and look at international expansion into regional markets. There has already been a lot of interest from India, Southeast Asia, China, Australia, and we would love to explore that.”
Fa rr explained the importance of the festival maintaining a strong sense of family friendliness as it grows. “One of the things that struck me the most when I went to Glastonbury was how many families attended together, and I always
wanted Offlimits to deliver the kind of inclusive environment that brings joy and laughter and where the whole family is welcome,” he commented. “Our ethos is all about inclusivity, community, expression, and diversity, and we managed to achieve that with Offlimits.”
Reflecting on the landmark project, the CEO was delighted with how this inaugural edition off Offlimits came together. “Everyone pulled together and put in an extraordinary amount of work to get this over the line. The venue had never seen anything on this scale – let alone in such a short period of time. It showed that if you dream something, you can bring it to life,” he concluded. “The idea of creating something unique for this region was to inspire local talent and let them know that there are opportunities right here that allow them to get to where they want to go.”
Photos: Theory Eleven www.offlimitsfestival.com www.theory-eleven.com www.slspro.net www.gallowglasshs.com
SOUK WONDERS by Dragone
The latest production from the creative masterminds at Dragone reimagines the traditional Diriyah marketplace with an innovative theatrical twist.
The word ‘immersive’ is thrown around with increasing regularity nowadays, often used to describe a production that has some particularly engaging video content or an innovative audio solution. However, in this increasingly crowded segment, a truly immersive production stands out by engaging multiple senses simultaneously and drawing in the audience to become part of the show – an unusual feat that was achieved in spectacular fashion by Dragone’s latest Saudi Arabian production, SOUK WONDERS
He ld over 20 days in Riyadh as part of Diriyah Season 2025, SOUK WONDERS was an extraordinary fusion of culinary delights, art, and breathtaking performances set within a vibrant indoor market. Following 2023’s successful collaboration on TERHAL, Dragone once again invited A LOUD MINORITY (ALM) on the journey.
ALM took the lead on the technical design, delivering technical direction, acrobatic rigging and design while providing technical support for the creation, production, programming and operational phases of the project. The team also worked alongside Saudi-based company, Hwadi, to support the creative vision of Filippo Ferraresi, Dragone’s Artistic Director and the designer of the whole experience. Leading the ALM team that comprised 10 specialists throughout the
three-month project was Technical Producer and ALM cofounder, Karl Jenkins, with ALM’s Ben Rogers and Calum Robinson overseeing the lighting and sound designs respectively.
“This was another massive project for us, and we were delighted to supply the full package this time,” Jenkins commented. “We jumped straight onboard to look at the technical design of the space with Patrick Larsen, the Set Designer, also considering lighting, audio, video and acrobatic rigging design.”
Th e concept of SOUK WONDERS revolved around a traditional Diriyah marketplace, which was the backdrop for a hybrid dining, retail and theatrical experience that transported audience members back in time to the days when life was centred around the city’s historic bazaars. “This is not a traditional linear show; it’s more of an experiential walkthrough, with various performances happening all over the space over the course of a two-hour period,” Jenkins stated, explaining the concept. “We worked with Dragone for two months of ideation, during which we honed the concept of an immersive experiential dining hall that doubled as a theatrical space with various stages, performance elements and acrobatic apparatus.”
Th e performance area was a huge, multilevel space, with the audience given almost complete
freedom to roam around the set, exploring the buildings up the three storeys high. There were even tokens given out as part of the ticket price, which could be used as currency within the space to purchase food from the various caterers on site.
In the early stages of the creation process, ALM worked with Dragone to onboard and perform feasibility analysis for several acrobatic and theatrical acts, ranging from ground-based performers to high-wire, levitation and single winch acts, with performances roughly every 15 minutes throughout the two-hour run time. “The audience were free to either follow the route and become immersed in the performances or walk around and do their own thing at their own pace,” Jenkins explained.
‘We love circus’
With a plethora of acrobatic performers on the show, ALM left nothing to chance when it came to acrobatic rigging and automation, engaging trusted partners Pitchblack and iRIG to handle the acrobatic rigging elements and performer flying automation system respectively.
Pitchblack’s Technical Project Director, Mark Hammond, talked through the project: “Karl approached us with a brief to create a structure that would support a highline artist,”
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he began, explaining that the wire spanned 35m and required two tonnes of tension, with an approximate height of 14m. “This task got us thinking, and we came up with some initial designs.” ALM then worked with Pitchblack, making a few edits to ensure that the structures would work within the set design – “and before we knew it, we were on site installing in Riyadh.”
Pitchblack deployed flown trusses as well as two custom 16m-high truss structures constructed from Eurotruss HD44. “To get the tension required, we needed to heavily ballast the structures and monitor tension in the main wire and guy wires,” Hammond added. “To do this, we added multiple Broadweigh wireless load cells to the rig. We also added a tracking safety line that sat on a truss 5m above the performer, giving us the ability to have a separate anchor point above the performer at all times.”
Considering the specialist nature of the system, Hammond was pleased with how the process worked. “As this was not an off-the-shelf system, it was great to work with the production team, the artist, and ALM’s rigger, Santi, to pull
this together from the initial concepts to the installed element,” he commented.
Also playing an important role in the production, iRIG was tasked with supplying, installing and operating a performer flying automation system for one of the acts. “We used an Alfa Systems E40 high-speed winch, controlled by out XM Automation desk,” revealed iRIG’s Managing Director, Ryan D’Cunha, describing the “simple and straightforward” design, installation and operation project.
“We love circus, aerial performance and automation projects, so working with ALM and Dragone was great for us – they knew exactly what they wanted to achieve, so that made the entire process very simple,” he added. “Thanks to those who place their trust in what we do; it’s great to be valued by great clients who we consider more as partners.”
‘Magical moments’
Described by Jenkins as “a major technical deployment”, the lighting design was overseen by ALM’s Ben Rogers – who was recently
crowned Lighting Designer of the Year at the TPiMEA Awards 2025. Speaking to TPiMEA before winning the coveted prize, Rogers recalled the challenge of creating a lighting scheme that could deliver multiple functions.
“The space housed a mixture of several staging areas, F&B outlets, retail, VIP and hospitality, and the lighting design had to provide coverage throughout,” he recalled, adding that his chosen approach was to break down the design into smaller sections.
“I put together a package of lights to deal with the architectural requirements, then a package to handle the staging areas,” he explained. “Once I had those building blocks, that allowed us to then play inside the space as it evolved.”
The lighting scheme was designed to portray the passing of time from early evening at the start of the show to midnight by its conclusion.
“H aving put these components together within the space as a section of the rig into different elements, all of which were on one control, I then built looks based on those timelines with each section independently and brought
it all together into one cue list,” Rogers said, describing his process. “Once we’d established the overarching theme, we had the flexibility to push and pull artistically within that, creating some more magical moments where the scheme transitions to a heightened realism.”
Th e lighting team worked from a Syncronorm Depence R3 previsualisation suite from the first day they arrived on site. “The Depence setup allowed us to do the core programming while the scenic elements were being constructed – it’s a very useful tool in that respect,” Rogers explained. “It’s also a way to provide a sense of confidence to the clients and other creative partners in the show, because it’s a working model they can engage with. It makes it easier to discuss ideas outside of being in the space, and for me as a designer, to be able to explore those creative ideas within that world is interesting. It’s not perfect, but it’s getting better all the time.”
With more than 1,000 fixtures on the rig, Rogers described the “big ask” that faced technical supplier, PRG, adding that the company “really stepped up to the plate” to offer the large quantity of premium products required at short notice. “We had a few shuffles at the top
of the design process based on availability,” he noted, discussing his fixture choices. “However, principally we were able to get a full rig of Ayrton and GLP fixtures, which was great.”
Th e lighting package was made up of 187 Ayrton Domino Profile S, 16 Domino LT, 16 Eurus Profile S and 108 Nando 502 Wash, 53 GLP impression X5 IP Bars, 40 JDC1 and 26 Fusion XPar 12Z, 26 SGM P-2 and 88 P-5, as well as Astera battery-powered fixtures, ranging from AX2 to AX9 and NYX Bulbs, and nine Robert Juliat Dalis 860.
Th ere were also hundreds of polycarbonate 2W festoon lights and GU10 LED 3200K track lights, along with atmospherics provided by four Look Solutions Cryo-Fog generators, eight Antari HZ-500 haze machines, four MDG AtMe haze generators and seven Antari DMX fans.
The visual spectacle was further enhanced by four Barco UDX-4K32 projectors along with 100 sq m of ROE Visual Diamond 2.6 LED, both running via Dataton Watchout 4K, also supplied by PRG.
“The Dominos were used mostly for the scenic dressing elements and architectural coverage,” Rogers explained, running through
the rig. “The LTs were used as a key light effect, while the Eurus were the principal light for all of the performing stage areas,” he added, noting his preference for the Eurus. “It’s a very flexible fixture. Its gobo set was really important to me because I knew that I wasn’t going to be able to put in a lot of custom gobos in the timeframe, so having the right textures to support the concept was important.”
The GLP JDC1 fixtures had a combined use as effect and work lights, while the impression X5 IP Bars were deployed on the main performance stage. “The colour mixing on the X5 is superb. I had very limited space and I wanted a lot of light as well as the ability to do soft colour gradients,” Rogers commented. “We also had a run of X5 IP Bars directly above the high wire, which was crucial to give clarity to the performer.”
Wh en it came to the Astera fixtures, while many were run off mains power, the flexibility offered by having battery-powered options proved useful. “It meant that we could play around with different fixture positions as the set evolved, trying things out as we went,” Rogers recalled, going on to reveal how the NYX wall lamps were retrofitted into traditional lanterns.
“We knew from the start that we’d want some practical light sources to add to the authenticity of the site and bring a heightened naturalism, and this was a very effective way to achieve it,” commented the Lighting Designer.
Th e size and scale of the space meant that multiple MA Lighting grandMA3 consoles in two programming positions were required, with Lighting Associate, Charlie Hickey covering the areas that were out of Rogers’ eyeline. “We were piecing the show together between us, trying to make it as cohesive as possible,” Rogers recalled.
Th e lighting was triggered from the music playback via QLab, with an operator also on hand to take some cues and control overrides and atmospherics. “When you’re dealing with aerial performers, it’s not just a case of ‘press go and it’ll be fine’ – it’s about making sure that there’s enough back-end structure to the show file and programming that in case of an emergency of any description, we have a way of either entering a holding pattern or simply stopping the show. Thankfully, we never had to go down either of those routes.”
‘A huge shift in technology’
With multiple performers spread over a very large performance area, manual follow-spotting was never a realistic option. “It became clear very quickly that to cover a footprint this large manually would have required a lot of follow spot operators, which would have been impractical and added unnecessary complication to the project,” Rogers revealed.
Instead, he opted for an autonomous zactrack PRO tracking system, utilising 36 zactrack Nodes, which enabled precise 3D artist tracking from ground level to the high ropes in the roof –forming one of the largest ever deployments of the technology. “We needed to follow eight key players everywhere within the massive 360° space, which was 80m by 80m, 16m high and full of obstructions,” Rogers explained. “We set up the system so that as soon as a performer emerged from a doorway, they would be picked up instantly and handed over from light to light as they moved around the space.”
