TPMEA #041 - Apr/May 2023

ATL ANTIS THE ROYAL GR AND OPENING

BEYONCÉ AND SWEDISH HOUSE MAFIA OPEN DUBAI’S HOT TEST PROPERT Y IN ST YLE

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WELCOME... TO TPMEA

An icon launching an icon

There’s nothing that captures the imagination of Dubai audiences quite like the opening of a high-end, exclusive hotel – and they don’t come much bigger or more luxurious than the brand-new Atlantis The Royal. With the much-anticipated development taking some eight years to complete, the opening of Dubai’s newest landmark was always going to be something special, and it’s fair to say that the evening certainly didn’t disappoint.

With an epic performance from global icon Beyoncé, a spectacular fireworks and drone show by Grucci, and pumping afterparty soundtracked by Swedish House Mafia, the event was the hottest ticket in town and one that will live long in the memory. We spoke to a few of the key players who made it possible on page 32

Once the furore around Queen Bey’s Dubai appearance had died down, Fran and I battled through the snow and ice in the UK and headed out to the much more pleasant climes of the UAE for a fun and fulfilling week packed with live shows, meetings and even the odd boat party.

The trip started in Abu Dhabi as the UAE capital welcomed the first Wireless Festival Middle East (page 48); we then made our way back to Dubai for a busy week of meetings, culminating in a cruise around Dubai Marina in celebration of EFM Global Logistics’ 15th birthday in the Middle East ( page 70), before heading to Media City Amphitheatre to catch up with the loyal touring crew behind Irish rockers, The Script ( page 56).

It ’s also that time of the year again when we stop to recognise those who have achieved excellence in their respective fields, with our annual TPMEA Awards. You’ve been nominating and voting in your droves, and once again, we have an incredible shortlist featuring some of the region’s top talent, which you can see in full on page 12 We’ve been blown away by the response this year, and we can’t wait to celebrate with you all on 4 May at Hard Rock Café Dubai.

Enjoy the issue.

Peter Iantorno Editorial Director

CONTENTS

06 – FIRST LOOK: SHARIF HASHISHO

The pro footballer-turned-musician leading Qatar’s oldest and largest events company, QVision.

14 – MIDDLE EAST NEWS

The latest news from the Middle East, including elrow XXL and the 25th Arabian Gulf Cup, Basra.

32 – ATLANTIS THE ROYAL

Beyoncé headlines the hottest ticket in town.

48 – WIRELESS FESTIVAL ME

The London event makes its Middle East debut.

56 – THE SCRIPT

We go behind the scenes with the crew during the band’s Dubai Media City performance.

66 – JAM LAUNCHES NEW DIVISION

The company debuts JAM Safety and JAM People.

70 – 15 YEARS OF EFM

A decade-and-a-half in the Middle East.

72 – INTRODUCING HOW. THE EVENT OPERATIONS AGENCY

The new company aims to bring operational excellence to the region.

74 – STEFANO MILAN, CASAMILAN

Trust, training and being a good team player.

76 – RUDI BUCHNER, 3 MONKEYS

How to expect the unexpected.

78 – AFRICA NEWS

The latest from Africa, including The Voice Nigeria

EDITORIAL DIRECTOR

Peter Iantorno

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7763 233637

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

CHIEF EXECUTIVE

Justin Gawne

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7768 850767

e-mail: j.gawne@mondiale.co.uk

ACCOUNT MANAGER

Philip Tucker

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7522 130473

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

GRAPHIC DESIGN & PRODUCTION

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

Mel Capper: m.capper@mondiale.co.uk

MONDIALE GROUP CHAIRMAN

Damian Walsh

PRINTED BY Buxton Press www.buxpress.co.uk

CONTRIBUTING EDITOR

Stew Hume

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7702 054344

e-mail: s.hume@mondiale.co.uk

COMMERCIAL DIRECTOR

Fran Begaj

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7852 336728

e-mail: f.begaj@mondiale.co.uk

MARKETING AND EVENT MANAGER

Alice Clarke

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7752 392465

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

COVER PHOTOGRAPHY

Beyoncé by Getty Images for Atlantis The Royal

www.tpmeamagazine.com

www.tpmeaawards.com

www.tpimagazine.com

www.tpiawards.com

CONTRIBUTING ASSISTANT EDITOR

Jacob Waite

Tel: +44 (0)161 476 8352

Mobile: +44 (0)7592 679612

e-mail: j.waite@mondiale.co.uk

ACCOUNT MANAGER

Matilda Matthews

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7413 555978

e-mail: m.matthews@mondiale.co.uk

DIGITAL CONTENT MANAGER

James Robertson

Tel: +44 (0)161 476 8360

Mobile: +44 (0)7725 475819

e-mail: j.robertson@mondiale.co.uk

ACCOUNTS

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

@tpmea_magazine

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@tpmea

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Photo: Tanner VonnahmeI, unsplash

SHARIF HASHISHO, CEO, QVISION PRODUCTIONS

A FORMER PROFESSIONAL FOOTBALL PLAYER-TURNED-MUSICIAN, SHARIF HASHISHO NOW HEADS-UP QATAR’S OLDEST AND LARGEST EVENTS COMPANY, WITH A SUPPLEMENTARY NETWORK OF BUSINESSES THAT COME TOGETHER TO FORM AN ALL-ENCOMPASSING MULTIDISCIPLINARY OFFERING THAT CATERS TO THE WORLD’S BIGGEST CLIENTS.

Formed in 1992, QVision Productions is the oldest events company in Qatar and has garnered a reputation over the years as a leader in event organisation, creative multimedia, and production. The company’s CEO, Sharif Hashisho, has seen the business grow from a humble studio in his garage to a massive multidisciplinary conglomerate that employs more than 600 people across its group of complementary companies and has a hand in the majority of large-scale events that take place in the country.

With the FIFA World Cup Qatar 2022 and the various events and activations it brought to the country helping to take the company to the next level, former professional footballer, banker and musician Hashisho gives TPMEA the story so far, speculates on the outlook for the company post-World Cup and reveals his plans for the future.

How did you get into the industry?

I started my career in a completely different line of business. My first job was as a credit manager for Qatar National Bank. I was also a professional football player, playing for one of the leading clubs in Qatar, before spending three years in the USA, playing for Sacramento Senators and LA Heat. I’ve always had a passion for sports, and this has served me well over the years.

Alongside football and banking, I am also a musician and can play the piano and guitar. I used to have a small recording studio setup in my garage where I started creating music, and my path in the live events industry developed from there. My tiny studio was soon transformed into a post-production facility where I worked on TV programmes and, as my clients started to grow, I had to move out into a more professional setting and become a proper business entity.

My passion and creativity were completely focused on this, so I resigned from the bank and moved into the private sector, continuing this line of business in post-production and content creation. I started taking on product launches, opening ceremonies and slowly we built up the gear that we required, made friends, and connected with other companies in the sector to build up a strong network.

Now, more than 30 years since we started, our group of companies has assets worth in the range of $50 to $60 million, and we are the largest event company in Qatar.

hello@hudamediaevents.com

Dubai Abu Doha Amman Jeddah Riyadh

Kuwait Cairo Manama Muscat Dhabi

Was there any particular turning point that led to your business becoming more successful?

In 2003, I was asked by the ruling family of Qatar to take over the position of Director of Ceremonies and Cultural Events for the 15th Asian Games, which was to take place in Doha in 2006.

Our scope of work included the Opening and Closing Ceremonies, various cultural events, medals ceremonies, the torch relay, and responsibility for the entire look and feel of the event. It was one of the biggest shows ever created not only for the region but the entire continent, costing approximately $135 million to deliver. I even released a book in both English and Arabic on the subject in 2021 called History in the Making, which tells the story of the entire journey of the project.

Working on something that large and impressive was a hell of an experience and it proved to be a turning point, as the Asian Games was one of the reasons why Qatar started to think seriously about getting involved more with

sports and becoming the sporting hub for the Middle East. The country went on to bid for the Olympic Games in 2008, which was ultimately unsuccessful but was followed, of course, by the FIFA World Cup bid, which was awarded.

What other entities are in the group umbrella?

The nice thing about QVision is we belong to a group of companies, which fall under my holding company, Sharif Omar Hashisho Holding.

QV ision is the biggest event company in the country. Our sister company is Audio Visual Technology, which is a systems integrator and distributor. We also have a joint venture with sport and entertainment content creation house Gravity Media, and I have a 51% stake in Gravity Media Qatar. Then there’s Elegant Events, which is a luxury wedding planners and fitout company, as well as Brand Expression, which deals in printing and large-scale branding.

We come as a solid package that is capable of delivering whatever the client needs, from

branding, marketing and creative, to sets, props, and production – we can handle every aspect of an event from A to Z.

Being a part of this large group also helps us in controlling the budget as well as the delivery. The way we’ve structured the business means that everything is in our hands and under control at all times, without the need for subcontractors.

When you say one-stop shop, this really is it. These entities come together on some large-scale projects, but they still have their own business and autonomy away from QVision and on smaller projects of their own.

What kind of facilities do you operate from?

We have a whole building in Qatar where Brand Expression, QVision, Gravity Media and Audio Visual Technology are based. Elegant Events is in a nearby separate building due to the nature of its business as part of its offering is wedding planning, which means many of its clients prefer a luxurious and discrete service. We also have

“The way we’ve structured the business means that everything is in our hands and under control at all times, without the need for subcontractors.”

Sharif Hashisho, CEO, QVision Productions

five warehouses and are in the process of moving into a new 7,500 sq m facility to accommodate the masses of stock we now hold. Our equipment inventory has grown significantly over the past few years and now we need a much bigger space to accommodate what we have.

What factors do you consider when investing in new equipment?

Our inventory choices are driven by experience. We work not only with government and corporate clients, but also with artists and theatres, so we know exactly what the requirements are at both ends of the spectrum. We look at technical riders and we know that top artists will only request the best of the best, and this is the kind of equipment we need to carry.

I’ve been visiting Prolight + Sound every year for more than 15 years, meeting with our colleagues and friends, and that also gives me an insight into what the latest technology is that we should be investing in.

Also, Audio Visual Technology distributes for a lot of the major manufacturers – we are the Qatar distributor for Claypaky, Meyer Sound, Daktronics, Shure, and MA Lighting, to name just a few. A lot of these big-name manufacturers

are also offering products that we market for permanent installation. Having exclusivity in certain market leaders helps us a lot in supplying the right equipment for our projects.

How is the events market in Qatar following the FIFA World Cup?

After having approximately 2 million people in your country for the FIFA World Cup, then they all of a sudden disappear, you definitely feel the difference. Qatar is not currently the main hub for events in the region, but the leaders are looking to focus more on tourism and hosting those special events that are capable of attracting people from all over the world.

We’re always looking at new projects. Formula 1 is coming to Qatar in October, the AFC Asian Cup is coming in January 2024, and Qatar is bidding for the Olympic Games.

This would be another massive boost for the whole country if the bid is successful, and I can’t think of a good reason why it wouldn’t be. We have already delivered one of the biggest events in the world, we have the best venues, the best safety record, we’re in the centre of the world geographically. There are many factors that stand Qatar in with a good chance of winning the bid.

How does the emergence of Saudi Arabia as an event-hosting nation affect your business?

Saudi Arabia reminds me of Qatar in the 1980s, with the difference that Qatar started gradually whereas Saudi Arabia is starting from the end. They want to have the biggest, the best, the most attractive, straight away, even if many of the people in the country are still coming around to the idea of being less conservative. That said, I can’t deny that they are doing an extremely good job in delivering some outstanding events.

We have recently opened a branch for QVision in Riyadh to be able to explore this market. KSA will be hosting the Asian Winter Games in 2029 as well as the Asian Games in 2034 and as a company that is very strong in the sport industry, QVision is ready to support and consult if required.

What are the biggest challenges you face?

The biggest challenge for us is international competition. However, we’ve learned through many years that even with these challenges, sometimes we make ties, and we get together to do business.

For example, we collaborated with Balich Wonder Studio for many projects at the FIFA

World Cup 2022; we’ve also tied-up with Jack Morton, Live Nation, and David Atkins Enterprises over the years – I know David very well and we’ve been good friends since 2004. It’s a win-win situation. We have the right kit and the local knowledge, and these international companies have a much easier time in creating a production in Qatar with our help.

We’re also very well connected and have built extensive relationships within the government, including with the Ministry of Interior, Ministry of Culture, and Communications Regulatory Authority, which comes in handy for the import and pyrotechnics, event licences, and for comms and wireless RF, which is always required for any event.

How much of a focus has there been on developing the events industry within Qatar?

There has been a big focus since the Qatar diplomatic crisis, from 2017 to 2021. Suddenly, Qatar found itself in the middle of an area surrounded by countries that would not trade with it at all. It was this complete isolation that meant the country had to empower its local private sector, raising the standard far higher

than ever before, so we are now fully prepared to service any requirements in the country.

It meant we got a massive amount of business, and as we made money, we invested it back into the company – not only in equipment but also in human resources, training, education and so many other elements that bring the level of the company to a higher standard.

What are your goals for the future?

In the short term, we are looking to expand quickly into Saudi Arabia – first into Riyadh, then Jeddah. We’re moving not only with QVision, but also with Brand Expression, Gravity Media, and Audio Visual Technology, because there are a lot of potential projects in the country that could benefit from our expertise.

Longer term, one of our goals is to expand more into content. Events are becoming more content-driven, and we are already talking to several different companies that specialise in content creation and content technologies to see how we can bring these ideas to life in the next few years.

Photos: QVision Productions www.qatarvision.com

THURSDAY 4 MAY AT HARD ROCK CAFÉ, DUBAI FESTIVAL CITY

PROCOM LAUNCHES K-ARRAY DEMO SPACE

DUBAI DISTRIBUTOR SHOWROOM DEPLOYS A RANGE OF K-ARRAY, KSCAPE AND KGEAR SOLUTIONS.

Procom Middle East recently inaugurated an interactive multiroom demo space at its headquarters in Dubai Investement Park. The company wanted to create an accessible space that would allow clients full access to a range of K-array, KGEAR and KSCAPE equipment in a setup that mimics real-world environments.

“At Procom Middle East, we believe in the power of showcasing quality products to potential customers,” stated Technical Manager, Wiam Boutine. “The display area allows us to highlight the innovative and high-quality audio products that K-array offers.”

Tom Ríby, Global Sales & Marketing Manager at K-array, explained the importance of having a dedicated venue where its potential customers could see the products in the flesh.

“Having a space in the Middle East where people can experience the full family of K-array group products is something we’re really excited

about,” he said. “With the recent launch of many new product lines across K-array, KGEAR and KSCAPE, it’s important that customers can experience these solutions first-hand.”

Rami Harfouch, General Manager at Procom, added: “The ability for clients and distribution partners to demo a combination of products and experience a full K-array system is invaluable for helping users to feel confident with the systems. Prospective clients can compare models, encouraging purchasing decisions from a place of knowledge. We’re proud of what we’ve created and confident that our business – and our clients’ business – will benefit considerably as a result.”

A de dicated event in celebration of the K-array product family will be taking place at the Procom headquarters in Dubai in June.

Photo: Procom Middle East www.k-array.com www.procom-me.com

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ELROW XXL

PROTEC DELIVERS FULL TECHNICAL SUPPORT ON DUBAI’S FIRST EVER EDITION OF THE PRODUCTION-HEAVY RAVE EVENT.

Legendary carnivalesque festival elrow XXL made its Dubai debut in mid-February, with a two-day rave that boasted epic production values. Having delivered a more boutique elrow event previously, Shiraz Baziko of The BE SO Group and elrow once again called upon Protec to provide technical support for this heavily scaled-up XXL version to visit Dubai.

Although Protec’s team was commissioned to provide comprehensive technical solutions, the firm was asked to get involved early and consulted on the location and site overlay –something the company encourages its clients to consider. “We offer our clients full support and consultation on every aspect of their event from the earliest point. It was a pleasure to be able to collaborate on a suitable venue for elrow XXL and to help the client optimise the site overlay on top of providing comprehensive technical solutions,” said Protec General Manager, Matt

Allen. “We can provide a lot of support inhouse, from full technical to scenic, staging and fabrication and are happy to guide our clients from the very beginning of their event planning process to ensure they navigate any pitfalls early and smoothly, and optimise their budget.”

The technical solutions comprised comprehensive audio, video, and lighting, as well as SFX. While video content and media servers were handled by elrow, Protec supplied three 31K Panasonic laser projectors to deliver an impressive video mapping solution across the scenic set. The company also deployed confetti cannons directly in front of the stage and at various points in the audience, which combined with elrow’s inflatable props and performers to provide a multisensory, immersive experience.

With a main audience area of 60m by 40m, Protec HOD of Audio, Evgenii Shparenkov, opted for what he described as “a very wide cardioid

sub arch to cover the audience while eliminating disturbance at the DJ booth”.

The audio setup comprised an in-house L-Acoustics PA featuring 12 K2s and four K1-SBs per side as main hangs, 12 Karas as front fills, and 30 SB28 for subs. Hangs of eight K2s were selected as outfills and fill for the VIP section, while four 8XTs provided coverage for the bars.

“We did not need to throw extremely far, so we went for the ideal solution to fit in the scenic design and cover the desired area with a decent amount of low mid, which is important for this type of music,” Shparenkov explained.

Protec’s audio department also utilised its new L-Acoustics P1 AVB processor and measurement platform to ensure each hang was aligned correctly. “We used AVB distribution for all the PA signals across LA12x with the help of Luminex GigaCore switches with added analogue fall-back to prevent any dropouts from the digital

network and make smooth transitions to spare lines,” said Shparenkov, who operated the show from FOH on both nights using a DiGiCo S21.

“T he main challenge of this event was a tight load-in schedule,” he reflected. “As the PA towers were built first and are positioned inside the stage area, there is all the scenic set of the elrow ship to consider. It was important that the PA did not get in the way of the set build and went up promptly. We were involved early and had a lot of time to visualise the solutions. We worked closely with the elrow team to be sure that we met all necessary heights, coverage for the audience and dimensions for the PA.”

The key element of the lighting brief was to support the video projection by avoiding lighting the video mapping area, according to Protec’s Lighting Designer, Gintas Valuntonis, who executed the lighting design and operation.

The solution included 18 Claypaky Xtylos, 20 Super Sharpys, 10 Mythos 2s, 12 Robe Spikies, four SGM Q-7s, 14 P-5s, 32 SGM P-10s, and 32 Nurilites LED PAR RGBs, controlled by an MA

Lighting grandMA3 Full Size console, with a grandMA3 light as a backup.

“We did not have any challenges; we were incredibly happy with the show and the feedback was extremely positive,” said Valuntonis of the project. “The production was stunning, the video mapping was awesome, and the music was great. I had the benefit of using Protec’s previsualisation studio to test my lighting design, which allowed me to make any adjustments before going on site. Being involved early in the planning made an enormous difference in how efficiently the whole event went.”

Neil McCarthy, Protec Project Manager for elrow XXL, praised the team and the event. “elrow XXL was a visually stunning and fun event to be involved in,” he reflected. “Everything went smoothly and the event was run very professionally by our client. We were happy to be trusted from the beginning and involved in the planning process including the site overlay. Our close contact with Jesus from elrow meant the planning was accurate and there were no

surprises on site. Our team delivered exactly what they had planned, and promptly. Spirits were high as it was an enjoyable show to deliver. We look forward to working with the elrow team and Shiraz again on future projects.”

Shiraz Baziko of the BE SO Group praised the efforts of the Protec team. “Matt, Neil and the team delivered as promised – they were creative, knowledgeable, and professional on site and at every step of the planning and delivery process,” he commented.

“T heir guidance on the venue, the layout and their invaluable insights made this inaugural event run smoothly. They delivered exactly what we had hoped for. The technical production was excellent, and the atmosphere was electric! Trusted suppliers like Protec make an enormous difference when planning a new event in this region, I would recommend them with confidence and look forward to planning our next event together.”

Photos: Protec www.protecevents.com

25TH ARABIAN GULF CUP OPENING CEREMONY

PICO BAHRAIN DELIVERS AN EPIC SHOW AT BASRA INTERNATIONAL STADIUM ON HISTORIC NIGHT FOR IRAQ.

In a proud moment for the host country, Iraq announced its return to the global stage with an emotionally charged Opening Ceremony for the 25th Arabian Gulf Cup.

The Iraqi Football Federation entrusted Pico Bahrain with delivering an event that would live up to the occasion. With the event set to take place on 6 January and a short turnaround time of just two months to plan and execute the show, there was no time to waste.

“We immediately set about the task of choosing a team and the technical suppliers who could deliver this momentous event,” recalled Khalid Juman, Pico Bahrain Chairman. “As well as it being short notice, the fact that the work was taking place through the festive period added an extra challenge,” he added.

Pico appointed Andree Verleger as Show Director, who Juman described as someone who

“knew the challenges before they happened” and “had a plan for everything”.

Showtech Productions Bahrain provided content creation, D-Wok produced video content, and the firework show was supplied by Flash Art Middle East. “This was one of the toughest stadium jobs we have done so far, as the country was literally rebuilding itself around us from the ground up,” said Jakub Michalik, Managing Partner of Flash Art Middle East. “Seeing the hosts eventually winning the tournament certainly put an extra layer of satisfaction on the successful delivery of the opening and closing shows.”

The content of the show was a swift journey into the history of the host country. “We took the spectators on a magical journey through Iraq’s history – a country that has one of the longest lists of ‘firsts’, from the first letter to the first wheel,” Juman explained. “The hardest

part was choosing which ones to focus on.” As well as 28 minutes of motion graphics, VFX, CGI and 3D mapping projected onto the pitch, a major technical challenge was the addition of augmented reality for the live television audience – “a technique that was being used in an outdoor public event in the Middle East for the first time,” said Juman. “That was the biggest challenge.”

With 200 professionals and 24 nationalities making up the workforce, the project was “a once-in-a-lifetime undertaking for all involved”.

Juman concluded: “This project was a miracle in every aspect – from how it was conceptualised to how we produced it, until the day it happened. It was a huge challenge, but the people who joined us were the best of the best.”

Photos: Pico Bahrain

www.pico.com

www.flashart.com

FIRST EVER DIGITAL PIT LANE LIGHTS UP CORE DIRIYAH EPRIX

ADI.TV DESIGNS AND CONTROLS THE STRUCTURE, BUILT BY THE HALO GROUP, AT RIYADH STREET CIRCUIT.

Formula E’s 2023 CORE Diriyah ePrix made Motorsport history last month with the first ever digital pit lane, which featured 11 bespoke Driver Garages, a digital FIA Technical Garage and a TV Studio.

Designed and controlled by live event specialist adi.tv and built by modular structure expert The Halo Group, the 180m LED pit lane was installed at the Riyadh Street Circuit for the only night race in the Formula E race calendar.

The Halo Group was instructed by Formula E in 2021 to design and build a pitlane that worked as a temporary touring structure, with the attributes and structural integrity of a permanent garage. The Halo Group had the vision to future proof the modular structures with digital technology at the prototyping stage, and with ADI’s expertise were able to bring the garage to

life at the testing circuit in Valencia. The team were able to fully realise this vision at the race circuit in Riyadh.

The digital displays utilised over 200 hours of unique content to modernise the look and feel of the pit lane – which historically features static, printed signage – as well as offering Formula E a flexible canvas to promote the drivers, race sponsors, brand partners and their own messaging to the 35,000 in-venue spectators and global TV audience.

Through the combination of high-resolution LED displays and ADI’s bespoke playout solution, ADI’s on-site crew had the ability to turn all of the separate digital garages into a single canvas – with animated video content running seamlessly from garage to garage. In addition to showing team branding and race statistics,

an unprecedented automated system was developed, which allowed the FIA technical team to trigger in-race regulation flags and display them throughout the pit lane’s digital canvas in real time during the race.

A total of 1,500 sqm of ADI’s LED technology was deployed across the track, hospitality, fan village and pit lane – which created a brand-new race presentation experience for drivers, teams, guests and remote Formula E fans.

“ADI and The Halo Group are innovating with Formula E to bring new, exciting solutions to the race day, and we believe that the digital pit lane we delivered for the Diriyah ePrix is the future of motorsport,” stated ADI Global Head of Sales, Thomas Taylor.

“O ur conversations with Formula E are just one of many that we are having in the world of

motorsport. There’s a real appetite to take sports presentation to the next level and within Formula 1, Extreme E and MotoGP, we are seeing more and more innovation.

Taylor described the project as “a step into the unknown” since this was the first ever LED pit lane in the history of motorsport. “However, any challenges that could have arisen were swiftly overcome by early engagement with key stakeholders across the FIA, broadcast and Formula E. ADI’s expertise in LED, AV production, creative content and sports presentation fused perfectly with Halo’s unique modular structure system, and enabled us to pitch new ideas and concepts to the Formula E team,” he commented.

“Together, we found the perfect balance between innovation and the FIA’s strict sporting regulations to deliver something truly special – a solution that will hopefully revolutionise and elevate the race day experience for years to come.”

Gareth Chappell, Co-Founder of The Halo Group, added: “As soon as we were given the opportunity to deliver a proof of concept for Formula E the first call we made was to ADI. The team shares the same ethos as us when looking at innovation and pushing the boundaries. Being able to create a prototype together and see it through to a first in motorsport is incredibly exciting.”

Photos: ADI.tv

www.adi.tv

SLS ILLUMINATES JEDDAH F1 CIRCUIT

THE COMPANY DELIVERS A MASSIVE DEPLOYMENT OF LED AND PROJECTION MAPPING TO ADD VISUAL APPEAL TO THE TRACK.

The second event on the global Formula 1 calendar, the STC Saudi Arabian Grand Prix rolled into Jeddah from 17-19 March. While on the track Team Red Bull dominated the field once again, the spectacle was enhanced by an extensive deployment of LED and projection mapping by SLS Production.

The company was tasked with installing LED screens in numerous key areas throughout the event site, including: the paddock lane; premium hospitality rooftop; fan zones; grandstands; the catering, marshal, and accreditation tents; the pit building; and the paddock drop-off. The eyecatching projection-mapping solution meanwhile was deployed on Turn 13 of the track.

SL S supplied a range of high-end equipment to aid in the delivery, including its INFiLED 4.6mm GxMKII and Absen 3.9mm PL Lite V10 outdoor LED, NovaStar H2 video splicing processors,

CVT10 fibre converters, Barco E2 processors, VX1000 video processors, Panasonic PT-RZ21K projectors, as well as Resolume Arena and vMix HD for playback.

A total of 16km of fibre was installed to supplement the pre-existing fibre system, and RGBLink MSP 318-N helped provide a solid 4k60hz video signal transmission.

Project Manager, Shubham Yesale led a large team including: Video Engineers, Renald Blance, Clinton Due, and Sidheeque P.K.; Video Technicians, Christian Payopas, Prince Muttath, Jeff Bueno, Suleman Tahir, Michael Ganigan, Erick Jhon Lopez, Majid Usman, Abin Aji Reena, and Reyn Eugenio; as well as Health and Safety Manager, Ajay Purshothaman.

“We are extremely proud of the results,” commented SLS Chief Operating Officer, Dave Nazir. “The planning and execution was flawless;

the quality of the deployment and images was a testament to the SLS team.”

Photo: SLS Production www.slspro.net

DAN BOLTON LAUNCHES ECHO

THE NEW HOLDING COMPANY IS AN AMALGAMATION OF SEVERAL SUCCESSFUL STARTUPS INCLUDING BE EXPERIENTIAL, DAN BOLTON CREATIVE MANAGEMENT AGENCY, AND PODCAST NOW.

Serial entrepreneur Dan Bolton has moved to bring all his businesses under one roof with the launch of a new holding company, Echo.

“T he launch of Echo is a milestone for the entire team,” Bolton stated. “It represents growth, ambition, and an outlook to the future. With the expansion of the business in other sectors such as podcasts and specialised projects, we are able to provide an impactful and creative approach to our clients and the community.”

The primary goal of Echo is to “establish an innovative and supportive business ecosystem so that all the brands under the Echo name can focus on their core value, which is to create a sustainable impact and legacy”.

The ecosystem is already starting to take shape, already comprising the likes of BE Experiential, Dan Bolton Creative Management Agency, It’s Curio, Podcast Now, and more.

“There are plenty more opportunities for likeminded individuals and companies to join the movement,” Bolton said on the launch of the entity. “Echo is slowly becoming the place for visionary entrepreneurs to use their skills to innovate, inspire, and impact the world of today and tomorrow.”