Although zactrack could, in theory, take control of any element of the lighting rig, Rogers preferred to dedicate a section of the rig – 10 Ayrton Eurus and 14 Huracan Profile S fixtures –solely for follow spot use with the understanding that if any further integration was required, the system would be flexible enough to adapt. “The design was being tweaked and validated as it came together,” he recalled. “Dragone is known for creativity, developing creatively throughout preproduction and rehearsals – and our methods had to live up to that level of creativity.”
On e element of the zactrack system that the LD found particularly useful was the ability to track performers via an iPad, even when they were out of the line of site. “It was a bit like having the Marauder’s Map,” he laughed, referencing the magical document from the Harry Potter series that could track the whereabouts of every being inside Hogwarts. “It was an extremely useful tool when it came to stage management in such a complex performance area.”
As well as catering to the creative and stage management needs of the show, the zactrack system also served a vital safety function. “We created blanking areas so the follow spots would dim before they got anywhere near the eye level
“I’ve seen a huge shift in the technology over the past 20 years from when we first saw performer tracking. What’s most exciting to me is that we’re now in a place where we’re not compromising on creativity by adding this layer of technology.”
Ben Rogers, Lighting Designer, ALM
of performers who were flying,” Rogers revealed. “Trying to control all these elements manually would have been incredibly difficult, so it was a huge relief to have a bulletproof system that we could rely on to keep performers visible, safe and comfortable at all times.
“I ’ve seen a huge shift in the technology over the past 20 years from when we first saw performer tracking,” he continued. “What’s most exciting to me is that we’re now in a place where
we’re not compromising on creativity by adding this layer of technology; performers are free to express themselves and we have got their back – and that is the genesis of the original manual follow spot.”
Reflecting on the project as a whole, Rogers was keen to stress the importance of the team.
“It’s very much a team effort, and I was pleased that we were able to pull together the right team on this one,” he commented. “On a show of this
scale, it’s so important to have the right people in the right positions, driving in the same direction towards a cohesive picture.”
‘A sense of realism’
Much like the lighting, the audio setup on SOUK WONDERS was far from straightforward. ALM’s Calum Robinson explained: “Aside from the show, which was largely but not exclusively centred around the stage area at the far side of the souk, the whole space needed to be brought to life,” he explained. “We needed an underlying soundscape that enveloped the space and subtly but effectively brought a sense of realism to the busy bustling atmosphere of the souk.”
Robinson designed a system capable of delivering a surround soundscape that covered the entire souk with a general atmosphere and appropriate music underscoring before layering further effects over the top, which pushed into the corners of the space. “Some stayed based in a particular area while others tracked around and served to further enhance the depth and feel of the souk,” he described. “This partially faded away in the main space by the stage when the various acts came on, to pull focus on that, without leaving the far areas flat where people were still exploring the souk.”
All this was achieved by an L-Acoustics PA system for the main comprising 40 KARA II, 12 KS28 and 10 KIVA, all running on LA12X amplifiers, along with over 100 5XT boxes to cover the restaurant areas. In terms of audio control, two DiGiCo 338 Quantum consoles were onsite to deal with the main hall, while the rest of the areas were driven from a couple of Yamaha
QL1 consoles, with DirectOut PRODIGY.MP and redundant playback package used throughout the project.
“We’ve sworn by DiGiCo for many years, so we were always going to go with a pair of 338s out front – which in this case was at the top of a tower within the souk,” Robinson revealed, talking of his chosen control solution. “The DiGiCo handles all the routing around the space easily and the workflow for cue programming was just what we needed. That was topped off with a few Waves plugins, primarily looking after vocals in a rather lively environment.”
Finally, an extensive QLab file handled the running of the show overall. This managed all playback and soundscapes, tracking those soundscapes around the space, as well as triggering video and lighting.
“My process started by putting together an initial framework of a QLab file that would form the basis of the show control, but much of this would change the moment we went into creation,” Robinson recalled.
“As the show evolved and creative decisions were made, it was a case of finding a way to make them happen. Many were simple changes, but the key was programming in a way that is robust and repeatable without too much operator interpretation. Eventually, we reached a point where we were just adjusting levels and trigger points on cues and tightening up the
show, ensuring that everything not only looked and sounded great, but that it ran efficiently so the technology just happens, allowing the creative to shine.”
This new type of entertainment concept required Robinson to apply his experience in a combination of fields, from theatre and live music to venue design, to achieve a sound design that could shift from background atmosphere to fullbodied, dramatic stage moments.
“By using the infinity flexible routing possibilities offered by DiGiCo and the powerful QLab software – which has come a long way since I started using the sub version 1 PowerPC beta many years ago – we were able to craft exactly what we needed and place everything specifically to give the immersive experience we were aiming for,” Robinson stated.
“I was able to coordinate the placement of spot effects, soundscapes and music into ‘this shop’ and ‘that stall’, up in the roof, spiralling around the whole space. We could add detail into video playback, centred in the area of that act or video,” he continued, recounting more of the features of the system. “As a live show, we also had to accommodate on-the-fly show changes based on everything from crowd movement to artist line-up changes, in a seamless fashion. This required multiple additional cues to reorientate the cue stack dependent on which acts or combinations of acts were out. This was
achieved with a page of ‘arm and disarm’ cues per act, which would trigger the right alterations throughout the show stack.”
Reflecting on the project, as well as “the most important part” of people attending and enjoying the show, Robinson was particularly pleased with the show control element. “There was rather a lot going on there and it had many eventualities to contend with. It worked flawlessly throughout the run with no remaining bugs, allowing the operators to do what they needed with ease, so that always feels like a great achievement,” he commented. “We created a great show, a very different show, and it came off a success. It’s one we are very proud of.”
‘The team went the extra mile’
PRG provided the complete technical package, including lighting, video, audio, and rigging.
“Working from the top down, we supplied and installed over 200 chain hoists and a kilometre of truss,” began PRG’s Director of Account Management, Harry Lister, recalling the challenge of reacting “in record time” to the call.
“We immediately got Martin Smit onto site,” he continued. “Martin heads up our technical planning and is our go-to person on projects of this magnitude because of his knowledge of complex rigging. We understood roughly how many motors and pieces of truss we were going to need, so while he ran weight calcs onsite and
began rigging planning, rigging gear was already being pushed through the Mayadeen doors from our Riyadh warehouse. Thomas Jacobsen, our Senior Rigger, stepped onto site with a team of eight riggers and had all the bridles, motors and truss up a few days later.”
Lister credited PRG’s Lighting Crew Chief Bradon Labuschagne, along with the rest of the lighting team with doing “an awesome job”, recalling what he referred to affectionately as “the famous Domino Day”, in which over 90 Ayrton Domino Profiles arrived on site and were added to the rig.
He stated: “We had a lot of lighting on another major production in Abu Dhabi at the time that needed to bounce straight onto SOUK WONDERS, so we got everything else distributed and flown first before the Dominos arrived. Ben Rogers was super helpful and a pleasure to work with, and we also had great support from Martin Kuhn and the Tracking Pro team.”
In terms of audio, Lister described the planning and installation process as “straightforward”. He recalled: “From Soundvision to rig, the process was smooth, and the team went the extra mile to get the system flown as quickly as possible.”
Given the duration of the project, PRG’s scope during the rehearsal and show period revolved around maintenance and fault finding, with supporting operational crew onsite working closely with the show operating team from ALM throughout the duration.
According to Lister, the tight timeframe was the most challenging aspect of the project. “The team came together and acted as one welloiled machine on this one, truly showing what can be achieved in the most time-pressured environments working on a project of this scale,” he concluded. “We would like to thank Hwadi for choosing us as their technical partner and Karl, Ben and Andy from ALM, for their unwavering support and guidance from start to finish.”
ALM’s Jenkins echoed Lister’s sentiments. “We needed a company with not only the inventory but also the ability to deploy to a very high level at short notice,” he reflected.
“This was our first major collaboration with PRG. I know Bruce [Mac Lean, PRG Middle East Vice President] and Harry very well and we were delighted to be able to partner with them for this project. “We had a great time with them and look forward to many more.”
Having grown significantly over the past year, ALM continues to develop its offering. “We’ve expanded our horizons a lot and now offer ourselves as a full-service technical design and productions company that can bring a lot to the table,” Jenkins stated. “Having our team in key positions throughout the project was hugely beneficial and meant that we could a lot of value.”
Photos: Dragone www.diriyah.sa www.dragone.com www.aloudminority.com www.hwadi.com www.prg.com www.pitchblack.ae www.irigevent.com
teamLab Phenomena Abu Dhabi Grand Opening
The world’s largest reactive screen, a groundbreaking drone show and a specially composed performance from world-renowned pianist Ludovico Einaudi combine as Abu Dhabi’s newest cultural attraction is launched in style.
An international art collective that began in Japan more than 20 years ago, teamLab, has become renowned globally for its innovative digital installations, with immensely popular locations all over the world, from its native Japan to China, the USA, the Netherlands, and Saudi Arabia. With the collective opening its latest museum in Abu Dhabi – a 17,000 sq m multisensory experience on Saadiyat Island – Miral, in partnership with the Department of Culture and Tourism (DCT Abu Dhabi), ensured that the opening was marked in style, engaging HQ Worldwide Shows (HQWS) to produce a spectacular inauguration ceremony.
Reflecting on the task of conceiving and delivering the Grand Opening for teamLab Phenomena Abu Dhabi, HQWS Founding Partner and Chief Creative Officer, Katie Veira, wound back the clocks on the project. “The brief called for two distinct events on the same evening – an exclusive experience for 250 Royal and VVIP guests, followed by a larger event for 600 VIPs, media, and influencers,” she recalled. “We worked closely with the client to develop a range of creative approaches, engaging key stakeholders to align on direction, format, and expectations for this landmark moment.”
Based on the theme ‘The Spark of Curiosity’, the event featured an impressive blend of technical innovation and artistic vision, including large-scale approach to event lighting and laser mapping installations that dramatically illuminated the architectural landmarks of the Zayed National Museum, the Abrahamic Family House, and the Natural History Museum. Also
included were an immersive arrival experience introducing guests to the vision for the Saadiyat Cultural District, a 15-minute inauguration show, a tour of teamLab Phenomena Abu Dhabi, and a post-tour reflection lounge experience.
Th e HQWS team began the project with an in-depth immersion phase, developing a deep understanding of teamLab Phenomena Abu Dhabi and the broader cultural and geographic context of the Saadiyat Cultural District.
“W ith clearly defined objectives and success metrics, we then entered a collaborative envisioning phase, where our creative, technical, and operational teams explored and shared a range of ideas,” Veira explained to TPiMEA. “Concepts and variations were developed and refined in dialogue with the client, culminating in two final detailed concept presentations for selection and approval.”
With the concepts finalised, the HQWS team entered full-scale planning, detailing every element across creative, production, and logistics. “This included developing technical drawings, schedules, and procurement briefs to align all third-party collaborators and suppliers,” Veira commented.