With over 24 years of experience and an extensive global network in the live events, entertainment, and performance industry, Bolton sees Echo as the next stage in supporting the brands he is associated with to achieve genuine growth and create lasting legacies. “The company will become an incubator of ideas, people, and brands who share the same vision, and provide them with the framework, services and resources they need to grow, flourish and succeed.”

Photo: Echo www.danbolton.me

MEDIAPRO INTERNATIONAL SUPPLIES ULTRA ABU DHABI

THE COMPANY DELIVERS A TURNKEY TECHNICAL PACKAGE AS THE INTERNATIONAL EDM FESTIVAL MAKES ITS LONG-AWAITED MIDDLE EAST DEBUT.

Three years after its originally planned Middle East debut was postponed due to COVID-19, Ultra Abu Dhabi finally arrived in the UAE capital, taking place at Etihad Park on the weekend of 4-5 March.

The festival has spawned spin-offs in the likes of Japan, South Korea, Brazil and Peru since its 1999 Miami debut, with A-list DJs and increasingly audacious production values a given wherever it goes. And the inaugural Abu Dhabi event was no different, with the two-day spectacle playing host to some of the biggest names in EDM, including Calvin Harris, Skrillex, Afrojack and Armin Van Buuren.

Ensuring the production matched the quality of line-up was MediaPro International, which provided a turnkey technical solution,

delivering audio, video, lighting and rigging to the organisers’ specifications. “Ultra knew exactly the design they wanted to execute,” explained MediaPro’s COO, Shaam Pudaruth.

“We had our Special Project Director, Hugh Turner, on the job,” he added. “Having worked on multiple international events including the FIFA World Cup 2010 South Africa Opening Ceremony, as well as the FIFA World Cup 2022 Qatar Concerts and Closing Ceremony, he was the ideal person for the job.”

The video-heavy stage design required multiple custom frames to accommodate the unusually shaped LED screens, which were made from Unilumin UGC04 panels. “The main challenge came from the LED and its rigging,” Pudaruth recalled. “With screens of different

shapes and sizes hanging overhead, our video and rigging teams worked closely, using custom frames and a detailed rigging plot to ensure that the design was delivered as requested.”

The supply also included a large lighting rig featuring Robe BMFL Blades, MegaPiontes and Spiiders; CHAUVET Professional Color STRIKE Ms; and Astera Titan Tubes, with MA Lighting grandMA3 and Avolites Pearl Tiger Touch II control options. The PA was an L-Acoustics K-Series system, with a DiGiCo SD10 for control.

“T he show was a massive success in terms of attendance and of course the way both stages looked,” Pudaruth concluded. “We look forward to seeing Ultra return to the region very soon.”

Photo: MediaPro International www.mediaproav.com

THA STAFFING EXPANDS OPERATIONS TO SAUDI ARABIA

THE MOVE COMES AS THE COMPANY DEPLOYS OVER 1,000 FREELANCERS TO THE KINGDOM ACROSS THE EVENT STAFFING AND EVENT EXPERTS VERTICALS IN THE PAST FOUR MONTHS.

THA Staffing has expanded into Saudi Arabia in response to the growing demand for event experts in the country.

With a focus on servicing the entertainment sector across the Kingdom, THA Staffing has deployed over 1,000 personnel across the Event Staffing and Event Experts verticals in the last quarter of 2022 and aims to double that number in the next six months.

With a team consisting of 35 staffing experts based in the UAE and KSA, the company aims to further develop job opportunities in Saudi Arabia with recruitment drives set to take place in the coming months. Since establishing a presence in KSA, THA Staffing aims to facilitate staffing solutions for an array of exciting global events in

Saudi Arabia, such as the Andy Warhol Exhibition 2023 and the Saudi Arabia Grand Prix 2023.

“A s the market continues to boom, there is a high demand for collaboration between the UAE and the Kingdom to leverage the expertise residing in the UAE,” said Shams Moloo, Director of Strategy and Business Development.

“At THA Staffing, we aim to amplify this demand and support the government’s vision to become a globally recognised leader in the entertainment and events sectors.”

Leveraging local talent, THA Staffing also aims to tap into the repository of skilled talent with recruitment drives in the coming months across Riyadh and Jeddah. The drives will ensure the selection of the right staff through thorough

UNUSUAL RIGS IDEX

vetting and screening processes that will place the right talent for each client’s requirements.

www.tha-staffing.ae

THE LARGEST DEFENCE EXHIBITION IN THE MIDDLE EAST RETURNS TO ABU DHABI WITH A MASSIVE RIGGING REQUIREMENT THROUGHOUT THE 15 HALLS OF ADNEC.

Unusual Rigging & Engineering was the rigger of choice for IDEX – the largest defence exhibition in the Middle East – when it took place at ADNEC in Abu Dhabi in February. The show, which is regarded as the most important tri-service defence exhibition in the world, attracted over 130,000 visitors from 65 countries, with more than 1,350 exhibitors across 165,000 sq m.

ADNEC Head of Mains and Rigging Services, David McKean, brought Unusual Rigging on board to assist the venue rigging team in the installation and management of rigged items throughout all 15 halls. “The Unusual team works with us numerous times each year and are well versed in our expectations,” McKean said. “This year, there were over 100 stands, and Unusual received rigging plans for each individual stand. From this they were required to mark out and provide both primary and secondary rigging.”

The quantity of kit required was vast, with the crew installing several kilometres of truss,

over 1,200 rigging points and 500 motorised hoists. The build-up was 21 days, with all works finished by lunchtime on the last day of build.

As with all projects of this scale, challenges arose – mainly last-minute orders. “The entire office team went above and beyond in providing equipment for us to install on exhibition stands at the shortest of notice,” McKean stated, describing Unusual’s “flexibility and knowledge” as “second to none”. He added: “You know that you get 100% support from everyone – from the riggers on site to the staff in the office.

“We always know that the equipment Unusual has in stock is first class – always well maintained which gives you the peace of mind that you can trust the kit you’re using,” he concluded. “Without doubt, Unusual Rigging is our preferred supplier, and we will always utilise them for both staffing and dry hire throughout this year and beyond.”

Photo: THA Staffing

Photo: Unusual Rigging & Engineering www.unusualrigging.com

© Ralph Larmann

AL LAILAK DEPLOYS L-ACOUSTICS SYSTEM FOR OMAR KHAIRAT

THE COMPANY DESIGNS AND SUPPLIES A K SERIES SYSTEM FOR THE LEGENDARY EGYPTIAN PIANIST AND COMPOSER’S PERFORMANCE AT THE ARENA KUWAIT.

Omar Khairat and his 50-piece orchestra of multi-instrumentalists made a triumphant return to Kuwait after a four-year absence, amplified by a state-of-the-art L-Acoustics Kara sound system that was designed and supplied by Kuwaiti rental company Al Lailak, and delivered by L-Acoustics Certified Provider in the Middle East, NMK Electronics.

“One of the key requirements was to design a system that would offer evenly distributed sound throughout the entire venue, which can accommodate up to 5,800 people,” explained Lailak Co-Founder, Yousef N. Al Saedi, a seasoned sound engineer with over 15 years of experience.

“Another challenging aspect was addressing the reflections from the venue’s glass balconies,”

he described. By utilising L-Acoustics Soundvision 3D design and mapping software, the Al Lailak team performed virtual placement of the cabinets, while viewing the coverage of each hang and matching time delay where needed.

“This gave us an extremely clear view of the audio coverage even before we entered the venue,” Al Saedi noted.

The final system comprised left right arrays of 12 Karas each and delay out fill delivered by left / right hangs of three Karas each. Stage monitoring was a mix of X8s, X12s, and X15s, with stage fills catered for by single A10 cabinets positioned on tripod stands in a two-at-the-front and two-in-the-rear configuration. The system was powered by 29 LA8 amplified controllers,

with control via LA Network Manager. For the VIP area, seven X12 were mounted on a 40m truss.

“L-Acoustics is what the artists and the bands want based on over 90% of the riders, and this is why we have been working with NMK for many years to build our L-Acoustics arsenal of products,” Lailak stated.

“T he concert was widely regarded as one of the most memorable events of the season, leading to enquiries from prominent event agencies seeking to engage us as the primary audio solutions provider for their events at The Arena Kuwait.”

www.allailak.com

www.l-acoustics.com

Photo: Al Lailak

ALL FEMALE FOH SOUNDS OUT HIGH-CALIBRE SPAA SHOW

WRITTEN AND ATTENDED BY HIS HIGHNESS SHEIKH DR SULTAN BIN MOHAMMED AL QASIMI, NIMROD SHOWS OFF THE IMPRESSIVE CAPABILITIES OF SHARJAH PERFORMING ARTS ACADEMY STUDENTS AND FACULTY.

Produced and performed by students and staff at world-leading performing arts education and training institution, Sharjah Performing Arts Academy (SPAA), alongside a team of external creative collaborators, Nimrod was a world away from your typical ‘school show’.

One such external collaborator was Valerie Gard, a freelance audio engineer who filled the role of FOH DiGiCo Quantum 225 Operator.

“Many industry colleagues informed me that Valerie was an ideal candidate for this role, and they were not wrong,” said SPAA Lead Sound Tutor and Sound Supervisor, John Parkhouse. “From the moment Valerie arrived, her approach to the show and to the students was fantastic.”

Gard shared more details of her role with TPMEA, explaining that as well as mixing the show as FOH Engineer and overseeing all audio

aspects of the production, she took time out to interact with the students, sharing her knowledge and methods. “Students played various roles at every step,” she described.

“John also helped a lot and was always there if we needed him, but at the same time he gave students the freedom to work on their own as close to the ‘real world’ as possible.”

Also integral to the production was Fourth Year Production Arts student Aida Allowch, who filled the role of FOH Assistant and Playback Technician. “My responsibilities were to operate QLab and work on panLab 3 to plot the foundations of the sound design,” she explained.

“I had to work closely with the Sound Engineer and crew, arrange meetings, handle paperwork, work with the show-caller to put the cues in the script, and develop the

process of mic-up for the cast.” The production showcased some interesting technical solutions.

“We managed to create an immersive sound experience using panLab 3 and Qlab and panning playbacks’ channels between different loudspeakers around the room,” Gard explained.

“The playbacks weren’t static – they were programmed to move around, which amplified the emotions the actors were creating on stage.”

The rest of the audio department was made up of Third Year Production Arts students, Mohamed Froukh, Mahrdekar Omran and Maki AlOwa, who filled the roles of RF and Mic-up Technicians, respectively; Second Year Production Arts students and Backup Technicians, Bahr Farha and Fady Moawad; as well as SPAA Sound Engineer, Febin Thomas, who provided technical support. “The whole team gelled well. The time

spent in pre-production and planning meant that when it got to the sharp end of tech, dress and finally shows, the delivery was exemplary,” Parkhouse commented. “When we did this show last year, I was heavily involved in all aspects, whereas this year I was happy to be the ‘fifth wheel’. It shows to me that the students are progressing very nicely in what is likely the highest profile show at the academy.”

SPAA’s existing sound inventory was augmented by a significant amount of other technology, which was hired from Creative Technology Middle East (CTME). “Wissam [Shaheen, CTME’s Head of Audio] generously facilitated several students going to CTME to do the prep, which is a fantastic opportunity for students to see how things are done in the industry, as well as get more valuable access to

expertise,” Parkhouse recalled. The combination of Gard and Allowch represented an all-female audio FOH, not only operating sound for the show but also in the organisational and planning the backbone of the sound production run and crew – a source of immense pride for Parkhouse.

“T he industry still suffers from being male dominated. So, I feel strongly that it’s something to celebrate and take note of that we had Valerie and Aida in full control of delivering this highcalibre show,” he stated. “The sooner there is more gender parity in the realms of live sound, the better.”

Allowch added: “SPAA provides us with the best facilities and equipment to learn and practice, and we are getting our education from professional tutors who have vast experience in their industry. Working in this production

enhanced my ability and prepared me to be an effective person in the sound industry.”

For Gard, the importance of education for the next generation can’t be overstated. “The young generation should see as many industry professionals as possible,” she said. “Theory is important, but it has little to do with the real-life industry. John, as one of the most experienced engineers in the region, gives the students an amazing example of what they can achieve, but at the same time by inviting his colleagues to the academy, he shows different approaches and sets of skills that students can adopt in their future jobs. I believe it’s the best way to develop one’s career, by meeting people, getting inspired by them and following their steps.”

Photos: SPAA www.spaa.ae

Left: Ady Moawad, Valerie Gard, Bahr Farha, Aida Allowch, Febin Thomas and Mohammed Froukh. Right: FOH pairing, Aida Allowch and Valerie Gard.

“The young generation should see as many industry professionals as possible. Theory is important, but it has little to do with the real-life industry.”

Valerie Gard, FOH and System Engineer

ATLANTIS THE ROYAL GRAND OPENING

DUBAI’S HOTTEST PROPERTY CELEBRATES ITS INAUGURATION WITH AN UNFORGETTABLE PERFORMANCE FROM GLOBAL ICON BEYONCÉ, A FIREWORKS AND DRONE EXTRAVAGANZA BY GRUCCI AND A PUMPING AFTERPARTY HEADLINED BY DJ SUPERGROUP, SWEDISH HOUSE MAFIA.

Dubai is a city jam-packed with iconic buildings, from the Burj Khalifa and Burj Al Arab, to the Dubai Frame and Atlantis The Palm. The latest landmark to join this illustrious list is Atlantis The Royal – the brand-new ultra-luxury resort just a stone’s throw away from the original Atlantis property on the Crescent of the Palm Jumeirah. Anticipation for The Royal’s opening has been growing ever since ground was broken on the development some eight years ago, and by the time the building was finally ready to be inaugurated in January this year, excitement levels were well and truly off the scale.

Tasked with living up to the massive expectations was Condé Nast’s global creative agency, CNX, and Renato Basile Entertainment (RBE), who put on a grand opening evening befitting the occasion, featuring an exclusive performance from Beyoncé – her first live show since 2018 – along with a massive firework and drone show and afterparty sound-tracked by Swedish House Mafia.

“T his is it. Our moment to unveil Atlantis The Royal as the world’s most ultra-luxury

entertainment resort has arrived,” said Tim Kelly, Managing Director of Atlantis Dubai. “We’re delighted that global superstar Beyoncé was here to launch this extraordinary resort in an unforgettable way.”

It ’s no secret that this is a project that has been in the offing for several years, with various A-list acts rumoured to be playing the show at one point or another. However, when the stars aligned to present the possibility of Beyoncé providing the headline performance, suddenly all the other options seemed pale in comparison.

Inspired to work with the Middle East’s leading entrepreneurial women, Beyoncé’s Parkwood Entertainment partnered with IAM Entertainment Founder and CEO, Sonal VaraParmar to make the show happen.

“T his memorable evening was a collaboration of many creative minds working together,” said Vara-Parmar, who runs IAM alongside her Managing Partner, Ash Parmar. “Everyone joined forces to deliver this historic event.”

Beyoncé was accompanied by Firdaus, a 48-person all-female orchestra, mentored

by Academy Award-winning composer, A.R. Rahman, while America’s Got Talent winners, The Mayyas, an all-female precision dance group from Lebanon, were also featured on stage, with stunning choreography by Emmy-nominated Fatima Robinson.

IAM Entertainment credits itself as a homegrown, Dubai-based company, founded with the mission to create, evolve, and transform the cultural and commercial gap in entertainment between the Middle East and the West. Facilitating cross-border collaborations for artist-led enterprises, the company aims to create cultural shifts in the Middle East across live, TV and film productions, endorsements and brand expansion through powerful storytelling and immersive experiences. The company has brought some of the world’s biggest stars to Dubai over the years, from Black Eyed Peas to Alicia Keys to Coldplay.

“We have a strong track record of working on governmental and semi-governmental, corporate-led shows and it was for that reason that we were asked to be involved,” added

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Parmar. “We have always worked on direct access to talent which, for a show of this scale with extra deliverables and things you need to do outside of a regular show, is absolutely vital. It was an incredible experience – the hottest ticket in the world and a pleasure to have been a part of it.”

Executive Producer, Renato ‘Ron’ Basile of RBE also did everything in his power to get Beyoncé onboard. “I put out a call to Yvette Noel-Schure at Parkwood Entertainment and explained what we had in mind,” revealed Ron, who got involved with the project after working on the KISS 2020 Goodbye show at Atlantis The Palm on New Year’s Eve 2021 [TPMEA #28]. “We had a great call with Beyoncé and her team; I showed them the scale of the project and, thankfully, she dug it!”

A standout feature of Atlantis The Royal is its Skyblaze fountain – the world’s first fire meets water show, conceived by WET Design and capable of firing jets of water up to 28m into the sky. A clear focal point of the resort, the fountain was always in Ron’s plans for the show from the moment he set eyes on it.

“A s soon as I saw the blueprints for the fountain, I knew we had to make it part of the show,” he stated, recalling his inspiration of 1950s American competitive swimmer and actor Esther

Williams, known for her high dive routines. “I’ve wanted to do the Esther Williams thing forever and this was the perfect opportunity.”

Of course, Ron wasn’t going to ask Beyoncé to dive from a great height during her set, but he was keen to recreate the Esther Williams-esque sense of peril. “I really pushed to have her on the lift,” he said of the gag, which saw the star raised 16ft into the air amid the fields of water and fire while performing a rendition of Drunk in Love to close out the show. “Thankfully, she likes taking chances and doesn’t do anything small, and she was happy to do it.”

What’s more, the first time that Beyoncé went up on the platform with a full production in place and fountains firing was during her live performance. “We had done a test run without any water but it’s a different experience entirely when the jets are firing and you’re getting wet,” Ron revealed. “She was an absolute trooper and was ecstatic after the show.”

‘HAND IN GLOVE’

The main stage was a massive four-level creation built on top of the resort’s tiered water feature and produced by Dubai-based staging expert, All Events Services (AES), which Ron described

as “one of my closest allies and crucial to the success of the production”.

AE S’ Jaques Steyn outlined the company’s role to TPMEA. “We provided the stage decking for tier four of the main performance area including a couple of the orchestra risers,” he described. “Along with this, we also supplied and built all the VIP viewing decks, custom FOH and all site and show lighting towers, as well as the clear acrylic fountain catwalk for the main artist,” he said, adding that the company’s Layher scaffolding system was the primary product used on the project.

According to Steyn, the main technical challenges from an AES point of view revolved around weight loading requirements of the structures due to the show being built above the underground carpark, the lower lobby of the hotel and the equipment room housing all the pumps and filtration system.

“T he AES engineering team alongside Andy Fulcher spent a lot of time redesigning some elements within the structures to fit in with the hotel weight load requirements while fulfilling the show and the client’s requirements,” he explained. “We had a great open line of communications from our client and the team at

Atlantis The Royal to ensure that we all achieved the result safely.”

Another feature of AES’ delivery was the way its team worked delicately around what Steyn described as “a minefield of technology” that surrounded its structures.

“We take great pride in the fact that wherever we work, we are extremely sensitive and careful to leave the property in sparkling condition,” Steyn noted. “We do this everywhere we go, but this is especially important at a brand-new and beautiful hotel such as Atlantis The Royal. We’re leaders in the industry when it comes to this way of working.”

Summarising his experience on the project, Steyn was particularly pleased with how his team achieved all the timelines set out by the client. “As we are normally the first team on a project and other elements have to follow us, we know how important it is for us to complete our scope of work on time to avoid knock-on delays for other suppliers,” he stated. “Of course, the result speaks for itself as a hugely successful show.”

Providing the eye-catching printed backdrop for the show was ShowTex Middle East. A 12m by 42m printed cyclorama with custom-made screen frame, the backdrop was made up of

a series of smaller panels, which were welded together almost seamlessly. “The seams are pretty much invisible,” praised Ron. “I was very impressed with what ShowTex produced.”

ShowTex Middle East’s Brian Aviso added: “While FP White is widely known as a front projection screen, it has way more to offer than just its projection qualities. The fire-rated fabric is printable and can be welded, allowing ShowTex to create a stunning printed cyclorama that looked virtually seamless. It was quite challenging to install with minimal space available, but nothing a great rigging team can’t resolve.”

As the concert was open to the elements, facing punishment not only from the water fountains but also the salty air from the nearby ocean, the strength and durability of the material was key. The high-quality welding technique and custom aluminium frame it was mounted in were also vital to ensure that the backdrop could withstand the forces of nature. “We were delighted to be a huge part of another successful show,” Aviso stated.

Tasked with fabricating scenic elements such as the three-tiered main stage and central sunshine feature, Dubai-based Wood Zone Technical Works drew on its vast experience of

delivering projects for the UAE government to ensure a successful delivery.

“T here were a lot of challenges on this project, from wind and rain in the build phase to several last-minute changes to the specification, but the fact that Ron and the rest of the team were so easy to work with really helped the whole process,” recalled Managing Director, Harish Bhatia. “The show was absolutely wonderful, and it was a pleasure to play our part.”

As well as the need for discrete steel support due to the main central circular stage being on a cantilever, a major consideration for Wood Zone was the material used for the terraced stage flooring, which was immersed in water for 12 days. “We had to use marine-grade material covered in anti-skid paint, which was specially imported for this project, so the dancers were comfortable and able to perform their impressive routines,” he recalled, adding that it also needed to be fire-rated to satisfy the building regulations.

Late changes and tight turnarounds are nothing new for Bhatia and his team. “It’s a usual process for us,” he reflected. “We have a large and experienced team that has been delivering projects in the region since 2007, so everyone is aware of what is needed to succeed.”

Bhatia

added that the level of coordination between each of the suppliers on site helped ensure that all teams could achieve what was needed. “It was hand in glove, and without that cooperation, this huge, successful show simply would not have been achieved,” he said.

‘A

CAREER HIGHLIGHT’

CNX appointed PRG to provide a turnkey technical delivery for the entire three-day opening weekend, including a mammoth installation of lighting across the façade of the property as well as large-scale audio, video and rigging for the ‘Grand Reveal’ event.

“Atlantis has always been a special venue for us,” commented PRG CEO for the Middle East, Peter McCann. “From the inaugural event of the first Kerzner property in Dubai – Atlantis, The Palm, in 2008 – to revealing the master plan to HH Sheikh Mohammed bin Rashid Al Maktoum for this spectacular new property some eight years ago, we are proud to have been part of the brand’s journey across its presence in Dubai.”

Michele Wiltshire, project lead for the CNX production team, also brought a wealth of experience, having also delivered the

opening of Atlantis, The Palm. “A refreshing spirit of partnership across the production and construction teams ensured all the key providers pushed to deliver their very best in what was an event of significant scale, not only for Dubai, but globally,” McCann added.

PRG Director of Sales, Harriet Stewart was particularly proud of the project, describing it as “a career highlight”. She stated: “Seeing the show come together was a proud moment for the entire PRG team. Having worked with Kimberly Tittle and her production team for over a year, the many months of planning that brought this show together was a phenomenal feeling.”

PRG’s rigging team faced the challenge of redefining the purpose of the hotel’s veranda into a stunning stage set, utilising some 300m of truss for the main stage, IMAG and fill structures alone. “Rigging was certainly not an easy install,” said Rigging Planning Manager, Johann Moolman. “Every part of this project required the team to ‘think outside the box’. The limitations of the veranda were extremely challenging. Working closely with the hotel’s engineering team, the design process was lengthy but extremely rewarding. With meticulous planning, what

seemed impossible on the first site inspection became possible one year later. The result was certainly a career highlight.”

Each of the hotel’s 10 rooftops also required a rigging system to clear handrails across the various balconies, which included 550m of piping and over 400 couplers and special clamps to accommodate the installation of the lighting fixtures. Special brackets were also designed and engineered for the hotel’s 21st floor, with 150m of steel wire rope secured to the brackets and the building to accommodate the lighting design.

For Crew Chief, Nicholas Bouwer, the fact that the event was delivered in a brand-new venue was an enormous source of pride. “There were some intensive challenges to solve as well as some difficult weather on the various rooftops – especially the veranda rooftop where we installed the load beams for the main stage,” Bouwer commented. “We came up with ways to solve each challenge we came across.”

On the audio front, a large-format L-Acoustics system was specified, comprising some 200 loudspeakers, including K1, K2, Kara and SB28. Team audio also deployed 300 radios and 100 Clear-Com wired and wireless packs to

provide sitewide communications between the technical and show production teams.

Team Audio Head of Planning, Burc Pendik, along with Audio Crew Chief Ryno Brouwer, were proud of the delivery. “During the ‘opening’ sequence, the changeover from Beyoncé into the Grand Reveal ‘Storm Sequence’ followed by Swedish House Mafia was done in a record time of just 14 minutes,” Brouwer recalled.

“T his involved a very quick changeover by the team, as well as us setting up the entire DJ set in the fountains during this time. The spirit in the team working closely with the Parkwood team was amazing and definitely one to remember.”

PRG’s video team comprised Ben Connor, Derrick Makwavarara and Anish Prabhakaran. Video Operations Manager Connor described the delivery: “PRG supplied approximately 120 sq m of P5 LED for the IMAG screens required for the live performances on stage during the Grand Reveal,” he commented.

Lighting design and direction for the project was handled by VOLT, while Lighting Planning Manager, Marin Smit and Lighting Crew Chief, Nathan Van Der Merwe led PRG’s lighting team.

More than 1,600 lighting fixtures were installed, with five MA Lighting grandMA3 consoles, 30 MA3 NPUs, 28 Luminex Luminode

units and 34 GigaCore switches deployed across the property, which included 10 rooftops, the hotel façade, main stage and Skyblaze fountain.

“Working closely with the production team and lighting designers, our role was to facilitate on ground what was achievable from a design and delivery perspective,” Smit explained. “I led the team from drafting the design aspects to detailed site surveys to ensure the hotel infrastructure and network was compatible with our own systems. This was a project that pushed all boundaries. Due to the scale of the building and the fact that the hotel was still in a handover phase, over a year of meticulous planning was required in order to execute CNX’s vision – a launch event on a global stage.”

Van Der Merwe pinpointed “the first day I stood behind the lighting console testing the fixtures that spanned across the entire property” as his most proud moment from the project. “Seeing months of hard work and planning come together and more than 1,600 fixtures beaming back at us was a great feeling,” he remarked.

Included in the vast lighting inventory were Claypaky Xtylos, which covered the outline rooftops; Ayrton Dominos and Eurus, for the building lights and stage and VIP areas respectively; Claypaky Scenius Unicos to provide

front light; various GLP fixtures, including the impression X4L, impression X4 Bar 10 and X4 Bar 20, for the stage and VIP deck; SGM P-6 and Q-8 for centre keyhole lighting; and a range of Astera fixtures as well as SGM P5s for sitewide lighting.

‘UNEXPECTED AND FASCINATING’

Lead Lighting Designer, Mark Butts of Los Angeles-based Preset Productions, Inc got involved in the project in July 2022. “I started working on the lighting design when the show was due to take place on a different date, with a different headliner,” he shared.

“A s soon as it was confirmed that Beyoncé would be performing, LeRoy Bennet came in with his team to deal with her portion of the show. By that time, the stage design was already under construction, but they added a few elements including some floor lighting to make the existing rig work for a Beyoncé show.”

Butt s described Beyoncé’s performance as an “art piece”, adding that it was lit and presented more like how one might typically expect an opera or a ballet than a typical pop performance. “The lighting was very theatrical, monochromatic for the most part, and with minimal cueing,” he noted. “Compared to her last tour where there were lots of driving strobes,

this was something completely different. It was unexpected and fascinating, and people were blown away.”

With several elements to consider, including architectural lighting of the building as well as a show rig that would be able to handle completely different genres of performances, first from Beyoncé before Swedish House Mafia closed out the evening, versatility was very much the order of the day. “Flexibility was at the forefront of our minds during the design phase,” Butts shared. “There were some specifics that we knew would not change such as the architectural aspects, and for the rest we tried to keep it as flexible as possible and offer something for everyone. In the end we had a design where any act could walk in and get what they wanted out of it.”

The LD also made sure to specify several IP-rated fixtures due not only to the masses of water in the show from the fountains, but also the proximity to the ocean, causing an abundance of sand and salt in the air.

Butts explained a few of the main fixture choices, starting with the 250 Claypaky Xtylos that lined the entire roof of the building. “We chose those because they were perfect for

something that high. The building is on an epic scale; the tallest roof is 44 storeys, around 200m or so, so they were ideal for something that big and that far away,” he commented, before moving onto the Ayrton LT Dominoes used to light the façade of the building.

“T he LT Domino is a really amazing light which was the best choice to light the façade,” he added. “We had three large lighting towers constructed from scaffold and we filled them with Dominoes to flood the front of the building with light.”