HQWS engaged a range of technical and production partners, including: Bild Studios, which oversaw projection mapping and visual content; Lighting Designer, Durham Marenghi; Creative Technology Middle East (CTME), which supplied lighting and video; drone show provider, Lumasky; Kvant for lasers, water screens and fountains; Flash Art for pyrotechnics; Blowfish for Music Production; Clair Global for audio design
and supply; and Cue2Cue for show-calling and stage management.
VK International handled scenic and build; with Brand InStyle for branding and graphics; FLOW for power and distribution; Wicked for temporary structures; Al Laith for scaffolding and platforms; Byrne Equipment Rental and Mahraj for site infrastructure; Eversafe for health and safety; ARGA for traffic management; AB Transport; G4S Security; as well as Studio Waldemeyer for light art installation.
“Creative development then moved into scripting, storyboarding, audio and visual production, with previsualisation and animatic development throughout for continuous review and feedback,” Veira continued, recalling the creative process. “In parallel, our design teams developed technical drawing, visuals, specifications for all physical elements – from stage and scenic to signage, furnishing, invitations, and branded gifts. Simultaneously, dedicated teams planned and managed invitations and RSVPs, logistics, protocol, security, catering, and on-site hospitality.”
Fabrication was overseen by the HQWS production team, with on-site infrastructure and show build led by the site management team.
Technical setup and rehearsals began a week prior to show, with full dress rehearsals over the final two days.
‘A cohesive visual experience’
Creativity is at the heart of all teamLab installations, and for the grand opening of Phenomena Abu Dhabi, the primary creative
challenge was to deliver an event that was unforgettable and spectacular in complementing that creativity. “Our goal was to enhance, not compete with, the incredible immersive artworks within the teamLab Phenomena Abu Dhabi experience – crafting a show that aligned with the identity and spirit of teamLab and the innovation, ethos and cultural prestige of Saadiyat Cultural District,” Veira commented.
Ce ntral to the show was an original musical score, which was composed and performed live by Ludovico Einaudi, with real-time generative projection-mapped content reacting to the live performance. “We were overjoyed to be able to secure the involvement of the incredible Ludovico Einaudi, with whom it was an absolute honour to collaborate,” Veira stated.
Bild Studios played a significant role in the visual spectacle, designing and engineering a record-breaking 120m by 30m real-time, audioreactive canvas with a stunning resolution of 13,000 by 2,400 pixels.
HQWS initially approached Bild Studios to create content for the production, however, as Bild’s Head of Production Lauren Rogers explained, the company’s scope soon expanded. “As we deliver both creative and technical solutions, we also led the projection-mapping
feasibility study and went on to design the projection and media server systems,” she revealed, adding that Bild recommended CTME as the projection hardware supplier, while supplying and operating the media server hardware in house.
Bild’s scope expanded as the project evolved, with the company tasked with transforming the projection surface into a real-time interactive installation. “In response to the live performance by Ludovico Einaudi, we adapted the system from a Disguise VX 4 playback setup to a realtime generative GX 2C system,” Rogers explained. “This upgrade enabled the entire visual canvas to produce dynamic, audio-reactive content using Notch in real time.”
Bild Studios’ Content Producer, Christina Souris, explained the company’s creative process on the project: “Despite being tasked with creating content for three separate canvases, the primary goal was to treat them as a single, unified storytelling surface,” she revealed. “We aimed to craft a cohesive visual experience in which content flowed seamlessly across all canvases and interacted dynamically with the drones, lighting, and live performance elements.”
With this in mind, Notch was selected as the primary tool during the content development
stage of pre-production. “It provided our team with the flexibility to approach the design holistically, enabling efficient previz, real-time simulation, and on-site adjustments. This workflow allowed us to iterate rapidly and ensure every visual moment felt interconnected,” Souris added. “The result was a visually rich, immersive layer that elevated the emotional tone of the show while supporting its narrative arc – an achievement made possible through tight interdisciplinary collaboration and a deep understanding of both the creative vision and the technical constraints.”
Disguise media servers were deployed as the primary playback system for the show. Bild’s Technical Director, Jamie Sunter, described the setup: “Initially, the system was configured using VX 4+ hardware for straightforward video playback,” he began. “However, as the creative direction evolved to include real-time generative content, we transitioned to a GX 2C-based system to support Notch integration.”
Th e GX 2C units were equipped with SDI VFC cards to match the HD output requirements of the projection system. “This configuration enabled us to pre-test Notch blocks before deployment, ensuring smooth performance and synchronised outputs,” Sunter explained. “It
also allowed for thorough previsualisation of the audio-reactive content, helping us validate that the creative vision was being met.”
On -site, the Bild team used Disguise’s QuickCal tool for projection alignment, leveraging a 3D scan of the site for precise calibration. “The playback system included one GX 2C Director, one GX 2C Understudy, and three GX 2C Actors. Together, these units delivered 20 SDI video channels into the broader video infrastructure managed by CTME,” Sunter described. “This content was then distributed via a sitewide fibre network to 40 Panasonic PT-RZ31K projectors, deployed in a double-stacked configuration.”
Additionally, the entrance walkway totems were driven by two Disguise Solo servers in a Director/ Understudy setup, ensuring synchronised playback across the entire installation.
De lving further into Bild’s process, the Technical Director explained how every project that involves projection requires as much information and as many assets to be collated as possible, from screenshots of decks to Google Maps links, to 3D UV models.
“When we get these assets, we clean up and combine into the 3D software, Blender, to prepare for import into Mapping Matter. This involves reducing geometry and also includes key landmarks or staging to help align the 3D worlds together,” Sunter explained.
Projector positions were laid out in ideal locations using Mapping Matter, which in the case of the teamLab project, also included suitable projector tower locations. “This allowed
us to choose lensing and also to ensure we hit the brightness lux levels we wanted onto the surface,” Sunter added.
“Following this stage, we exported this information into our video calculations document, which then outlined channel count, pixel sizing and also the media server output count,” he continued. “Once we were satisfied that the information was as accurate as possible, we then started creating the system on paper and building the media server racks. During this time, we loaded up a first version of the Notch Block and ensured that performance was hitting the mark, and we were on the right track for future content creation.”
Onsite, closely integrating with the CTME crew, the Bild team went through the standard process of load in, lineup and preparation for technical rehearsals. “This included timeline programming, which was led by Gwilym Huws for the main show, and Adam Baston for the LED totem walkways, content adjustments, and show synchronisation with the rest of the departments,” Sunter commented.
‘Masterful control’
With a glittering portfolio including the likes of the FIFA World Cup 2022 Opening Ceremony, the Saudi Arabia F1 Grand Prix, Ain Dubai and countless other high-profile events and installations both inside and outside the Middle East, Lighting Designer Durham Marenghi brought vast experience and creative flair to the project. Chatting to TPiMEA following the event,
the LD recalled how his approach evolved as the project progressed.
With exacting client expectations to meet, Marenghi was indebted to Syncronorm Depence and CAST’s WYSIWYG software. “We had to create animations and renders in the virtual world to ‘sell’ the concepts to the client, who was very invested in the appearance of our lighting to showcase the building and enhance the district around it, and who gave very clear direction on colour palette and laser enhancements,” he described. “Looking back at those renders and animations and the subsequent live images, they are quite difficult to tell apart. Photorealistic virtual design has really added a new dimension to our art and how we create the ‘how can we not do that?’ moment in client presentations.”
Marenghi’s lighting design called for a row of linear batten fixtures along the front of and close to the teamLab building, utilised to emulate the in-ground white fixture in some areas of the existing architectural lighting treatment. “These fixtures added subtle colour, tilt and zoom and – with some excellent programming by Pedro Marce Socias –created a very sinuous and organic illumination of the unique building form,” he described. “We were also tasked with lighting surrounding buildings on the approach to the event with light and lasers and again a warm white, slowly dissolving wash treatment to accompany laser outlining was created rather than a garish multicoloured display.”
The lighting inventory included around 120 Ayrton Rivale Wash and Spots, deployed to
provide “good optics and subtle colours” to the upper parts of the building.
“The sinuous row of battens was created with 180 Robe iTetra 2, and for long-throw power for the neighbourhood buildings, I specified 120 Robe iForte LTX as well an array of Elation Proteus Excalibur,” Marenghi revealed, adding that the entrance ambience was created with Ayrton Kyalami, with aerial effects from Robe iBolts and two of the massive GLP Mad MAXX fixtures at the portal – which were making their regional debut, having been sourced by CTME through GLP’s Middle East distributor, Provision AVL.
Pianist Ludovico Einaudi was lit with a single 25W Astera AX3, while MA Lighting grandMA3 was used for control.
Reflecting on the project, Marenghi praised the work of the entire lighting team. “Working in the FOH, which was the Natural History Museum building site, and the area where we needed projection and lighting towers, Kris Collier and his team performed real magic here, as did Anna Jones with her masterful control of surrounding building and ambient light, including the street and traffic lights,” he commented. “This was also the first time I have called lighting cues on WhatsApp, which was the only way to communicate with the architectural lighting team inside this technically mysterious building!”
‘The highest level of technology’ For Creative Technology Middle East (CTME), the brief was clear: “We were tasked with implementing a reliable and immersive visual infrastructure that could support a large-scale, reactive media environment – seamlessly syncing with live performance, lighting design, and narrative content,” explained Key Account Manager, Dan Hughes. “This included lighting, LED screens and the projection of the façade of the new museum, all aligned with the high production and artistic standards set by HQWS, Miral, and DCT Abu Dhabi.”
The company’s process followed a rigorously phased approach, beginning with creative workshops and briefing, during which the CTME team embarked on a technical deep dive into the
making sure everything ran smoothly during the live execution.”
CT ME delivered a seamless hybrid solution that combined LED surfaces, large-scale projection mapping, and a detailed lighting setup. “The team carried out pixel density checks, structural assessments, and planned the signal flow and lighting layout,” explained Hughes. “We designed a custom LED floor and entrance display, carefully considering pixel pitch, processing requirements, and power needs.”
In pre-production, CTME created detailed 3D visualisations to test projection angles, lighting effects, and interactive media timing. Full system mock-ups and sync tests were completed before on-site work began. All equipment was pretested and integrated at CTME’s warehouse to ensure it was fully show-ready.
r the main installation, CTME’s video team built a 12m-by-12m interactive LED floor using 320 ROE Visual Black Marble BM4 tiles, creating a high-resolution 2,560-by-2,560-pixel display, powered by Brompton Technology. At the venue entrance, 14 LED screens with a 2.9mm pixel pitch were installed to create an immersive ‘gateway’ experience for arriving guests.
ery video element was precisely mapped to work in sync with the wider reactive display environment created by Bild Studios, including
a massive 120m-by-30m screen running at 13,000-by-2,400-pixel resolution.
CT ME’s Head of Video, Carlos Aguilar, said: “This project required precise integration of highperformance video systems. We deployed the ROE Visual Black Marble LED floor for its reliability, load-bearing capacity, and visual consistency, which met the project’s technical demands. Alongside the floor system, we implemented large-scale projection mapping across the venue façade, synchronised with the audio and lighting systems to maintain alignment and deliver a cohesive result. The focus throughout was on system stability, timing accuracy, and achieving seamless playback across all surfaces.”