When it came to vendors, Butts was delighted with the choice of PRG. “It’s great to work with a vendor that is a creative partner,” he stated. “Sometimes you just work with suppliers, whereas the PRG team offers creative and proactive solutions. I don’t know if anyone else would have been able to pull this off.”

Aside from the feeling of relief when Swedish House Mafia started their set – “essentially signalling the end of my involvement and meaning I could relax and enjoy the rest of the show” – Butts recalled several “stunning, beautiful moments during Beyoncé’s performance that were especially eye catching”.

He added: “It was a truly gorgeous show, which was topped off by what has to be the most insane fireworks display I’ve ever seen.”

‘RIGHT IN THE SWEET SPOT’

Calling in from his New York office, Fireworks by Grucci’s Phil Grucci gave TPMEA the lowdown on the Atlantis The Royal project, explaining that while the change of date caused a few logistical challenges, there were no such issues when it came to finding the right team for the job.

“When a job like Atlantis The Royal comes along, that is right in the sweet spot,” he began. “There are certain productions that we have a problem crewing, but this was certainly not one of them!”

Grucci and his company have something of a soft spot for Atlantis, having worked on the opening of the original Atlantis The Palm back in 2008. “That was a benchmark programme that put these spectacles on another level, so we were delighted to be asked back,” he said.

Grucci explained that from the very first meetings he’d been involved in about the project years ago, there was always a vision to connect Atlantis The Royal to Atlantis The Palm in the

grand opening of the new property. “There were all kinds of potential solutions to doing this but, having explored various options, it was clear that the pyro drone technology was going to be the most effective and eye-catching way to form the connection from one building to the next,” he revealed, adding that the company has its own fleet of 300 drones and when the quantities go beyond that, is able to source extra resources from the likes of Verge Aero and AO Drones.

Once the line of pyro drones had established the connection between the two buildings, the focus switched to the architecture of Atlantis The Royal. “It’s a unique structure with some of the architectural elements of Atlantis The Palm, yet with some striking differences,” Grucci observed. “Our challenge was that the building has a glass façade, and the balconies are a different structure, so we had to engineer a custom prop to hold the pyro in place on each balcony to ensure there was no damage to the glass. There were also several pristine decorative elements on the roof that we had to be very careful with.”

As well as working very closely with the production on the pyrotechnic elements of the show – especially the moment when Beyoncé

was lifted out of the fountain – the Grucci team produced a 360° fireworks show that comprised multiple shots from positions surrounding the VIP guests in attendance, including from pontoons floating on the water.

“It was a massive deployment of fireworks, but we always made sure that the building was clearly visible and framed nicely, instead of being obstructed by what we were producing,” Grucci noted. “It was challenging to make sure that the show looked strong from all perspectives, but with the support of the whole team, we achieved a fantastic result.”

Grucci concluded by praising the man who he dubbed “a dream to work with”. He commented: “Ron is the kind of guy who one minute will be working on the high-level creative concepts, then the next he’s putting in the hard labour moving boxes of kit around. He was so committed to the programme and certainly drove us to another level.”

‘DEDICATION OF THE TEAM’

Aggreko Event Services was appointed by CNX to provide a turnkey power delivery across the weekend, following its delivery at the opening of

Atlantis The Palm back in 2008. Aggreko’s scope of work started back in June 2022 when the company was initially approached to assist with designing and installing the temporary power supply for the event.

“T his involved several early site visits, meeting with the client and construction company building the hotel and then meeting with the Atlantis facilities department to try and work out what mains power might be available and where,” explained Neal Large, MENA Events Project Manager, Aggreko.

The company supplied a vast array of equipment including 3,600mw of dieselgenerated power, 20 400a mains-distribution boxes and 50 secondary distribution boxes, along with a massive 14km of 240mm and 150mm mains power cable and 20km of secondary cable, as well as three 75kva step down transformers.

A PM , venue lead, two engineers and a workforce of 12 to 15 people per day were required to install all the equipment.

“T he main package of the installation was primarily around the beach and fountain at the back of the hotel leading up to where the main stage was built and the rooftop directly above

it,” Large revealed. “From there, we had power supplied to all the rooftops, which was taken from mains supplies within the building and then used pre-agreed cable routes so as not to compromise fire safety or guest experience.”

The placement of the main show generators on the beach provided a challenge for the Aggreko team, as did the inevitable changes to requirements in the lead up to show day.

“Due to weight restrictions on the road at the edge of the beach, we went through a few options for getting the 1,000kva generators onto the beach,” Large said, recalling how the original plan was to use a crane mounted on a barge and load the generators and accessories onto a second barge, which would have had to sail from Ajman down the coast and into position at the back of the hotel for offloading. “This had all been booked when the construction company was able to give us an easier route utilising a construction road.”

For Large, the most pleasing aspect of the delivery was simply seeing the show go from start to finish with no issues. “We were delighted

with the feedback from a client that was extremely happy with the level of service they received and more importantly the dedication of the team that provided that service.”

‘A DREAM SHOW’

With such a variety of contractors and suppliers involved in the project, Eventify Entertainment fulfilled the all-important role of on-site project management. “Our key job was to liaise with the Atlantis team as well as B6 [the company responsible for the building’s construction] and Ron’s team,” explained Eventify’s Suhail Maitreya, who had met Ron during the KISS 2020 Goodbye show. “There were a range of suppliers and partners from the UAE and around the world, and it was important for us to create a streamlined process for all these suppliers to be able to access the site. Ron was kind enough to have the faith that we could deliver.”

One positive aspect the change of date brought was that from an operational standpoint, it provided something akin to a dress rehearsal, allowing the Eventify team to set up all the base

infrastructure in time for the original date, then make any necessary improvements in time for the new one.

“T he process evolved a lot due to the nature of the venue,” Maitreya recalled. “It was still a construction site when we first went in, but by the time we went in for the second round, the site had already been handed over to the hotel operations team, so it was an environment a lot more like we were used to operating in.”

Eventify set up a central command centre with an accreditation department, which issued over 2,500 supplier badges and provided documentation to more than 30 companies during the project.

“T here was also a strong health and safety element,” Maitreya reported. “We conducted health and safety briefings every morning, making sure that every single person who worked on site completed a full induction before they were given access.”

When it came to challenges, Maitreya recalled the “usual dramas” with some pieces of equipment – including one of the lifts used

for the fountain gag – getting stuck in customs. “However, it’s nothing we’re not used to,” he laughed. “We’ve been in this industry here in Dubai for a long time now and we know how it works and what is required to get the job done.”

One particularly pleasing aspect of the project for Maitreya was the fact that it proved once again that the UAE is more than capable of hosting and delivering major world-class productions. “Not only did some of the top international companies come to the UAE, but this was also a display of the capability of several UAE companies, who showed what they can produce,” he summed up.

“T his project proved that the UAE is ready to host major productions with a majority of UAEbased people and kit. All the contractors who are usually providing similar services and competing came together and it worked like a dream.” One

such UAE-based company involved in the project was JAM Event Services, which was onboard as Senior Health and Safety Advisors for the live production of the event.

“We worked very closely with all parties to ensure that all safety requirements of both the hotel and client were met throughout the project,” explained the company’s Safety Operations Director, Conor Rainey.

“We always had at least one person on site for the duration of the project, and that jumped up to multiple people on site during busier times. From fireworks, to drones, to artists, stage build, AV installation and ancillary events, we were across everything.”

Looking back on the historic event, Executive Producer Ron was proud of the achievement.

“When you consider the fact that the show was rehearsed mainly dry in a ballroom, to be able to

translate that into the real world with the height and water was a big achievement,” he concluded.

“This was a dream show for me. Everyone was so happy with how it worked out.”

Photos: Getty images for Atlantis the Royal www.atlantis.com

www.beyonce.com

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www.woodzone.ae

“When you consider the fact that the show was rehearsed mainly dry in a ballroom, to be able to translate that into the real world with the height and water was a big achievement.”

Renato ‘Ron’ Basile, Executive Producer, RBE

WIRELESS FESTIVAL MIDDLE EAST

THE WELL-ESTABLISHED LONDON FESTIVAL MAKES ITS MIDDLE EAST DEBUT WITH A STELLAR LINE-UP INCLUDING HEADLINER TRAVIS SCOTT ATTRACTING A 25,000 SELL-OUT CROWD TO ABU DHABI’S ETIHAD PARK.

Owned and managed by Live Nation, Wireless Festival is widely known as Europe’s biggest celebration of urban music and pop culture, with its annual London event featuring exclusive performances from the world’s biggest stars across hip-hop, rap, R&B, grime, and dance. With its well-established UK festival drawing in sell-out crowds year after year, and Live Nation’s continued growth in the Middle East, it was only a matter of time before the entertainment giant opted to launch the IP in the region.

Sure enough, late last year, it was announced that the inaugural Wireless Festival Middle East would take place in March 2023. Held at Yas Island’s Etihad Park – home to some of the city’s biggest shows – Wireless Festival’s Middle East debut featured a star-studded line up including the likes of Central Cee, M.I.A., Wegz, Black Sherif and a blockbuster headline set from US rap sensation, Travis Scott.

TPMEA was on-site in Abu Dhabi and there was a palpable sense of expectation in the air even as gates to the festival opened around

midday and the sea of expectant music fans –many of whom were clad in Travis Scott merch – made their way towards the barrier more than 10 hours before the American rapper was due to take the stage.

Af ter a rigorous security check at the front gate, we forged a path through the crowds to take a tour of the festival site before checking in with Festival Director and Live Nation Middle East’s Head of Events, Jess Shields. The CoFounder of production and creative agency Far and Beyond, Shields runs several festivals in the UK for Live Nation including Creamfields and has been splitting her time between the UK and the Middle East since 2018.

“My first show in the region was in 2018 in Saudi Arabia, and that was the first ever show in the country where both men and women could attend and mix with each other,” she recalled. “I was back in the Middle East in 2019 to work on Riyadh Season, and the projects got bigger and bigger from there.”

Live Nation has grown its presence significantly in the Middle East in recent years,

going mainly from what Shields described as “one-off, client-led gigs” to self-promoted shows and original IPs such as Wireless. “It’s been a great journey so far,” she reflected. “It’s pleasing to see how Live Nation Middle East has expanded from a couple of big shows a year to what is now a packed calendar, with productions taking place all over the region – including in North Africa.”

Taking a quick break from the frenetic workload that comes with operating any largescale festival, Shields met TPMEA inside Live Nation’s plush suite, located to the right of the main stage at Etihad Park.

“T he venue is great,” she said, as we looked out over the main stage and wider festival grounds. “It’s nice to have grass, there’s a bit of shade, and we’re fairly tucked away with no immediate residents around to worry about. It has hosted some massive events over the years, so it’s a fairly well trodden path. I only wish it was slightly bigger, as we are sold out this year!”

Wireless is the second show that Live Nation has done at Etihad Park in recent weeks, following the performance from K-pop’s biggest

girl group, Blackpink, at the end of January. “We have a great relationship with the venue, and they have been very accommodating,” Shields stated. “Blackpink was a big show – no doubt about it – but this is a much longer day, so it’s a different challenge.”

Bringing in a range of international artists all on the same day was one of the most challenging elements in the production of Wireless Middle East. “That’s the big difference between Wireless UK and here,” Shields explained. “It’s always difficult when you’re relying on multiple flights arriving on time, but we’ve got a large artist liaison team, with one artist liaison for every two artists apart from Travis Scott, who has a

dedicated person. So, we’re well covered, and we make sure the artists and their teams are well taken care of.”

With travel arrangements so vital to the success of the event, Live Nation placed its faith in online platform, Corporate Traveller. “We’ve just started working with them, and they have been amazing,” Shields reported. “We’ve worked with a few travel operators over the years; we book so many flights for artists that whoever our travel partner is gets a real tough test, but Corporate Traveller has been fantastic.”

With voices on the radio demanding her attention, Shields wrapped-up the conversation by summarising Live Nation’s operation in the

Middle East. “We’ve been working out here for a while now and we have a really good team that is a mixture of internationals and locals. It’s still an emerging area, but there are a lot of people who are very keen to learn, which is half the battle,” she concluded. “With the Middle East becoming an increasingly all-year-round market, the only problem I’ve got at the moment is finding time to take a holiday!”

‘A DUAL PROJECT’

One thing that’s important to mention when considering the technical elements of Wireless Middle East is that the weekend immediately before the festival, Etihad Park hosted a two-

“With the Middle East becoming an increasingly all-yearround market, the only problem I’ve got at the moment is finding time to take a holiday!”

Jess Shields, Head of Events, Live Nation Middle East

day EDM event, Ultra Abu Dhabi. With the tight turnaround between the two shows, it made sense that much of the event infrastructure was used for both. Staging specialist, All Events Services (AES) managed and delivered a turnkey staging solution for both shows.

“It was a dual project from a staging aspect,” explained AES’ Andy Buist, describing how the company designed and built a main and secondary stage, both of which could be adapted for use on both festivals. “The design had to be carefully considered, as it first needed to have the unique identity that Ultra demanded, before being able to be turned around and adapted for Wireless Middle East.”

He added: “While Ultra had a slightly larger stage setup, Wireless turned out to be a bigger show. It was a quick turnaround of around 30 hours between Ultra ending and the build for Wireless starting, but that’s not unusual and something we’re more than capable of working within. Both projects required extensive work in pre-production and planning to ensure a timely and successful delivery.”

Crowd control and security is of the utmost importance for any show, and with an eye on

exactly this, AES was asked to provide some extra measures for Wireless, including Mojo Barriers with a full backstep, providing a clear vantage point for event crew and security personnel to keep an eye on the crowd and identify any potential areas for concern quickly.

“Some Mojo Barriers come with this backstep as standard, but we didn’t have any of that product available in the country at the time of the project, so we built a custom scaff system, which integrated with the barrier to form the required backstep,” Buist revealed.

‘A FIXTURE ON THE CALENDAR’

Also factoring in both projects to its delivery was MediaPro International, which supplied a complete audio-visual solution, including rigging, audio, lighting, and LED screens.

“T he transition from Ultra to Wireless was a smooth one because everything had been planned ahead – for example, power distribution, networking, and FOH runs were all already in place and specified in such a way that they would work for both festivals,” explained MediaPro COO, Shaam Pudaruth. “With this taken care of and minimal changes to the stage, video

and PA, we were able to concentrate and rigging, lighting and FOH, and the turnaround between shows was very smooth.” For the main stage, a large L-Acoustics K Series PA was deployed, with 24 K1 and eight K2 loudspeakers as well as 16 K1SB subs split between left and right hangs, plus 24 KS28 subs ground-stacked to provide low-end in the pit. A further 24 K2s were used for out fill left and right, with 12 Kara IIs for front fill.