The comprehensive lighting design featured over 600 advanced fixtures, carefully positioned across the landscape and stage to enhance the connection between live performance, architecture, and digital content. Programmed to react in real time to the musical notes and live content transitions, the lighting system played a central role in delivering an immersive and dynamic experience.
CT ME’s Head of Lighting, Sam Connolly, shared his thoughts on the project: “It was incredible to deliver such an advanced lighting setup on this show. It gave us the opportunity to push creative boundaries across every aspect –from fixture selection to control systems. It also
marked the first outing for the MadMAXX, which brought an extra level of creativity and intensity to the arrival area where they were deployed. Collaborating with Durham Marenghi on the lighting design was a phenomenal experience – his vision and artistry truly elevated every element of the production.”
‘The spirit of immersive storytelling’ Kvant played a multifaceted role in the production, delivering not only a captivating water screen video projection using clientprovided content, but also enhancing the surrounding environment by laser-mapping a nearby building. The company achieved this using a 20m-by-12m water screen accompanied by 10m-by-20m high water fountain jets, as well as two Digital Projection TITAN Laser 33000 4K projectors along with and 30 Clubmax 40W lasers for video mapping.
Ac cording to Peter Prokopčák, CEO at Kvant Events Middle East, the project’s tight turnaround time meant that the planning and execution phases had to move quickly. “We began by designing the fountain setup, and once we received client approval, we immediately placed an order for the custom construction with our supplier, which was delivered to the site and installed by our team,” he recalled. “For the laser setup, we utilised the existing lighting towers
to establish base positions, ensuring seamless integration with the venue’s infrastructure and an efficient deployment timeline.”
On e of the Kvant team’s most significant challenges was positioning the water screen and video projectors on the sea with little time to gain a clear understanding of the site conditions. “Due to time constraints, we were only able to conduct a single site visit, and even then, only from land rather than from the water,” Prokopčák revealed.
“Designing and preparing the structure to support a 10m by 20m high fountain with integrated RGB lighting and water screen with dual video projectors behind it required significant planning and problem-solving,” he added, noting that Lead Constructor Michal Kosiba took full responsibility for the engineering and delivered a robust solution. “His approach ensured maximum stability on the sea, simplified anchoring for the marina crew, and allowed us to execute a show worthy of the location.”
Th e weather also presented a challenge, with strong winds which intensified before the show and persisted throughout the event. “To counteract the wind’s impact on the water screen, we activated additional jets, which helped maintain the screen’s size and stability despite the difficult conditions,” said Prokopčák.
Th e CEO shared his pleasure at how every element the Kvant team delivered contributed
to the overall experience, highlighting the opportunity to use the company’s Clubmax 40W lasers to align with and enhance the architecture of the surrounding landmarks, including the Natural History Museum, the Abrahamic Family House, and most notably, the Zayed National Museum. “The most striking moment came when our laser guru, Martin Gabco, with his team laser-mapped the feather-like structures of the Zayed National Museum,” Prokopčák recalled. “The projection integrated so naturally with the building’s design that it felt as though the lasers were a permanent part of the architecture – an effect that truly captured the spirit of immersive storytelling through light.”
He c oncluded: “We would like to thank the entire HQWS team – especially Kamen and Katie Veira and Daz Jamieson – for their trust in our work and quality; it’s always a pleasure to work with them.”
‘The fusion of art and technology’ Completing the visual canvas was a spectacular drone show created by Lumasky, utilising a swarm of 6,300 drones – which was at the time the largest drone show in the GCC. “For a month, in collaboration with HQWS, we developed a concept fully synchronised with mapping, lighting, and live music,” explained Lumasky’s Alex Podobaev. “Inspired by lightness and infinite
“The projection integrated so naturally with the building’s design that it felt as though the lasers were a permanent part of the architecture – an effect that captured the spirit of immersive storytelling through light.”
Peter Prokopčák, CEO, Kvant Events Middle East
motion, we aimed for each moment of the show to transport viewers into a remarkable world where the boundaries between technology and art disappear. Sharp lines provided structure, yet seamlessly transformed into abstract figures, reflecting the philosophy of the teamLab Phenomena museum space.”
The Lumasky team undertook extensive work to perfect the animation. “Each figure was refined meticulously,” Podobaev commented.
“We adjusted angles, reshaped forms, and carefully aligned everything to a unified concept. This process demanded relentless attention to detail and a commitment to artistic harmony. As a result, from simple sketches and numerous refinements, we created a truly unique show where every spectator became a participant in this captivating experience.”
The drone show process began with meticulous planning of the visuals, while onsite, creative and technical teams measured all dimensions and calculated trajectories.
“Organisers chose a location for the required number of drones to fit, coordinated test timings, taking into account the proximity of the airport and other details, such as the crossing of a highway,” Podobaev recalled.
With the show location more than 700m from the flight zone, it was necessary to boost
the signal by constructing a tall tower for drone control. “We also designed a more powerful antenna to ensure reliable communication with the most distant drones,” Podobaev stated. “The initial tests were conducted on-site to refine the animation and ensure safety before the drones moved into the main flight zone, as they had to fly not only over the building and partly over water, but also near the stage.”
Th e animation proved to be an especially challenging aspect of the project, with the drone show a much more fluid and artistic interpretation than is typically seen in the region.
“The unique and captivating concept aimed to immerse the audience into the very heart of the show, making them participants in the event,” Podobaev recalled. “The meticulous frameby-frame synchronisation, combined with live music performed by Ludovico Einaudi, became a true symbol of the fusion of art and technology, emphasising the interaction between humans and innovation.”
Pod obaev also recalled the unique challenge of creating a special element for the show’s finale, which saw a floating sphere illuminating the entrance of the building. “This was crafted from scratch by the technical team,” he noted. “It had to not only hover but also become an integral part of the performance. The structure was
based on a drone, onto which an LED sphere was mounted using special fittings.”
Th e weather also had its say on proceedings with the strong winds making testing and preparation a challenge. However, the Lumasky team was able to adapt to ensure the artistic intentions could shine through.
“Thanks to meticulous work and careful planning, all elements of the show were perfectly synchronised – the music, the 3D projection on the building, and the movement of the drones,” Podobaev summarised. “The entire performance felt like a cohesive whole from start to finish. It left a powerful impression not only on the royal family and distinguished guests, but also on the many bystanders who happened to be near the museum at that moment.”
For HQWS’s Veira, while breaking the regional record with 6,300 drones launched was a source of satisfaction, it was the nature of the drone show that was particularly pleasing: “As well as breaking the regional record, we also presented a new approach to drone show design,” she reflected. “It was organic, immersive and reacting to the original soundtrack.”
‘Quality and redundancy’ When it came to audio, discreet, high-quality sound was the order of the day, and Clair Global
was brought in to provide exactly that, along with a comprehensive comms system and timecode distribution. “As with all our events, our engineering team designed the best possible solutions for the client’s vision,” commented Clair Global’s Head of Rental Services Middle East, Edward Ross. “This absolutely always includes quality and redundancy.”
The audio deployment was split between three main areas: the walk-in, the main venue, and the reflection lounge. For the walk-in area, a total of 14 totems consisting of two L-Acoustics X8s and a 5XT were split evenly seven per side, with Syva Lows distributed to provide low-end. “We used L-ISA right from preproduction to mix the audio to follow content played on each totem,” Ross revealed, adding that a redundant QLab rig was used for control, with a DirectOut PRODIGY.MP for switching and feeding the amps’ AVB.
For the main area, which was the venue for Ludovico Einaudi’s performance, the Clair Global team deployed three stacks of L-Acoustics Syva covering the main audience and media platform with a further four Syva placed on poles as surrounds to give the piano depth and space, using Bricasti M7s. “We also deployed a fully redundant control system consisting of two DiGiCo SD11s, redundant QLab and mirrored DirectOut PRODIGY.MPs,” Ross described. “Amps
were fed by AVB on a Luminex network consisting of 30is and AES backup using a standalone Optocore loop with an M12 MADI Router/Switch and X6R converters.”
The reflection lounge was covered by four stacks of Syva and KS21 subs with a Yamaha DM3 Series mixer for the DJ and artist. The comms deployment meanwhile comprised Riedel Communications Bolero wireless intercom systems along with ARTIST digital matrix.
Des pite facing several challenges, including the work site being located on a public roundabout and road and having to mix the main stage from a cabin, using the redundant console as a temporary mixing console in the audience, Ross was pleased with the “exceptional teamwork and professional delivery” from the Clair Global team. “There are often lastminute design changes and requests to a vendor, and in the Middle East, we always have the added challenging environment of rising temperatures,” he added. “However, thanks to a strong collaboration, we were able to achieve an outstanding result.”
‘The power of creative collaboration’ Also engaged by HQWS was Al Laith, which delivered key structural and technical infrastructure to support the event, including
a custom-built circular stage platform and projection towers for large-scale visual effects.
Michael Clark, Director of Operations at Al Laith, described the deployment: “We began be aligning closely with HQWS on the event’s creative and technical vision,” he told TPiMEA.
Once briefed, the Al Laith team moved swiftly into the planning and engineering phase, factoring in limited site access and a compressed timeline. “Our team coordinated detailed logistics to ensure efficient transport and installation,” Clark stated. “We delivered a two-level circular stage with integrated screen flooring for VIP guests, alongside projection towers used for laser mapping across nearby cultural landmarks. Final integration involved close collaboration with other technical partners, ensuring that each element harmonised with the immersive experience –including the drone show, pyrotechnics, and live performance by Ludovico Einaudi.”
Th e stage understructure was engineered to support VIP seating and visual effects, while the towers were strategically positioned to support high-resolution projections and laser mapping.
“These enabled the transformation of nearby landmarks into immersive storytelling elements through light and motion,” Clark described.
One of the most significant challenges was the restricted access to the site, which required
highly detailed logistical planning to ensure timely transport and installation of materials. “The tight timeline added further pressure, demanding seamless coordination across teams,” Clark noted. “Our ability to adapt, problem-solve, and maintain rigorous quality standards under these constraints was key to the project’s success.”
Lo oking back on the project, the Director of Operations was especially pleased with his team’s ability to deliver technically complex structures under a tight deadline without compromising quality. “The stage platform became the focal point of the ceremony, while the laser-mapped projections on the Louvre Abu Dhabi, Zayed National Museum, and the Abrahamic Family House added depth and meaning to the visual storytelling,” he concluded.
“Contributing to an event that featured a 6,300-drone show, pyrotechnics, and a live performance by Ludovico Einaudi was a true highlight – and demonstrated the power of creative and technical collaboration.”
‘Some of the best suppliers in the region’ Having worked with HQWS on several major events, Cue2Cue was once again tasked with show-calling and stage management – and the company’s founder, Gareth Hulance, was delighted to continue the long-running relationship on this project. “We were thrilled to be back with the HQWS team, having worked with them many times on some of their biggest projects,” he commented. “This project also reunited us with some of the best suppliers in the region, which were a joy to work alongside again. This show was truly a team collaboration and one we were really proud to be a part of.”