On-stage sound was provided by 12 Kara IIs deployed as side fill as well as 16 X15 wedges. MediaPro also supplied both Shure PSM 1000 and Sennheiser SR-2050 IEM for those artists who preferred in-ears.

DiGiCo Quantum 338 consoles were used for control at both monitors and FOH. A Shure Axient Digital eight-in-one system was used for wireless microphones, while comms came via a Clear-Com FreeSpeak 10-in-one kit.

The main stage lighting rig featured 44 Robe BMFL WashBeams and 24 MegaPointes, 16 Martin Professional Quantum Washes, 37 CHAUVET Professional Color STRIKE Ms, 28 Elation Professional CUEPIX WW4s, and 29 Kupo eightway molefay fixtures, with four Robe Robin BMFL FollowSpot LTs set on RoboSpot Base Stations.

THE STADIUM TRIO

„THE POWERHOUSE IS IN THE HOUSE!“

Four each of DF-500 Digi Fans, Reel FX DF-50 Haze Machines and Smoke Factory Fan Foggers provided atmospherics, while two MA Lighting grandMA3s were used for control.

The main stage LED comprised a 14m by 7m central screen and 5m by 7m IMAGs left and right, made up of Unilumin UGC04 XL. Content was run through a Barco E2 and EC-50 event controller, as well as two disguise 4x4pro media servers. Two Sony HDC 1500 broadcast cameras were also supplied to capture IMAG content.

Me diaPro was also tasked with providing a complete technical package for the second stage, which included another L-Acoustics K-Series PA, DiGiCo SD5 and Quantum 338 consoles, Shure and Sennheiser IEMs, as well as more Robe MegaPointes and Unilumin UGC04 XL LED.

The main challenge for the MediaPro team centred around the change in set required for Travis Scott’s headline performance – something that had to be completed to a tight timescale following the penultimate act of the evening, Roddy Ricch. “Among other things, two hanging transparent LED screens of 11m by 9m were built in just 20 minutes; a lighting floor package was set up and Travis Scott’s backline was also set up,” recalled Pudaruth, who explained that

the LED build was tested in the company’s warehouse to ensure that everything would fit into place within the timeframe. “The extra lights were already mounted on touring truss and just had to be placed in position and connected.”

The headliner’s dedicated package included Gloshine ZS 6.9 transparent LED; Claypaky Scenius Profile, CHAUVET Color STRIKE M and Krypton LT1220 fixtures; a DiGiCo SD5 console with Waves SG Extreme plugin at FOH and an SD7 on monitors; Shure PSM 1000 IEMs; and a Sennheiser EM6000 microphone four-in-one kit.

Aside from the quick change for the night’s headline performance, the fact that several artists were sharing the same stage equipment and backline also provided a challenge.

“Some backlines are shared, but others aren’t,” said Pudaruth. “Planning this part can be extremely time-consuming, which is why it begins much earlier in the pre-production process. As our experienced Production Manager, Reynol Dsouza, is used to handling such situations, this all went very smoothly.”

He added: “Whenever numerous bands share the same equipment, minor tweaks are required once the artists are on stage. If an artist hasn’t had time to do a sound check due to their late

arrival in the country, that will inevitably lead to them taking a bit longer to get accustomed to the system.” The thing that pleased Pudaruth most was how well his team managed the transition between Ultra and Wireless. “A great deal of time and effort was saved by the work of our technical managers planning it,” he reflected, adding that he was also a fan of the festival format. “We haven’t had festivals like these in the country for a while; they have a different vibe from other types of live events – with events like this, the venue fills up early and people like to come and enjoy the food and drinks as the sun is setting in the background.”

He concluded: “Our team did a fantastic job and the show looked amazing – especially with a sold-out crowd. There’s no doubt that Wireless Middle East can become a fixture on the calendar. It was a great idea by James Craven [President, Live Nation Middle East] to bring the IP to the region, and we’re delighted to have played our part.”

Photos: Ob Panakal, Live Nation Middle East www.wirelessfestival.me

www.livenation.me

www.aes.ae

www.mediaprov.av.com

THE SCRIPT: MCGETTIGAN’S PRESENTS THE ULTIMATE ST PATRICK’S DAY MUSIC FEST

AS DUBAI’S IRISH POPULATION DESCENDS ON MEDIA CITY AMPHITHEATRE FOR A ST PATRICK’S DAY BLOWOUT, TPMEA GOES BEHIND THE SCENES WITH THE LOYAL TOURING CREW OF IRISH ROCKERS, THE SCRIPT.

Official statistics put the UAE’s Irish population at roughly 10,000 and judging by the roar from the Dubai Media City crowd when The Script frontman Danny O’Donoghue posed the question, “Are there any Irish in here tonight?” during his band’s headline set at McGettigan’s Presents The Ultimate St Patrick’s Day Music Fest, we could only assume that most of them were present. “It’s always good craic here,” said The Script’s Production Manager, Colin Rogers, when asked his thoughts on playing in Dubai. “The crowds are brilliant; they tend to be mainly Irish – especially tonight. It’s just like being in Dublin, but sunny and warm instead of cold and wet!”

Rogers extended a warm welcome to TPMEA inside the production office, happy to take a few minutes away from what we were soon to find out was an even busier schedule than you might expect for a Production Manager… Why? Because along with all the normal duties that fall under a typical PM’s remit, Rogers also happened to be the band’s rhythm guitarist – a rare dual role he found himself in for the first time at Romania’s

Untold Festival when the usual guitar player was unable to make it at the last minute.

“T he first I heard about it was when we got on the plane to head out to a show and Danny came over to me, gave me a fist bump, and said: ‘you’re in!’,” Rogers laughed. “It was our first gig back after COVID-19 with a crowd of 70,000 – it’s fair to say I was a bit nervous, but we got through it, and I’ve been on stage with them ever since.”

Of course, Rogers’ appointment wasn’t quite as haphazard as he’d have us believe, with the PM now into his 16th year with the band, having performed roles from guitar technician to stage manager, before working his way up to his current position last year. While he admits to the odd occasion where he’s on stage playing and his mind begins to wander towards whether the trucks are going to be ready for load-out at the end of the set, he’s happy to go with the flow.

“It’s certainly an unusual mix, but I’m enjoying the ride,” he remarked.

The Script are no strangers to Dubai, with the band performing several shows in the UAE over the years – including the final leg of their

World Tour in 2022. In fact, the idea for this latest show was spawned the day after their last Dubai appearance, when the band’s former Production Manager, Bob O’Brien – who now heads up the Middle East operation of SOS Global – invited his old friends out on a boat.

“It just so happened that Dennis McGettigan [CEO of McGettigan Group] was also on that boat,” Rogers recalled. “We all had a few drinks together and the next thing we knew, we’d agreed to come back over and play a massive St Paddy’s Day gig. We’ve actually had a few shows in Dubai thanks to Bob’s connections, and I’m sure by the time we’ve finished tonight there’ll be another one planned.”

As well as facilitating the meeting that saw the planning of the show, O’Brien was also on hand in his capacity with SOS Global, working diligently behind the scenes to ensure that The Script’s airfreight arrived in the country safely and on time.

“It’s fantastic to have Bob handle the airfreight for us as he already knows the rig inside out,” said Rogers. “He probably has all the old

carnets hanging around somewhere, so he can let us know if we’ve forgotten anything.”

A notable omission from The Script’s airfreight requirements was the pair of Yamaha Rivage PM7 consoles that are used at FOH and monitors. “We normally carry our audio control with us because not many rental houses tend to have what we need, but luckily for us, our supplier in Dubai managed to get their hands on some locally,” Rogers revealed. “It certainly helps with the budget when you don’t have to fly as much out with you.”

‘THE RIGHT PEOPLE’

Speaking to TPMEA after the dust had settled on the show, Dennis McGettigan looked back on some of the main challenges of putting together a festival at Media City Amphitheatre. “There’s nothing in Dubai that comes close to a concert under the stars there but, essentially, it’s an area of open parkland,” he began.

“T he entire infrastructure has to be built from the ground up, including the stage, raised

VIP deck [designed and built by AES], toilets, backstage cabins, perimeter fencing and entrance arches. The majority of the power required for the gig comes from generators. With all this comes a lot of permits and paperwork to ensure that the setup is safe. Of course, we use suppliers who we trust and have experience of the venue, and there were no major issues or obstacles.”

Looking back on the show, McGettigan was pleased not only with the attendance but also the “phenomenal” feedback from the audience. “Following the festival, a questionnaire was sent to ticket holders by our ticketing partner, Platinumlist, and we received a 4.7 out of five star rating,” he revealed. “Everyone involved should be very proud.”

McGettigan was also delighted with the jovial atmosphere throughout the evening. “My moment of the night was when Danny asked how many Irish were at the show and a huge cheer came back from the crowd,” he recalled.

“I think the band were surprised that a concert thousands of miles away could feel so much like

home, and St Patrick’s Day could still be just as special outside of Ireland. From then on, the band and crowd bonded with smiles all round.”

Supplying a turnkey audio, video, and lighting solution was Dubai-based SOLAS, led by General Manager, Eoin Sheridan. “I know Eoin from when I used to work for a corporate AV company at the age of 18,” said Rogers, explaining his choice of supplier. “All the gear is great and, more importantly, they have the right people in place to make sure everything is properly maintained and set up how we need it. It’s so important to be able to have that trust when you’re flying in and only getting to site at 10pm the night before the show. There’s not much time for mistakes.”

Sheridan also popped his head into the production office for a quick catch-up before the show, and he explained to TPMEA how this particular gig came about as a result of the relationship formed with Dennis McGettigan as well as Think Events Managing Director, Tim Derry. “We did the McGettigan’s FIFA World Cup Fan Zone in the same venue [read more about

“It’s so important to be able to have that trust when you’re flying in and only getting to site at 10pm the night before the show. There’s not much time for mistakes.”

Colin Rogers, Production Manager, The Script

that in TPMEA #39], so there was a pre-existing relationship there,” said Sheridan. “We got the tech rider for the band back in November. We chatted with Colin and had everything signed and sealed by early January, leaving us plenty of time to work on the pre-production, WYSIWYG planning, lighting renders, et cetera.”

One point that’s important to note is that this was a two-part delivery for SOLAS, with the What’s On Awards taking place in the same venue just two days prior. “It was always part of the package that we would deliver the What’s On Awards on the Thursday night, then go straight into sound checks for The Script’s show on the Friday,” Sheridan revealed. “Today’s festival has a larger technical requirement, so we worked backwards, building a show on the Thursday that would be capable of handling what was needed on the Saturday with minimal uplift in between.”

According to Sheridan, the main consideration for the SOLAS team was a change in mentality required to switch from a corporate event to a live festival production. “You need a team that’s versatile enough to deploy a different approach with a live show like this. As a result, we haven’t had any major technical issues, and everyone is happy,” he said – a point backed up by the fact that by the time we were talking to

Sheridan, most of the touring crew had gone back to their hotel to relax for a couple of hours before the evening’s show.

‘CONSISTENCY OF SOUND’

Earlier in the day, TPMEA caught up with Monitor Engineer, Marc Peers of Adlib, who has been working with the band for a decade, mixing monitors for the past seven years. “We’re pretty straightforward,” he said, describing the band’s monitor setup. “Everyone is on Sennheiser in-ears using Ultimate Ears UE18 + Pro.”

Peers has been using a Yamaha Rivage PM7 for around a year, switching from his previous Midas PRO X to align with the band’s FOH Engineer – and TPi Awards 2023 FOH Engineer of the Year winner – Steve Pattison.

“Steve has been using a PM7 for a very long time; the lads in the band are all very studio savvy and they were listening to some of the stuff that Steve was doing at FOH, and they really liked what was going on with it,” Peers explained, adding that they were particularly keen on the sound achieved using the 1176 compressor emulation and Portico plug-ins.

“I’d been on a PRO X for a long time, so it was a challenge to go from god knows how many flying hours on the PRO X to zero on a Yamaha

board and get everything show ready,” Peers recalled. “I locked myself in Adlib for five days and started from scratch watching all the Yamaha training videos, and I was pretty much arenaready in a week, because we had to be! It’s very intuitive and there’s some cool stuff on there, with Eventide and Bricasti reverbs and a dizzying array of high-end plugins as standard.”

Peers walked TPMEA through his process on starting from scratch on the PM7, which started with a feel for the stereo imaging using Revolver by The Beatles. “I always use that album because you’ve got the band hard left and the vocals hard right, so you get a good feel for what the stereo image is like,” he explained. “I was gobsmacked at how wide it was with the PM7 – the width is massive, and that means that our singer Danny can find space to put his vocal within a very busy mix. Add in the Portico Mix Bus Processor and you can achieve serious separation. He’s not like the typical singer where you’d expect to have his vocal five, six or seven decibels above the band mix; he prefers to have his vocal sat in the mix.”

The fact that the band is so knowledgeable and involved in the audio side means that, in Peers’ words, “there’s no bullshitting them, because they know exactly what they are talking about” – and while that might mean the engineer

has to stay on his toes to make sure the band is happy, he’d much rather it be this way than the other way round. “I find it a great way to work because I get a really clear direction instead of having to be a mind reader and guess what someone wants in their mix,” he reflected.

With the band having been on IEMs for many years now, Peers was under no illusions as to their benefits over old-school wedges. “I love doing wedge gigs, but you can be far more creative and precise and actually mix the show instead of fighting fires when you’re using in-ears,” he stated. “I’ve been a big advocate for that for years. Why wouldn’t you want that consistency of sound?”

Fo cusing on the Dubai show, Peers was pleased with the support from the SOLAS team. “The lads were really helpful,” he reported. “We came in last night and did the patch and line check to prove the lines before the backline rolls in, so we know that if there are any issues, it’s going to be the backline. The gear is everything we asked for; it looks in really good order and

well cared for, and any tiny issues we faced were resolved quickly.”

With usual FOH Engineer Pattison unable to make the Dubai date due to a previous commitment with fellow Irish musician Hozier, FOH duties were taken on by James Campbell, who was on just his second gig with The Script, having been recommended by George Puttock at Adlib. “It’s been great so far,” he said, reflecting on his temporary post. “Everyone is super friendly, and it’s been easy to slot in. Steve was one of the newer crew members and he’s been there for around five years, which says a lot about the kind of crew it is. You don’t get a team that stays together that long if they’re not happy.”