For HQWS’ Veira, the project was a demonstration of her team’s ability to remain agile and overcome any challenges – of which there
were many – that came their way throughout the process. “The excitement generated by this opening resulted in an ever-increasing number of guests and therefore the adaptation and redesign of infrastructure to accommodate, while maintaining optimum sightlines for all guests,” she recalled while also noting the logistical complexities presented by the location. “Operating within an active construction zone demanded meticulous planning across access, safety, and infrastructure, all of which were navigated through proactive coordination with multiple stakeholders and on-the-ground agility,” she added. “The 24-hour operational nature of the mega construction projects within the vicinity came with its own set of complications, not least the ambient light and noise made programming of lights and audio exceptionally challenging.”
Yet, despite all the challenges, Veira was delighted at the end result. “We were exceptionally pleased with how everything came together so perfectly and resulted in such overwhelmingly positive reactions from our clients, guests and media,” she concluded.
“A huge and heartfelt thank you to our incredible HQWS team, our partners at Miral and all of our collaborators and suppliers without the support and dedication of whom this would have been impossible.”
Photos: HQ Worldwide Shows www.teamlab.art
www.hqws.com
www.bildstudios.com
www.durhamld.com
www.ct-group.com
www.kvantshowproduction.com
www.lumasky.show
www.clairglobal.com
www.allaith.com
www.cue2cue.uk
Above: Lighting Designer Durham Marenghi on site alongside one of the new GLP MadMAXX fixtures making its regional debut on the project.
Showpower on sustainability
Dedicated to offering sustainable power solutions at events, Showpower is aiming to cater to the rapid growth of the Middle East market. TPiMEA’s Alicia Pollitt finds out more…
With the demand for environmentally friendly live events increasing all over the world, the Middle East is a region that is making great strides in its approach to sustainability. Among the companies and organisations trying to lead the change in the region is Showpower. Made up of a team of sustainable power experts, the company is seeing greater demand than ever for alternative power solutions for the region’s live events.
“The tide is certainly turning, and people want to challenge the status quo,” began Paul Schurink, Showpower’s co-CEO. “The region is already known for delivering productions on another scale, so imagining the scale at which it will drive sustainability, and innovation will be no different.”
Showpower’s plans involve taking the region on a journey, rather than attempting to enact a complete change, which Schurink described as unsustainable. “We’re interested in educating and bringing events and productions on a sustainability journey, because that is exactly what it is: a journey,” Schurink commented.
“There are always multiple stakeholders to engage with, and everyone needs to be on the same page and aligned with the same goal, so it can take some time to implement the major changes required and shift mindsets towards the reliable and proven solutions that are available.”
Su ccess stories for the sustainable power solution supplier include Lollapalooza Chicago, Global Citizen Festival and Coldplay’s mammoth Music of the Spheres
World Tour. A crucial part of cutting the Music of the Spheres World Tour ’s emissions by 50% was the deployment of the SmartGrid battery system, which was designed to replace diesel generators especially for international stadium events.
“E xisting battery systems on the market couldn’t meet ours and Coldplay’s standard, particularly as we needed 100% power reliability and N-1 redundancy, as any power failure is simply not an option,” Schurink explained.
Along with the SmartGrid system, Showpower offers management of the entire power process for a live event –from designing the power plan to delivering the hardware, to onsite management, aiming to ensure maximum efficiency and reliability across the entire energy system.
“We don’t just drop off SmartGrid and pick it up after the event. We start by measuring the event’s power needs so that we can accurately predict the required power and energy use,” Schurink commented.
“We then design the most sustainable power plan possible, using any available on-site energy sources to feed the SmartGrid. At the core of the system, SmartGrid balances energy supply and demand in real time, running the batteries in parallel with the event load to ensure complete redundancy and uninterrupted power.”
To date, SmartGrid has powered over 50 of Coldplay’s stadium shows across 15 countries, with the US tour and the band’s Wembley Stadium run still to take place. Elsewhere in the region, Showpower worked with MDLBEAST’s
Soundstorm festival in 2021 and 2024, supporting their strong commitment to improving efficiency and sustainability, especially in power use. “Alongside their own initiatives and through our energy assessments, monitoring, and collaboration with the Soundstorm and TAIT production teams, more grid connections are being utilised, generator run times are decreasing and generator sizing and capacities are more efficient,” stated Schurink. “Based on our 2024 data, we’re now able to help redesign power zones to maximise use of grid power without the risk of exceeding capacity from the show loads. This sets Soundstorm up to significantly shift from diesel generators to grid energy in future editions –cutting both fuel use and carbon emissions. It is great to see a festival of this size taking real action.”
De dicated to getting the region diving headfirst into sustainability processes, the Showpower co-founder participated in two panels at the recent Saudi Light and Sound Expo in Riyadh, which covered major achievements and processes dedicated to moving towards an emissionfree future in the Middle East. The presence at SLS Expo, Schurink hopes, will help speed up conversations around greener energy by showing it is possible.
Looking to the future, Schurink commented: “Our Smart Power Plan and SmartGrid concept is already known and proven for many years in Europe and the US. We now need to build the Showpower brand and build trust in the MENA region through projects, education and consultancy. It is clear that the market is developing fast – especially with the pipeline of global and major events coming to the region – so as we build a permanent presence and have our SmartGrid fleet available in the region, this will reduce transport, deployment time and ultimately costs.”
He c oncluded: “We also hope that success stories such as MDLBEAST Soundstorm can reassure other festivals, events and producers in the region, showing them what is possible in the region; just as Coldplay have shown the touring world that change and transition to cleaner power solutions is also possible.”
Photos: Showpower; Getty Images courtesy of Global Citizen www.showpower.com
Opposite: Showpower’s co-CEO, Paul Schurink, along with CTO, Tim Benson. Above: Schurink speaks at SLS Expo; SmartGrid has already been embraced by the likes of Ed Sheeran and Coldplay.
Rock-it Cargo reflects on India’s growing live events market
Following another year of involvement in Lollapalooza India, Chris Palmer of Rock-it Cargo discusses the growth of the country’s entertainment market and speculates on how it will affect the global movements of acts in the region.
TPiMEA’s Stew Hume reports…
Since the establishment of TPiMEA back in 2016, our scope has certainly expanded as the live events market in the region grows and matures. The most obvious example of this is Saudi Arabia, but another country that is growing in stature on the international stage is India. While India is of course in South Asia, the country’s live events industry is linked closely with the Middle East. In fact, our previous edition’s cover stars, Coldplay, following their Abu Dhabi performance, paid a visit to India, as the next stop on their world tour.
As well as becoming a common stop-off for artists pre and post Middle East shows, India is also developing its own thriving festival market. This was demonstrated most recently with the successful running of the third annual Lollapalooza India, hosted in Mumbai – featuring more international acts than ever before, including the likes of Green Day, Shawn Mendes, Glass Animals and Louis Tomlinson, among others. The growth of this festival and the
greater appeal to larger global artists is an indication of the maturing of this market.
Having been at the coalface of moving equipment in and out of India for several years, Rock-it Cargo’s Chris Palmer has an in-depth knowledge of the changing nature of the country’s live events space. In fact, Rock-it recently announced its growing establishment in the region through a collaboration with Buhariwala Live. Having worked in partnership with Rock-it for over 10 years, the family-run, Mumbai-based business has now rebranded its live touring arm to Rock-it Cargo India.
“H aving been in the industry for over 20 years, I’ve worked in India a number of times and I think it’s safe to say there used to be so much trepidation taking an artist into the region,” began Palmer. “Somewhere between the bureaucracy and red tape often made putting on shows difficult.” He continued to express that when he first was pitched the idea of Lollapalooza India, he thought it was going to be tricky.
However, the landscape of India’s events market has altered recently with the adoption of carnets. Acts wishing to travel to India previously had to pay a bond based on the value of their equipment, which might not be released for several months. “It did not make sense to include India as part of a global tour,” stated Palmer, explaining that the government has now added ‘professional equipment’ to the list of things that are able to be accounted for via a carnet.
Speaking specifically on Lollapalooza India, Palmer commented that, “the event was incredibly well organised, they had all the infrastructure in place and by the time we arrived on site, all the equipment was already backstage, in locked trucks in the secure area.” He also commented on how the changing lineup he’d seen over the years was a real indicator of the growth of both the event and the overall region. “In its first year, the line-up was 50:50 between international acts and local performers, whereas this year it weighed far more with US and European performers.”
As for Rock-it’s role in the production, Palmer explained it was very much business as usual for the freight company.
“All the kit came in via our agent who had the carnet in hand and the customers cleared all the goods, and they delivered to the festival. In fact, in some ways, it was smoother than other events due to the sheer number of stagehands on site who could aid in unloading trucks and moving flight cases around. It was all pretty flawless.”
Palmer spoke optimistically of the future of the events industry in the region. “It was clear from comments we heard that a lot of the attendees had travelled to the festival and as such were a slightly older demographic than you might find at a Western festival. But there was certainly a big reaction from the fans, which is understandable as both Green Day and Shawn Mendes had never played in India before. The reaction was phenomenal.”
Du e to the size of the production, Palmer noted how many international suppliers were brought into the production, including Solotech and Star Live. “This meant that we didn’t see as many local suppliers, but I think this shows that the festival is looking to build something for the future,” he stated. “As the festival builds year on year, I suspect we’ll be brought in to help as the production values continue to grow.”
With India’s live events industry continuing to expand and with large equipment stocks in the Middle East, the likes of Rock-it are sure to be kept busy moving equipment between the two regions.
Photos: Rock-it Cargo www.rockitcargo.com www.lollaindia.com
Inside World Stage Design Sharjah 2025
With the quadrennial global performing arts expo set to take place in the Middle East for the first time in its history this year, TPiMEA catches up with Project Director, Jacqui George to find out more about what the UAE can expect when WSD comes to town…
Held every four years, World Stage Design (WSD) is the first and only designer-led exhibition showcasing and celebrating performance design from individual designers worldwide. With previous editions having taken place in Toronto, Seoul, Cardiff, Taipei, and Calgary, the 2025 event is set to make its Middle East debut when it arrives in Sharjah from 18 to 25 October.
“Think of it as the ‘Expo’ for the global performance industry,” commented WSD Project Director, Jacqui George, when asked to describe what we can expect from the event, which will be co-produced this year by Sharjah Performing Arts Academy (SPAA) and International Organisation of Scenographers Theatre Architects and Technicians (OISTAT).
WS D will comprise four main components: a Design Exhibition, the Theatre Architecture Competition (TAC), the Technical Invention Prize (TIP), and Scenofest.
“S PAA will host an exhibition of 100 outstanding designs from professional and emerging designers, selected from over 1,000 entries,” George described. “At Bait Obaid Al Shamsi, visitors will be able to explore the top 20 ideas from the TAC, selected from entries submitted by designers in over 50 countries, envisioning performance spaces for this historic site,” she continued, adding that the Sharjah Research, Technology, and Innovation Park will showcase the winning submissions for the TIP.