The main PA was a d&b audiotechnik KSL system featuring 24 KSL8 and 24 V8 split between left and right hangs, along with 12 Y8 front fills. SOLAS partnered with Flair to supply the system, as well as the all-important Yamaha Rivage PM7s specified by the band. “The PM7 is fairly new to me as well,” Campbell said of the console. “It’s pretty

intuitive though and it’s been an easy adjustment.” While working with The Script was still new to him, Campbell is familiar with the region, having visited the UAE and India many times while working with sitar player Anoushka Shankar. “We played the Dubai Opera House and Expo 2020, both of which are amazing venues – but it’s nice to be on a big outdoor stage here,” he said. “The KSL rig sounds great and I’m looking forward to cranking it.”

‘A SLIGHTLY DIFFERENT BREED’

Next to drop into the production office were Show Designer and Lighting Director, MIRRAD’s Jamie Thompson, along with Video Operator, Ron Carrington of Avolites.

Both Thompson and Carrington operated Avolites Diamond 9 consoles from FOH. It’s a relationship that goes back a long way, with MIRRAD’s office based in the same building as Avolites and the company being the proud owner of the first Sapphire Touch console off the production line. “We managed to get hold of 001

of the Sapphire, and she’s still ticking away nicely,” Thompson revealed. “I’ve always been an Avolites guy. It’s a really nice relationship – if we ever have any issues, we can get them fixed really quickly and easily and we often get pulled into various R&D discussions, so it’s nice to see new features or design tweaks that come from our feedback.”

With the band coming off the Asia leg of a World Tour at the back end of 2022, the stage design for this show was more akin to what they would usually carry for a summer festival performance in the UK. “It’s an amalgamation of designs,” described Thompson, who has been with The Script for 15 years. “Normally, we’d be carrying our own floor package but, in this case, SOLAS has provided everything and it all looks great. It was nice to arrive and find everything where it needed to be and working well.”

The lighting rig comprised four lines of truss adorned with all Robe fixtures, including Spiiders, MegaPointes and Fortes. On the floor, Robe LEDbeam 150s and GLP impression JDC1s were arranged in a pyramid formation centre stage. The video package meanwhile comprised a large central LED screen made of LightLink 3.8mm panels, which formed the backdrop to the stage, as well as IMAGs left and right.

For Carrington, who was working on his second show with the band, his brief was quite simple. “The show was already programmed from

the previous tour, so for me it’s a case of stepping in and looking after it,” he shared. “It’s mostly timecoded, so I’m working with levels on screen, making sure the right cues are firing at the right time and being ready to step in if needed.”

With video content and visual effects an important part of the show, the production utilised Avolites Ai Q4 media servers that had been specially adapted for using Notch. “They are a slightly different breed from the standard Q4,” laughed Thompson. “We use a lot of picture in picture effects, which you can only do well in Notch,” he added, noting the track Hall of Fame, where as many as 100 separate camera feeds are used to form a tunnel effect as a prime example.

While the festival setting is never going to be as conducive to creativity as the band’s own arena tour, Thompson does everything he can to maintain the visual appeal. “It can be difficult to take an arena show into a festival because the arena show is a well-oiled machine, which is your design, whereas a festival is more generic and you can’t do too much overhead because everyone else needs to use the rig during the day,” he explained. “However, we can do all the basics like keeping the lights in the same colour spectrum as the video and picking out moments in the set, and that works well for a show like this.”

The Show Designer is looking forward to working on some other projects with MIRRAD,

before getting his teeth into the creative for The Script’s next campaign. “I try not to think too far ahead, because you really need to hear the music and see the album artwork before you can come up with appropriate design ideas,” he concluded. “I love working with the band – I’ve been with them a long time and they’re pretty easy-going and trusting. It’s a great team to be a part of.”

That sense of being a team player is clearly a prerequisite to being a part of The Script crew – as PM Rogers summed up with his closing thoughts. “We don’t have a high turnover of crew at all. Almost everybody has been around for a long time because they’re a great band to work for and it’s very easy to work for them. As long as you’re on top of your game, it’s a nice gig to be on,” he commented.

With the band set to support P!nk on her upcoming run of stadium shows, before a string of summer festival appearances around the UK and Europe, The Script and their loyal crew are showing no signs of slowing down. “They’re writing constantly,” Rogers said when asked when we could expect the band’s next tour. “I’m sure we’ll be back out on the road again in 2024.”

Photos: McGettigans

www.thescriptmusic.com

www.mcgettigans.com

www.solas.ae

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JAM EVENT SERVICES LAUNCHES NEW DIVISION

THE COMPANY EXTENDS ITS OFFERING TO INCLUDE JAM SAFETY AND JAM PEOPLE, CREATING A ONE-STOP SHOP IN RESPONSE TO STRONG CLIENT DEMAND.

As the live events industry continues to grow throughout the Middle East, one company that is keeping pace is JAM Event Services. Now in its sixth year of operations in the region, the trademark JAM high-vis jacket is becoming a ubiquitous sight on projects throughout the Middle East, with the company delivering its services to the likes of Sole DXB, the FIFA World Cup Opening and Closing Ceremonies, the Dubai Run & Ride, and Atlantis The Royal Grand Opening, to name just a few.

Now, JAM has restructured and increased its scope, with its two divisions – JAM Safety and JAM People – offering a one-stop shop for its

loyal clients. “We all know that clients like to deal with as few companies as possible,” began JAM Founder and Managing Director, James Mistry, explaining the rationale behind the recent move. “By extending our offering and providing that single point of contact, we are servicing our clients’ needs directly.”

The new structure sees the company offer a range of services within its JAM Safety division, including event safety consultancy, crowd management, security management, film production health and safety, event control teams, training, occupational health and safety management systems, and venue services.

“It is everything we have already been doing, but with a few more specialisms added into the mix,” Mistry explained, drawing TPMEA’s attention to the film production health and safety vertical as an area that has been added in response to growing client demand.

JAM People, meanwhile, has three verticals within it – freelancers, permanent recruitment, and event staffing. “The expansion of our services is an opportunity for us to service the need that clients want to come to a one-stop shop for those specialist personnel requirements,” Mistry added. “Clients are comforted by the fact that they can satisfy their event professional

and staffing needs using a company with a deep health and safety background that carries through in everything we do.”

JAM People is headed-up by Staffing Operations Director, Nadine Hugo, who joined the company in January. “It’s great to have Nadine in the company because she has extensive experience of working in the people side of the industry since 2014,” said Mistry. “We’re looking to leverage her experience with event staffing and working with placing event technical roles. It’s fantastic to get someone with so much knowledge and passion for the industry to push forward that side of the business.”

Hugo added: “When James brought me into the company, he explained that his vision was all about creating a one-stop shop, and with JAM People combining with JAM Safety, we are doing exactly that. Staff are a vital part in creating the right guest experience at any event, and we are looking to continue to offer the very best personnel in this area.”

One man who has been part of the JAM journey since the early days is Safety Operations Director, Conor Rainey, who took a step up from his previous role of Senior Health and Safety Advisor around a year ago. Rainey explained to TPMEA how JAM’s role on a project can change according to the client’s needs.

“We start every job by assessing the project and specifying what we think will be required to deliver the best service possible,” he stated. “Sometimes clients will agree with our assessment completely and sometimes they will need to be steered in the right direction, but the most important thing for us is to spec the job accurately so we’re committing the appropriate resources to meet our usual high standards.”

While Mistry admits that the market is extremely competitive and JAM won’t be able to win every project it pitches for, he prefers to concentrate on the “quality of service” that he believes sets JAM apart from its competitors.

“There will always be someone who will be able

to do it cheaper, but will they offer the same quality service, ethos, and delivery? I’m not so sure,” he pondered. “There is always space in even the most crowded marketplace for a company that is delivering in-demand services to a high standard.”

The Saudi Arabian market is seen by many as fertile ground in which to grow a company quickly, but for JAM – which has been operating in the country successfully for the past five years and has been fully registered and licenced in the Kingdom since 2021 – KSA is very much part of the long-term plan.

“Saudi Arabia is not a new market for us,” Mistry noted. “There are a lot of eyes on Saudi at the moment and many companies now coming into the country, but it’s difficult to replicate what we’ve already established there. That can only be done through time and experience.”

JAM’s experience in the region certainly comes in handy when it comes to dealing with the all-too-common challenge of short

turnaround times for projects – something Mistry is philosophical on. “Short timelines for delivery are common all over the region,” he acknowledged. “We have the knowledge and experience of how to deliver in those short timelines, but we also have the experience to know when something is not viable or is going to be to the detriment of the delivery of the event or safety of the public.”

Training is an area that is becoming increasingly sought-after among JAM’s client base. “We’re seeing training requested more and more, with some companies reaching out to us directly to train their teams on site, and others advising their build suppliers to do training with us,” Mistry revealed. “It is part of our monthly delivery and an area of growth we see within the business.”

With the continued growth of the company, JAM’s team has also grown to service the

increased demand. “We’re now a full-time team of 18 people split across two countries with two offices,” Mistry revealed. “We’ve gone from startup to an SME. We’re an established business now and we must look at our long-term future in all the areas we’re servicing.”

Par t of this long-term vision is Tony Hurst, who joined the company recently as Commercial Director to work with Mistry on the direction and focus for the business. “My role is to work on the strategy on both sides of the business,” said Hurst, who has more than 20 years of experience on the commercial side of events throughout the region from Bahrain to Oman to Saudi Arabia.

“I’m looking after the big picture, sending the business into different regions in Saudi all while making sure we continue to provide the highest standard of service to our clients here in the UAE.” It’s this high standard that continues to

be paramount to maintaining the all-important client relationships that have helped propel the company to its current status.

“We have always been a client-centric business – what we do is based on our clients’ needs and wants, and the opportunities in the market,” Mistry concluded.

“While there’s always room for expansion –and what we’re doing with JAM People proves that – we’re always conscious that the most important thing is to remember where we’ve come from and continue to serve the needs of our loyal clients who have got us into this position. Our business is built on sustainable relationships and long-term growth – something that can’t be bought, but must be earned by consistent, solid delivery.”

Photos: JAM Event Services www.jameventservices.com

“We’ve gone from start-up to an SME. We’re an established business now and we must look at our long-term future in all the areas we’re servicing.”

James Mistry, Founder and Managing Director, JAM Event Services

THE REDEFINITION OF PRE RIG TRUSS. NO

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THE MLT SERIES. ENGINEERED IN GERMANY.

EFM GLOBAL LOGISTICS: 15 YEARS IN THE MIDDLE EAST

AS THE FREIGHT FORWARDING SPECIALIST CELEBRATES A DECADE-AND-A-HALF IN THE REGION, GROUP CEO, MIKE LLEWELLYN LOOKS BACK ON SOME HIGHLIGHTS AND SPECULATES ON WHAT’S TO COME FOR THE COMPANY IN THE NEXT FEW YEARS…

When Mike Llewellyn launched EFM Global Logistics from his back room in 2000, he clearly had lofty ambitions for where he could take the company. His very first client was big production German rockers Rammstein, for whom he moved 800kg of freight to Japan. Some 23 years later, EFM is still working with the band except nowadays the tour fills seven Boeing 747s. While the company now has high-profile clients from around the world –including NASA, for which it moved the single most expensive piece of equipment ever shipped, the James Webb Space Telescope – Llewellyn makes no secret of the fact that without the Middle East, EFM might not even be in existence today.

“I don’t know how well we would have come out of COVID-19 if it hadn’t been for the Middle East,” he shared. “Like many people in our industry, we lost most of our revenue overnight. Thankfully, the way the leadership in the UAE, especially, dealt with the pandemic meant that work was able to continue quite quickly. After a short stop, we were up and running again – that really helped us get through what was a horrible period for the entire industry.”

This year, EFM is celebrating the 15th anniversary of its entry to the Middle East market,

and the company marked the occasion in typical style with one of its now-legendary parties – this time aboard a yacht that set sail from Dubai Marina. With a select guest list of friends and colleagues (including TPMEA), the event was a celebration of its achievements in the region.

Since 2008, EFM has provided specialist services to some of the most high-profile clients in the region, handling all kinds of shipments for the biggest names in exhibitions, music, film, entertainment, events, sports, aerospace, automotive and government.

According to Llewellyn, one of the keys to the company’s longevity has been its ability to take the skills needed for rock ’n’ roll freight and apply it to a wide range of other areas, including commercial events, product launches, exhibitions that tour, and hotel logistics.

“I believe that rock ’n’ roll is the hardest freight forwarding in the world because the windows are so small and if you miss them, the show doesn’t happen,” Llewellyn stated. “The fact that we’ve been able to deploy those skills to such a variety of verticals has been a big factor in our success.”

While EFM’s Middle East journey started in the UAE, the emergence of Saudi Arabia in recent years as a major event-hosting nation has made

the country increasingly important to EFM’s plans for the region.

“2019 turned into the busiest year in our history, and that was in part due to Vision 2030 and the incredible growth of events, sport, entertainment and tourism projects across Saudi Arabia,” Llewellyn noted, adding that the company was engaged by multiple clients on a range of projects across the Kingdom, including Dammam Spring Festival, KSA National Day, WWE, MDLBEAST, Jeddah World Fest, Diriyah Season, Riyadh Season, Formula E, and the Dakar Rally.

Such was its success in the Kingdom, EFM opted to open a branch in KSA, which already has full-time Saudi staff and is actively building towards a full-scale Saudi-based team. “We have a very large warehouse in KSA; it’s the biggest of our warehouses anywhere in the world and we’re still desperate for more space,” Llewellyn revealed, speaking of the massive demand that is already coming from the Saudi market.

“Dubai will always remain a hub for us, but Saudi is extremely important, too,” Llewellyn concluded. “It’s been a fantastic 15 years in the region and we’re very excited about what is still to come.”

Photos: EFM Global Logistics www.efm.global

Left: EFM Global Logistics Group CEO, Mike Llewellyn.

28-30 MAY 2023 RICEC, RIYADH SAUDI ARABIA

BE PART OF SAUDI ARABIA'S FIRST DEDICATED EVENT FOR PROFESSIONAL LIGHT

AND SOUND

Showcase your products, services and technology to 10,000+ industry professionals involved in the development of Saudi Arabia's entertainment and leisure market worth over USD 64 billion.