De scribed by George as “the most dynamic element of WSD, Scenofest will bring together a wide range of talks, workshops, performances and masterclasses by theatre practitioners from across the region and world following the central themes of heritage and sustainability. “It’s like the festival element of the whole event,” she added.
“We have performances from New Zealand, Nigeria, Indonesia, Hungary, KSA and homegrown here in the UAE. We have numerous talks, such as The Use of Robotics in Designing Performance Spaces, multiple workshops, Creating a Geolocated Soundwalk, which I know is going to be popular, and Lighting for Puppets, which promises to be fascinating,” George revealed. “We also have panel discussions on Ecological Design in Lighting and Technical Innovation in Costume; immersive experiences from Sana Akram and Victor Zapareto; the launch of the Arabic Theatre Green Book, Sound Kitchen, and much, much more. So, there’s something for everyone!”
Th e fact that the event is coming to Sharjah is a major boost for the emirate and, according to George, it aligns perfectly with SPAA’s mission to develop confident, creative
professionals who can create work for and collaborate on a global stage. “What could be more valuable than bringing some of the industry’s top professionals and practitioners to the students’ doorstep – allowing them to see their work firsthand, interact with them, and learn directly from them?”
Clearly delighted at the once-in-four-year opportunity for the performance industry in the UAE and the wider Middle East, the Project Director called on the professional community to take full advantage. “It would be wonderful to see both established and emerging professionals from our community actively participating – visiting exhibitions, attending events, sharing ideas, and networking with their counterparts from around the world,” she commented.
“We are welcoming submissions for TIP until 15 July 2025, so if you have an idea for an innovative production invention that could change the way we work, get involved. We also welcome companies that see the value in partnering with us and supporting this landmark event,” she continued. “Whether you’re a seasoned professional in the industry or someone passionate about the performing arts, you should attend World Stage Design 2025. Miss it this year, and you’ll have to wait another four years for the next edition, and that won’t be on your doorstep!”
Photos: World Stage Design www.sharjahwsd2025.com
Opposite: World Stage Design Sharjah 2025 Project Director, Jacqui George.
Above: WSD 2025 is set to welcome a range of talks, workshops, performances and masterclasses from theatre practitioners from all over the world.
Meet THE Production TEAM
Ann Dacumos, Head of Middle East, and Daniel Clark, Group General Manager of THE Production TEAM, stress the importance of ethical freelance practices and look excitedly to the future of live events…
In an era where the scale and ambition of live events continue to soar, the desire for highly trained and reliable on-site personnel has never been greater. Meeting that demand headon is THE Production TEAM – a UK-founded company, part of Spendlove Group, rapidly expanding its footprint across the region.
At the helm of the Middle East operation is Ann Dacumos – an experienced events professional with a track record of successful projects in the region, supported by Daniel Clark, the Group General Manager, whose global perspective continues to shape the company’s delivery. “Our knowledge of the industry is
undoubtedly our core strength,” Dacumos proudly informed TPiMEA. “We understand client needs from a technical production, creative and site perspective, which is invaluable. Our freelancers aren’t just CVs from a recruitment box – they’re real people, known to us, with tangible skills and experience.”
Clark echoes this sentiment, emphasising THE Production TEAM’s operational knowledge: “Whether it’s supporting every home game for Dubai Basketball Club or deploying Olympicstandard graphic installation freelancers for branding work in Paris, we don’t just turn up – we deliver. The brief changes, the geography
changes, but the outcome must be world-class every time.”
Unlike many recruitment and workforce solutions providers, THE Production TEAM is determined to set a new benchmark for transparency within the freelance landscape. “There’s been a lot of talk lately about freelancer rates being absorbed or ‘marked up’ without clarity. That’s not how we operate,” Clark explained. “For ad hoc projects, the freelancer’s rate is exactly that – their rate. We negotiate it on their behalf based on a deep understanding of the brief. Then we apply a clearly stated management fee that’s borne by the client,
never deducted from the freelancer’s pay.”
Dacumos added: “We are present to support both our clients and our freelancers. For the Paris Olympics, we had a dedicated account handler and operations coordinator monitoring the team’s performance throughout the four-month run, ensuring everyone was onboarded correctly and properly accredited.”
While THE Production TEAM’s permanent workforce sits at a modest 10 full-time employees involved in operations, logistics, and client services – its extended freelance network is vast and rigorously vetted. Across the UAE, Saudi Arabia, and the UK, the company boasts a global pool of over 6,000 individuals on its database, with 750 fully approved and actively deployable at any given time. “These professionals are tested, supported, and known to us,” Clark noted. “From theatre technicians delivering shows across the region to creative producers leading high-profile awards in Jeddah, our freelancers operate at the top of their game.”
Over the past 12 months, THE Production TEAM has been involved in the delivery of exceptional projects, showcasing the company’s consistency, speed, and capacity to adapt. “Delivering full floor operations for Dubai Basketball Club across the season was a real highlight,” Clark recalled. “In Oman, we deployed skilled freelancers into harsh, remote conditions with minimal turnaround, and we have just supplied 10 follow spot operators in KSA with less than 48 hours’ notice. That kind of responsiveness is only possible when your team is trusted, tested and ready.”
Dacumos reflects on another standout moment: “Paris 2024 was a huge undertaking, but it built upon our experience at Expo 2020, Sea World Abu Dhabi, and COP28. This year marked a shift for us – we went beyond contract placements and ad hoc projects. We’ve placed
long-term project managers and marketing staff, building greater continuity for our clients.”
Looking forward, Clark sees the challenge not in demand but in sustaining quality delivery. He elaborated: “As the region’s event calendar accelerates, compliance, logistics, and welfare are under pressure. Our response is to stay ahead – digital onboarding, real-time support, and ethical pay structures. We’ve seen too many freelancers underpaid or kept in the dark. That’s not who we are.”
Da cumos is frank about operational complexity in KSA: “Compliance requirements there are evolving constantly. Some sites impose restrictions on certain nationalities, which impacts not just us but our clients. We work closely with partners to navigate this landscape.”
Saudi Arabia isn’t just a growth market for THE Production TEAM – it’s the cornerstone of its regional strategy. “KSA isn’t just the next frontier, it’s a foundational part of our long-term vision,” Dacumos stated. “We’re not flying in and out. We’ve built a strong local base of freelancers – from runners and HSE officers to project coordinators – and we’ve already delivered on major roles thanks to that local network.”
With the backing of parent company, Spendlove Group, and the launch of Showforce’s Riyadh office, THE Production TEAM now has a permanent base in the Kingdom, reinforcing its commitment to in-country capability and regional talent development. “The goal is to help define what a modern, sustainable career in live events looks like for Saudi nationals,” Dacumos said.
“That means a modicum of care, mentorship, and growth – not just jobs. We want to be part of the infrastructure, not just a supplier. We deliver world-class results, but we measure our success by what we leave behind.”
Photos: THE Production TEAM www.theproductionteam.com
Opposite: Head of Account Management, Ann Dacumos, alongside Group General Manager, Daniel Clarke. Above: The company delivers at the Paris Olympics as well as Dubai Basketball Club.
Gearhouse South Africa
From humble beginnings to a powerful force within the South African industry, the growth of Gearhouse Group is showing no signs of slowing down.
Robyn D’Alessandro
reports…
Founded in 1981 by Ofer Lapid under the name Lighting Unlimited, Gearhouse South Africa began as a modest operation with limited resources but a clear ambition to support the region’s emerging events industry. Over the decades, it has grown into a leading technical production provider, now operating as the cornerstone of the Gearhouse Group. Based out of Johannesburg, with additional facilities in Cape Town and Durban, the company has built a reputation for delivering integrated solutions across a full spectrum of live events, from intimate gatherings to large-scale international productions.
At the heart of Gearhouse’s success lies its structure: a collective of 10 specialised companies, each offering distinct technical services while operating under a unified vision. This model allows for deep specialisation within each division – be it lighting, audio, rigging, or venue management – while streamlining communication and project delivery through a single point of contact. This collaborative approach has become a defining characteristic of the Group’s operation, allowing it to manage complex, multidisciplinary projects with efficiency and cohesion.
Gea rhouse’s expansive service offering now includes lighting, audio, staging, AV, rigging, structures, power distribution, portable venue
solutions, and more. While the range of services has expanded significantly since its early days, what has remained constant is the emphasis on quality, reliability, and adaptability. Each event is approached with a bespoke mindset, drawing from the Group’s collective technical and logistical expertise.
Lighting has always played a central role in the company’s portfolio and this continues to this day, with capabilities ranging from architectural lighting and theatre-style rigs to large-format concert lighting. The team prioritises design and execution, often integrating cutting-edge fixtures and control systems to create dynamic, responsive environments.
On the audio side, the company continues to support events with a suite of high-end systems, including L-Acoustics K1, K2, KARA, Kudo, and V-DOSC solutions, as well as DiGiCo Quantum 338 consoles, and productions from JBL Professional, Meyer Sound, and NEXO. These are deployed by skilled technicians who ensure fidelity and coverage across venues of all types.
Given the infrastructural challenges sometimes faced in the region, power delivery is a crucial element in Gearhouse’s offering. The company’s power division provides both gridlinked and fully independent generator setups, with tailored distribution networks engineered to accommodate the load profiles of modern
events. This guarantees operational stability, even under demanding conditions.
Staging and structural components are designed and delivered with the same attention to engineering and detail. Gearhouse’s staging division utilises modular decks and Stageco roofing systems, paired with custom rigging solutions to provide both aesthetic flexibility and structural integrity.
As d emand for hybrid and virtual events continues, the company has also invested heavily in AV capabilities. Multi-camera production, streaming services, LED screen integration, and live-feed management are now part of its standard offering, allowing clients to connect with remote audiences without compromising production values.
In2Structures, one of the Group’s subsidiary companies, supplies custom-built portable venues that can be deployed in a variety of formats and locations. Designed with scalability and durability in mind, these temporary structures have become a mainstay at festivals, exhibitions, and outdoor activations. Meanwhile, Splitbeam serves the theatre industry, supplying cost-effective lighting, sound, and scenic solutions to schools, touring productions, and commercial venues alike.
Th e Group’s broader offering is supported by additional companies that fill critical industry
niches. Sets Drapes Screens creates tailored set pieces and scenic elements for live and broadcast applications, while ShowCom focusses on intercom and RF communication systems, with solutions ranging from basic analogue systems to advanced IP-based platforms. Havaseat delivers temporary grandstand seating solutions, using the PERI ARENA system to offer quick-to-assemble, raked seating for outdoor or venue-based events.
LE D Vision, another key division, manages one of the largest inventories of modular and mobile LED displays in the region. Its teams support everything from straightforward screen installations to high-end content delivery, with the use of media servers and advanced switching hardware. Gearhouse System Solutions, with over 26 years in the field, handles long-term AV integration projects. Its scope spans consultation and installation through to long-term support, specialising in LED displays and digital signage.
IN HOUSE Venue Technical Management (IVTM) oversees technical services at 28 venues across South Africa, from hotels and conference centres to arenas and casinos. Each site benefits from a dedicated technical manager and 24-hour support, ensuring seamless service delivery across events of varying scale. With
operations recently extending to Rustenburg and Nelspruit, IVTM remains focused on delivering venue-specific solutions while maintaining high technical standards.
“At Gearhouse, we focus on providing complete solutions for live events,” commented Gearhouse SA’s General Manager, Charl Smit. “We bring together all the services needed –from staging and rigging to AV and venue setups – making sure everything runs smoothly. All our companies work towards a common vision and business ethic, which is one of our differentiators. Clients benefit from having everything accessible through a single contact point, and we ensure that every part of the project is executed with the same high standards and approach.”
Loo king ahead, Gearhouse continues to invest in infrastructure and skills development as it prepares for the evolving demands of the live events industry. Its ability to offer integrated, scalable solutions has made it a preferred partner for live events and project organisers across the continent. As the Group moves into its next chapter, it does so with a continued focus on innovation, collaboration, and delivering consistent technical excellence.
Photos: Gearhouse www.gearhouse.co.za
Sennheiser Spectera
Mig Cardamone, Sales Director and Country Manager, Sennheiser Middle East, introduces the manufacturer’s groundbreaking bidirectional wideband solution.
What is Spectera and what industry need does it address?
Spectera is the world’s first bidirectional wideband solution. Using the ground-breaking WMAS (Wireless Multichannel Audio Systems) technology, Spectera greatly reduces wireless system complexity, while at the same time considerably increasing capability, enabling time-saving workflows and offering full remote control and monitoring, including permanent spectrum sensing.
Th e wideband solution will be ideal for large productions, whether in the touring, broadcasting, or theatre fields, or in any other area that requires multichannel audio setups. Sp ectera satisfies customers’ needs – ease of use, operational reliability and flexibility. It offers less hardware, drastically reduced frequency coordination, redundancy, and the flexibility of an ecosystem that grows with the users’ needs.
What are the main features?
Spectera features bidirectional bodypacks that manage both digital IEM/IFB and mic/ line signals at the same time. The solution is remarkably resistant to RF fading and allows for flexible use of the wideband RF channel – for example, for digital IEMs with a latency down to a spectacular 0.7 milliseconds.
It represents a total shift in control and monitoring. It doesn’t just offer a back channel, but continuous two-way communication throughout, for truly complete remote control. Via the permanent control data stream, audio settings can be adjusted, IEM and mic levels adapted, RF health and battery status monitored, and much more. AES 256 encryption (AES 256 CTR Mode with >10kYears expiry) for both audio and control data ensures the necessary data privacy.
Also, all units help in continuously sensing the spectrum, meaning they scan for potential interference from other RF sources. With Spectera, it is possible for the first time to see ‘behind’ the RF channel that is being used and detect interference.
Bid irectional digital wideband transmission addresses many of the typical challenges that users, operators and owners of wireless audio systems experience today. These challenges include overly complex frequency coordination and complicated rack cabling for high channel counts, and the large footprint that a multichannel wireless system still has –
Mig Cardamone, Sennheiser Middle East Sales Director and Country Manager.
in the warehouse, on tour and backstage, both for space and the amount of time required for load-in, load-out and setup.
On e of the biggest innovations in the Spectera ecosystem is the Base Station, which, in a single rack unit with up to 32 inputs and 32 outputs, replaces a rack-full of wireless mic receivers and IEM transmitters. An entire production could be accommodated in a single wideband RF channel (6 or 8 MHz). The lower footprint continues to the bodypacks, which handle mic/line and IEM/IFB requirements simultaneously.
Having just one pack is not only a great asset for the talent, but it also makes the work of the sound engineer easier, who has just one type of pack and can, if required, quickly add an IEM to a mic. Warehousing also becomes much less complex, with just one Base Station and two frequency variants – UHF and 1G4 – for bodypacks and antennas.
What kind of R&D went into Spectera?
The research and development behind Spectera spanned over a decade, beginning in 2013, when engineers at Sennheiser proposed the idea of
a bidirectional wideband solution. The project required extensive basic research on wideband algorithms and studies on wideband physics, followed by years of collaboration with frequency regulatory authorities across Europe, Asia, and the Americas to secure necessary changes in national frequency regulations.
Why is Spectera is particularly well suited for the Middle East market?
Spectera has several characteristics that make it ideal for the Middle East. The region has a high demand for wireless audio solutions in broadcasting entertainment, and corporate events, and Spectera’s wideband bidirectional system allows for efficient spectrum usage, reducing interference and maximising the available frequencies.
Sp ectera also offers scalability for large productions. With major venues like Expo in Dubai, international concerts, and important broadcasters with regional and international reach, Spectera’s ability to handle up to 64 channels in a single unit makes it ideal for complex audio setups.
Further, the Middle East’s climate can be challenging for wireless systems with high temperatures and humidity, and Spectera’s robust RF technology ensures stable performance, even in demanding environments.
Th e region also has specific regulatory challenges that can often make frequency coordination difficult. However, Spectera’s WMAS technology eliminates the hassle of manual frequency coordination, making it easier for professionals to deploy.
Finally, the Middle East is expanding its entertainment and media industry rapidly, with new venues, studios and production houses emerging all the time. Spectera’s cutting-edge wireless ecosystem aligns perfectly with the region’s demand for premium audio solutions.
Where can users in the Middle East get hold of Spectera?
Users across the region can connect with Sennheiser Middle East in Dubai: Building 6E, Block B, DAFZA. Tel: +9714 299 4004. Photos: Sennheiser www.sennheiser.com
ROXX NEO Series
Following the announcement of its recent Middle East distribution agreement with Procom, ROXX discusses its flagship series of RGBL wash fixtures.
Could you tell us more about the fixtures in the NEO series?
The NEO Series is a family of highperformance RGBL wash fixtures designed for both live events and permanent installations. Each product is tailored to specific use cases while maintaining consistent colour quality and output across the range.
Th e NEO Series includes: the NEO, the next generation of IP65-rated washlight, featuring 24 40W RGBL LEDs, delivering over 27,000 lumens; NEO FX, an IP65-rated pixel washlight that adds individual pixel control and a massive motorised zoom range; NEO mini, a compact yet powerful version of the NEO equipped with 10 60W RGBL LEDs; NEOi, featuring the same powerful RGBL engine in a streamlined IP66-rated housing, built for long-term use in architectural, themed, or public environments; and the NEOi mini, an installation version of the NEO mini.
What are the main features of the series that will benefit the end user?
Across the entire NEO Series, users benefit from an advanced RGBL colour engine delivering rich colours, precise white control, and high output. A wide zoom range allows for both narrow beams and broad washes. IP65 protection ensures reliable operation in outdoor and demanding environments.
Th e NEOi and NEOi mini offer weather resistance with an IP66 rating, reduced maintenance requirements, and a sleeker design for fixed installations. The colour calibration across the series makes it easy to deploy different models together.
What are the main applications for series?
The NEO Series is designed to handle a broad spectrum of lighting needs. NEO, NEO FX, and NEO mini are perfect for concerts, festivals, touring shows, TV productions, and temporary
events. Their IP65-rated housings allow them to be used indoors or outdoors, even under harsh conditions.
NEOi and NEOi mini are built for long-term installations, such as architectural lighting, theme parks, entertainment venues and public spaces. Their IP66 rating and installationfocussed design make them ideal for projects that demand durability, visual impact, and minimal maintenance.
What kind of research and development went into the NEO Series?
We focussed our R&D efforts on optimising both the electronics and mechanics to deliver the best possible results for the user. By incorporating valuable feedback from lighting designers and rental companies, we developed the NEO Series, driven by the principle: further, whiter, brighter.
What elements of the NEO Series make it well-suited for the Middle East market?
The NEO Series is built to withstand extreme environments – making it ideal for the Middle East. The IP65 and IP66 ratings across the range protect against dust, heat, humidity, and rain. The NEOi and NEOi mini are perfectly suited for architectural and outdoor installations in hot or coastal regions, where high resistance to environmental stress and long-term reliability are essential.
Th e high-output LED engine, energy efficiency, and minimal maintenance requirements are especially valuable in largescale or hard-to-access installations common in the region.
What benefits will your recent partnership with Procom bring to Middle East users?
Our partnership with Procom ensures that customers across the Middle East gain access to localised support, expert technical guidance, and fast delivery. Procom’s strong reputation and regional expertise allow for better project planning, hands-on product demos, and tailored training for both live event professionals and system integrators.
Wh ether you’re using the NEO FX in a largescale event or installing NEOi fixtures across a themed resort, users can count on responsive service and deep product knowledge, backed by a reliable regional partner who understands the market’s unique challenges.
Photo: ROXX www.roxxlight.com
Clair Global supports Coldplay in India
The tour relies on Clair Global to provide communications and data services for groundbreaking India performances.
Coldplay’s Music of the Spheres world tour, which is led by Production Manager, Chris Kansy, called upon Clair Global for communications solutions and IT deployments for the band’s performances at Narendra Modi Stadium in Ahmedabad, Gujarat, attended by almost 223,000 fans over two nights.
Clair Global designed a communications system comprising two Riedel Communications Artist 64 digital intercom network frames, 50 Bolero wireless beltpacks and six panels.
Th e band’s busy Showcaller, Julia Whittle, communicates via Clair’s main show channel, which has a one-way transmit to Motorola radios, while multiple radio interfaces are deployed to offer seamless coverage for distant positions, such as pyrotechnic gags, which on a production of this size, can be fired from up to 400m away from the stage.
Th e company also provided 200 Motorola XPR 3500e radios that can be reprogrammed over Wi-Fi utilising the IT network installed.
“E ach of the Motorola base stations offer two-way communication from our Artist system, Bolero and radios,” explained Clair Global RF Technician, Turner Pollari.
“W ith simple fibre runs, it offers us the ability to easily change how we deploy the system. For the show in India, production kept the cricket pitch uncovered for as long as possible and the cable runs to our two FOH positions were adjusted. Additionally, with the support of
Luminex switches, we can be flexible and quick with changes. We take an uplink from the IT printer rack at the stage that provides internet to each Luminex in the comms system, making it easier in a crowded stadium to access apps and other means of communication.”
At every show, a third Reidel Artist 64 system lives in ‘video world’, managed by the band’s Video Systems Engineer, Chris Farrants. Pollari furthered: “This enables an easy solution to integrate the engineering, camera and LED teams, which all live on a Clair Global Bolero system. A further eight four-wire lines are shared with Audio/RF Tech James Smallwood, who runs yet another Artist system that provides panels for the audio and backline departments. The AES67 trunkline also ensures the crew can use the Bolero antennas.”
A key requirement for the huge shows in India was to accommodate a 100-person live stream crew; the Disney+ Hotstar’s team, which livestreamed from Ahmedabad for a three-hour broadcast. Clair Global interfaced eight four-wire lines to keep this team in the loop on how the live concert production was unfolding, ensuring every department could work seamlessly.
The Disney+ team had 30 Bolero on their own network, bringing the total to 80 Bolero in 1.9 for the Indian shows alone.
“H aving so many people with so many communication options mean Coldplay’s shows run in a very polished manner,” continued Pollari.
“Everything in this huge production is quickly conveyed, from tech to medical emergencies, every step allows for real time updates.”
Th e back of house IT infrastructure is heavily advanced, and is overseen by Clair’s Data Services Specialist, Dalton Tyler, who deploys each IT rack strategically as well as the access points (APs) and SSIDs curated to each crewmembers’ workflow. Clair Global also creates encrypted networks for each tour department and production office, critically protecting both staff and artist data.
“I n Ahmedabad, we had two Gbps data lines coming into the stadium from the local Internet service providers,” Tyler explained. “Due to the number of people relying on us for data, we used two separate providers for each line, ensuring there was a backup plan. We have several different networks for various departments; management and dressing rooms are set-up in advance, and I install up to 24 Cisco Meraki APs to provide Wi-Fi to all other areas of the venue once on site.
Other key networks are for the production office compounds – often servicing up to 20 offices backstage – the stage, where we run APs throughout the underworld, and through our comms system to both FOH locations, providing consistent and reliable data to all crew members.”
Photo: Anna Lee Media www.coldplay.com www.clairglobal.com
SLS Expo returns to Riyadh Front
The show continues to expand, this time hosting the inaugural SET Awards, in collaboration with TPiMEA. Justin Gawne shares his insights from the Saudi capital…
The Saudi Light & Sound Expo was one of a host of industry tradeshows taking place in May, but as one of the newer events, and being located in one of the world’s fastest-growing markets, it showed growth in both its floorplan and visitor numbers.
Organised by dmg events and now in its fourth year, 2025 saw the exhibition return to Riyadh Front – the only centrally located exhibition space that can accommodate a show of this size now its floor space has been upped to two halls. By my count, SLS Expo had around 185 exhibitors this year plus exhibits outside, with one of particular note being Kvant’s Architect Sky Laser seemingly firing deep into space…
As in previous years, SLS Expo was located alongside the theme park and attractionfocussed SEA Expo. The two shows sit well together and give attendees the ability to source various equipment and expertise under one roof.
Th e show floor looked professional, with many distributors building large, well-designed stands to showcase their numerous offerings. Though, as with any show in our sector, the number of LED screen exhibitors was perhaps a little over the top…
As far as visitors to the Expo, the show floor was always busy and while the quality of visitors may have been questioned in the past, all the exhibitors I spoke to were pleased with
the quality of attendee. Even previous exhibitors who were just walking the floor this year were left wondering whether a return to being an exhibitor was necessary.
As in previous years, there was a host of conference sessions being held on the show floor, including a wide range of topics and an excellent roster of speakers.
Sau di Arabia’s rapid development of live events, hospitality and tourism venues, plus the necessary infrastructure, is now starting to bear some fruit with projects happening and new installations opening all the time. And with the 2030 Vision now only five years away, the Kingdom’s requirement for entertainment technology is only going to increase.
With such massive development taking place in the Kingdom, dmg events and TPiMEA joined forces this year to host the inaugural Saudi Entertainment Technology (SET) Awards, celebrating the best in live events and installations throughout Saudi Arabia.
Taking place on the first night of SLS Expo on the show floor, the SET Awards saw 13 outstanding projects take home prizes. Winners included: A Thousand And One, which walked away with Small Scale Festival; MDLBEAST Soundstorm for Large Scale Festival; and RCRC Founding Day Celebration 2025, which won the Celebration Ceremony category. The SET
Awards also shone a light on excellence in the installation world. The Solitaire Mall took Retail and Leisure; Onyx Arena won Performance Venue; King Fahad Cultural Centre took the Museum award; and Four Seasons Riyadh took the Hotel category.
Other winners on the night included: NES Studios, which was presented with the Studio award; KSA Pavilion Expo 2025 for Immersive Experience; Longines Global Champions Tour Final 2024 for the Sporting Event category; and the New Global Sport Conference & ESports Awards 2024 for the Conference award. Meanwhile, At-Turaif won Transport and Built Environment; while Harry Potter: A Riyadh Season Adventure was awarded the Theme Park and Attraction category.
Although the majority of the awards were presented to organisations around specific projects, The SET Awards also presented an individual prize to Mutasim Ibrahim, who won this year’s Rising Star award. A special mention must also go to The Red Sea Film Festival 2024, which walked away with The Green Award for its efforts in sustainability.
SLS E xpo will return to Riyadh Front in 2026, with the the earlier dateline of 4 to 6 May.
Photos: SLS Expo ww w.saudilightandsoundexpo.com www.thesetawards.com
Facing page: An immersive installation welcomes SLS Expo visitors, and Kvant’s Architect Sky Laser takes centre stage.
Above left: TPiMEA Commercial Director Fran Begaj co-hosts the SET Awards, Mutasim Ibrahim wins the Rising Star Award, and CTME’s Andy Reardon collects the Theme Park and Attraction award, alongside Justin Gawne and SLS Expo’s Sarkis Kahwajian.
7Hertz expands audio portfolio
The company partners with EM Acoustics and 1 SOUND, strengthening the presence of both brands throughout the Middle East.
7Hertz’ Rami Bou Hadeer, John Parkhouse, Rabih El Masri, Chadi El Masri, and Sylvia Delos Reyes
Pro audio distributor 7Hertz has added two brands to its portfolio, partnering with British manufacturer EM Acoustics as well as US-based loudspeaker firm, 1 SOUND. With distribution agreements in place for both companies, 7Hertz will represent both EM Acoustics and 1 SOUND throughout the GCC and Lebanon.
“When we met with EM Acoustics, it was clear from the outset that our outlooks were well aligned in the full sense, and that they have some genuinely exciting products,” confirmed John ‘JP’ Parkhouse, Chief Technology & Strategy Officer at 7Hertz. “There’s a long-standing tradition of proper R&D behind what they do, built over many years of focus and commitment, growing steadily from humble beginnings to a strong and growing global reputation for quality.”
Fo llowing a visit to EM Acoustics’ UK facility, JP and 7Hertz’ Founder and CEO, Chadi El Masri, were blown away by what they saw. “Chadi and I were able to see the manufacturing process up close, impressive in every respect, and the level of attention to detail throughout stood out clearly,” JP recalled. “Everything is grounded in solid engineering, with a clear focus on one thing:
voicing. The EMS range is versatile, amplifier agnostic, and works without needing DSP. Then we stepped into the Reference Series, where the focus on voicing went to another level entirely. I would go as far as to say they are sublime; these speakers are exceptional.”
Rog er Harpum, Business Development Manager at EM Acoustics, is delighted with the partnership. “We are thrilled to announce our partnership with 7Hertz, who are truly aligned with our ethos in terms of their expertise and their commitment to quality,” he stated. “We are excited to introduce our product portfolio to this rapidly expanding market with such an outstanding operation, and we trust in Chadi, John, and the expert team at 7Hertz to uphold our high standards.”
1 SO UND’s Lou Mannarino was equally enthusiastic: “We could not be more thrilled with the relationship with 7Hertz,” he commented. “Their team is talented and experienced. Their dedication to delivering that experience to the market is clear in their work. The work ethic and culture that 7Hertz exhibits is very closely aligned to us at 1 SOUND. We are grateful for this relationship and are excited for the opportunity
we believe it will create for audio professionals.” JP further explained that 7Hertz and 1 SOUND are a “natural fit” for each other. “Our outlook and philosophies are closely aligned and the sound and build quality of the products are unquestionably high-end,” he commented. “While Lou brings so many decades of experience to the table, their offerings are remarkable for such a young company.
“M eeting Lou, the extended Mannarino family, and Leo Dani [the 1 SOUND Team] only reinforced our impression,” he continued. “Their passion and enthusiasm for what they do is evident, and their care and detail speaks volumes about the kind of company they are.”
Th e 7Hertz team debuted 1 SOUND and its loudspeakers at SLS Expo in Riyadh and has a dedicated demo kit for both brands at the ready, 7Hertz are anticipating a strong response from clients.“It’s a time of evolution at 7Hertz, and we’re proud to be partnering with companies that are clearly on a similar path,” JP concluded.
Photo: 7Hertz www.7hertz.net www.emacoustics.co.uk www.1-sound.com
New Cape Town-based rental house launches with extensive Astera inventory.
New lighting rental and dry hire company Flicker-Free Lighting Rentals has launched in Cape Town, with several Astera products featuring in its seed investments.
Headed by Jason Watts, the company is geared towards offering premium lighting solutions to the region’s buoyant film, TV, commercial and event industry. The initial investment included Astera Titan Tubes, AX5 and AX9 LED PARS, LunaBulbs and HydraPanels.
Watts explained that the company is dedicated to supplying film productions, gaffers, DOPs and event lighting designers with quality kit, quickly and seamlessly. Flicker-Free’s carefully selected inventory caters to multiple
Flicker-Free invests in Astera Mediatech Africa Expo 2026 moves to new venue
sectors and hybrid applications, with a strong focus on both direct rentals and dry hire to other rental companies. “Everything from here is LED technology-driven,” he stated. “Sustainable, eco-friendly, IP rated, and wirelessly controlled fixtures is where we are at,” he added, discussing his purchases.
Th e Astera products were acquired in October 2024 via the manufacturer’s Southern Africa distributor, DWR Distribution, which has a base in Cape Town as well as its headquarters in Johannesburg.
Photo: Louise Stickland www.flicker-free.azurewebsites.net www.astera-led.com
The expo will now take place at the Kyalami Grand Prix Circuit and International Convention Centre in Midrand, Johannesburg.
Following the recent announcement of Mediatech Africa’s long-awaited return in 2026, organisers have confirmed an important venue and date change. After close consultation with key industry stakeholders, the expo will now take place at the at Kyalami Grand Prix Circuit and International Convention Centre in Midrand, Johannesburg, from 1 to 3 July 2026.
Previously scheduled at Johannesburg Expo Centre, the move to Kyalami Grand Prix Circuit and International Convention Centre was motivated by several strategic factors. Simon Robinson, Co-Owner of Mediatech Africa, shared his thoughts on the decision: “We’re excited about moving Mediatech to Kyalami Grand Prix Circuit,” he commented. “The venue is not only impressive in its infrastructure, but it’s ideally positioned to welcome our local and international community. It also provides us with the flexibility to effectively highlight different technology sectors in dedicated spaces. This move reinforces our commitment to delivering
an event that truly reflects the standards of our exhibitors and visitors.”
Cl aire Robinson, Sales and Marketing Director at Mediatech Africa, commented on the overwhelming response: “Since announcing that Mediatech Africa is back, we’ve been blown away by the enthusiasm and support from across the industry. From exhibitors confirming early interest to visitors reaching out from all corners of the continent, the excitement has reminded us just how strong and valued the Mediatech brand is – and how much it has been missed since the global pandemic.”
Me diatech Africa is the continent’s largest and most established trade show dedicated to professional audiovisual, broadcast, media, and live event technology.
Th e show promises to bring together industry professionals, technology providers, creatives, and decision-makers for three days of hands-on demos, networking, and innovation.
Photo: Mediatech Africa
www.mediatech.co.za
Flicker Free’s Jason Watts with Kent Davey