WHY SHOULD YOU EXHIBIT AT SLS EXPO?

NETWORKING SLS Expo takes the hard work out of business matching, offering unrivalled networking opportunities that make it easy to start a conversation with future business partners.

LEAD GENERATION Exhibiting companies generate on average 80 high quality leads over 3 days at SLS Expo. Benchmark that number against other marketing, advertising and sales initiatives and consider the impact this physical showcase will have on your annual bottom line.

THOUGHT LEADERSHIP Place your brand and its ideas at the forefront of an industry meet-up, share a case study or lead a masterclass or roundtable.

BRAND AWARENESS Build brand awareness in one of the world's most ambitious emerging markets by showcasing your products and services to 10,000+ influential industry professionals.

A PARTNERSHIP THAT LIGHTS UP

SLS Expo is co-located with Saudi Entertainment and Amusement (SEA) Expo, the Kingdom's largest trade event for the entertainment and leisure industry.

CAPITALISE ON THE WORLD'S FASTEST GROWING ENTERTAINMENT DESTINATION

HOW. THE EVENT OPERATIONS AGENCY

Typically, the operations on a live event are very rarely given the same level of consideration as the creative or technical production. That is the view of Carl Shaw, Michael Shaw, and Allen Sabanal, who have recently launched How. The Event Operations Agency, with the aim of bridging the gap between the creative and the participant experience.

The trio have extensive experience as freelancers, working on some of the UAE’s largest governmental and mega events such as the Special Olympics and UAE National Day and, like so many other start-ups, they spotted a gap in the market.

“A gencies would often bring in numerous individual freelancers to run a department from an operations or logistical point of view,” explained Michael Shaw. “Many prioritise creative and the show, but logistics is that piece of the jigsaw that often gets left behind.”

While the creative elements of a production inevitably tend to get the spotlight, the operational aspects are just as important to the overall success of a project. “Operations are the first thing people experience when they arrive and the last thing they remember when

they leave,” Carl Shaw stated. “We like to work with our clients to develop a more holistic and integrated operational strategy from the outset. Implementing this earlier in the pre-production phase is more time and cost efficient.”

The industry defines the term ‘operations’ in many different ways. However, for the How. team, the easiest way to describe what they do is: “Preparing people to experience the extraordinary – that could be a crew member, an attendee, or a client stakeholder. Each of these groups have a different end-to-end journey, and it’s our job to define and facilitate those. From the initial touchpoint – registration platforms, guest management, all the way through to cleaning, security, site services and accreditation – we deliver overarching packages that enable agencies to focus purely on the creative and experiential elements of a production.”

The How. team understands that mega events in general are legacy focussed and not initially financially viable as standalone projects – “they are more about demonstrating capability for future investment, and that capability is rooted in overall event success from end to end. We consider our mandate to deliver seamless

experiences that contribute directly to that measure of success.”

According to Sabanal, a common misconception is that How. is a staffing agency. However, as he explained, this is far from the case. “What we offer is a fully considered and planned strategic event solution,” he stated. “We consider the entire participant journey and ensure that the appropriate measures have been put into place around the event to maximise every touchpoint along the way.”

While the trio have lofty ambitions for the company in the long-term, the immediate goal is to push an evolution in the mindset of its potential clients. “For us, it’s about proving the added value that we bring to the market, creating that shift in mindset and having clients recognise how important it is to have a strong operational strategy, planning and execution,” they concluded. “We work with great agencies that are world-class in creative production. We exist to complement that and make the overall experience something that audiences feel compelled to share with the world.”

www.wearehow.me

Photo: How. The Event Operations Agency

WITH THE LAUNCH OF A NEW COMPANY, CO-FOUNDERS CARL SHAW, MICHAEL SHAW, AND ALLEN SABANAL AIM TO BRING OPERATIONAL EXCELLENCE TO THE REGION’S LIVE EVENTS MARKET.

TRUST, TRAINING, AND BEING A GOOD TEAM PLAYER

CASAMILAN’S STEFANO MILAN DISCUSSES THE IMPORTANCE OF ‘THE THREE TS’ IN THE REGION’S RAPIDLY DEVELOPING EVENTS INDUSTRY.

there’s been a major shift in the relationships between many in the industry. For example, there are plenty of companies who would have once considered us competitors but now are clients who are happy for us to come onboard a project and support them on taking their client on the journey.

We at CasaMilan support and promote learning and as a result have done a lot of training over the past couple of years, as well as investing into equipment for hybrid and virtual events. For example, we spent many hours training to make sure that all our staff are Dante and Tricaster certified and have at least basic knowledge of NDI troubleshooting. In fact, we now claim to have the largest stock of Tricaster available for rental and the highest number of certified Tricaster technicians in the region. This has allowed us to deliver medium- and large-scale projects where the hybrid component required cost-effective and reliable solutions.

Being a team player in the industry has never been more important than it is today. It’s about being flexible and having the ability to integrate different services and manage multiple skills in your delivery.

It ’s also about being up to date with the latest technical knowledge to solve new challenges and knowing that the top priority is to support and integrate whatever a project is missing without getting involved in a conflict of interest.

That is exactly what CasaMilan stands for. We are a production house, a team of creatives and directors with technical knowledge, and our mission has always been to support brands, agencies, and AV partners from behind the scenes in delivering everything that goes on a stage. We can deliver an abundance of services – all you need to do is reach out and ask.

It has been amazing to see how the whole industry has bounced back to full speed in the past couple of years. What makes me happiest is to see that the individuals and the companies who are thriving the most are the ones who managed to connect with partners and integrate their services. Better networking has created more growth in the industry than ever before – and trust has been a key factor of this revolution.

One thing that makes our sector unique is that it has industrial budgets, but it is managed in an artisanal way. The human component and the relationship between client and supplier are most of the time valued way more than the huge capital at stake or technology used onsite. We are all here to deliver emotions and unforgettable experiences. This translates to a strong need for relationships to be based on trust.

Everyone has learned so much over the past few years, with so many new skills and positive collaborations coming to the fore. Hybrid and virtual events are now fully understood, and they have gone from a ‘why not?’ to a ‘must have’ tool that contains costs and helps to reach multiple audiences. Since the pandemic,

Some clients have contacted us to deliver technical consultancy to create Virtual Studios or a Dante network, some wanted us to create the creative concept for a car launch, produce content for large-scale screens, or produce a fashion photoshoot, others just needed last-minute assistance onsite for Show callers, stage managers, keynote or autocue operators… Regardless of the level of assistance required, our goal is to support the event so our clients can focus on servicing their end clients even better.

Looking to the future, the importance of training cannot be underestimated. Not only does it enable individuals to learn new skills, but it also allows companies to manage competencies across the team. Technical knowledge concentrated in a few key people onsite is a concept of the past. I’m a strong believer that exchanging knowledge and best practices between us in the market can only be a good thing.

Photo: CasaMilan www.casamilan.co info@casamilan.co IG @casamilan

FROM HS(S)(Q)(E) TO BUSINESS CONTINUITY MANAGEMENT

BUCHNER EXPLORES THE IMPORTANCE OF PLANNING FOR THE UNEXPECTED…

Thankfully, health and safety is now an integral part of the event professional’s mindset. Many companies in the industry have implemented an operational health and safety management system, some are managing the E (environment), and a few have processes in place to manage Q (quality) and S (security).

What I do not see at all is the implementation of Business Continuity Management, which is the next logical step. How do we recover from an incident during an event production?

In our HS documentation, we have plans on how to react to major incidents – for example, the evacuation of an event site –and we communicate these plans via signage or in some cases via an HSE moment at the beginning of the show. However, we do not have a plan on how to deal with the impact this evacuation has for our event client or how to minimise the impact for our client’s guests. This line of thought does not apply only to major incidents; it also applies to small- or medium-scale disruptions and distractions.

I remember the moment when the VVIP needed for the last session of a show decided to get up and leave the room. No one knew what was going on. No one knew how to react. The typical response of ‘let’s move a later session forward’ obviously did not work because it was the last session and the big moment of the show. So, what now? We stumbled and stammered; there were a few embarrassing moments for us, for the unprepared host and our client. The situation was an unmanaged disruption in the context of Business Continuity.

Things will go wrong during events – we all know that – but do we have a plan? Often, we do, based on experience with similar situations in our past, but what if there is no historical reference that we can follow? What if the crew on site does not have the experience?

Business Continuity Management gives us an operational process which allows us to plan and prepare for these situations, just like OHSMS does in Health and Safety.

The process is not all that different from health and safety management: analyse what could go wrong, come up with a plan of how to react to it, train and rehearse the execution of the plan, maintain, and develop the Business Continuity Management system as you go along and run an audit and review cycle now and then. Equally important is to make sure your team buys into it, enjoys the process, and becomes part of an ongoing improvement cycle.

The reaction plan is your incident or emergency response, your crisis management. For major incidents, this is linked very closely to HS. For small- and medium-size disruptions and distractions where health in safety is not a concern, it becomes its own set of guidelines. Once you know how to respond, you also know what it takes to recover and resume your operation – or, in other words, you have achieved Business Continuity. In short: anticipate, assess, prevent… If it happens, be prepared, respond, and recover.

Do I have a response plan to VVIP gone missing? I do now! Have an emergency script for the host. Rehearse the emergency script with the host. Prepare an emergency programme point and if this is not possible, have screen graphics and music ready to fill the void with an unplanned break. Rehearse this emergency programme with the crew including how to come back to the actual programme. Most importantly, make the client aware that this is what will happen if it happens.

3 MONKEYS’ RUDI

Photo: 3 Monkeys www.3monkeys.net

ADJ LIGHTING ILLUMINATES THE VOICE NIGERIA

SHOWGEAR LIMITED SUPPLIES A RANGE OF ADJ LIGHTING FIXTURES FOR THE FOURTH SEASON OF THE POPULAR TV PROGRAMME.

Over 100 ADJ lighting fixtures of six different types, including the Focus Profile and Focus Flex L7, were selected to feature on the set of The Voice Nigeria.

Lighting plays an important role in the overall aesthetic of the series, with each musical performance given its own look, and key light also essential to ensure that contestants and coaches look their best on camera.

The ADJ Lighting fixtures used for production of this series were supplied by Nigerian ADJ dealer, Showgear Limited. This was the company’s first involvement with The Voice Nigeria – a relationship that began months previously when Showgear MD and Lead Engineer, Christian Akinyemi, worked with show’s Music Director,

Wilson Okafor, on a live concert production. “That meeting opened up a conversation with Mr Okafor about The Voice Nigeria and Christian recommended ADJ Lighting for the upcoming series,” recalled Showgear COO, Adeola Akinyemi.

He explained that ADJ could cover the wide range of lighting fixtures that would be needed for the production at a price that would fit within the budget.

From there, Showgear consulted with Lighting Designer Andre Siebrits as well as the show’s set designer team to develop a specification. “They requested fixture types and we advised on which ADJ models would do exactly what they wanted. This process went well, but it took a long time to get everything finalised,

which meant when the order was confirmed, we didn’t have long to deliver the equipment to the studio. Fortunately, Jos [Reulen, ADJ Europe Export Manager] was able to help us make sure everything we needed arrived on time.”

Once the equipment was on site, Lighting Engineer Godwin Emefe coordinated the setup, together with Showgear’s technical team.

A key fixture on the rig was the new Focus Profile, the flagship model of ADJ’s Focus Series of compact LED-powered automated luminaires. On the set of The Voice Nigeria, 10 of these fixtures were rigged to the studio grid at various positions above the stage.

“T he Focus Profile is my new favourite fixture,” enthused Emefe. “I was able to use it as

a versatile key light that could point wherever the performers were. The framing shutter blades are very good and allowed me to shape the light exactly how I wanted it to be. It is a beautiful, bright fixture that did exactly what I wanted it to do. It is just as good as other profiles from bigname brands that cost much more.”

Another new fixture used was the Focus Flex L7, which Emefe described as “a cool light”. He added: “The LEDs are very bright, and it is great for creating pixel effects. I also used it on the show in its beam mode, which is very punchy. It’s a small fixture, which meant that it could blend into the background when not in use but really make its presence felt when activated. I had them arranged at various heights along the rear

trusses, which was a good place both for the pixel and beam effects.” To create visual effects in the background of both the performance stage and the coach’s chair area, 16 ADJ Dotz Matrix wash panels were deployed. Also providing background colour effects, deployed on the same angled trusses as the Focus Flex L7s, were numerous ADJ Ultra LB18 linear LED fixtures.

“I was impressed by the Ultra LB18 LED bars,” Emefe stated. “The colour mixing is nice, and they are very bright. I was only running them at 20% brightness for most of the show. I used them for background chase effects but also as backlights to add nice vibrant colours to the set, which worked very well.” Emefe utilised ADJ Vizi CMY300 hybrid luminaires to create GOBO

projections and mid-air beam effects behind the performers. In addition, ADJ Vizi Beam RXONE beam fixtures were positioned behind the line of rotating coach’s chairs to general aerial effects in the haze behind. Finally, multiple ADJ D4 Branch RM rack-mountable DMX booster/splitter devices were used to facilitate the distribution of control signals throughout the studio.

“T his was my first time using ADJ fixtures and I was impressed,” Emefe confirmed. “They were bright, had all the necessary features and did the jobs I needed. I look forward to working with ADJ fixtures again on future projects.”

Photos: ADJ www.adj.com

www.showgearonline.com

“This was my first time using ADJ fixtures and I was impressed. They were bright, had all the necessary features and did the jobs I needed.”

Godwin Emefe, Lighting Engineer

VAN DAMME PARTNERS WITH NEW DISTRIBUTOR IN WEST AFRICA

GHANA-BASED

SYSTEMS BECOMES

DAMME’S LATEST DISTRIBUTOR TO COME ON BOARD.

Van Damme cables has appointed Ghana-based Audiovisual Systems to supply its extensive portfolio of products in West Africa. The new distribution relationship marks a significant step forward for Van Damme entering new geographical regions.

“We are really excited about this new collaboration,” said Van Damme Export Director, Adam Jafrabadi in light of the news. “Van Damme is recognised globally for its innovation and

reliability and has a broad range of products to meet customers’ every need, and Audiovisual Systems’ expertise perfectly complements the emerging growth sectors for Van Damme. I believe this relationship is an important step in continuing our business growth with a long-term strategic partnership.”

Caleb N. A. Ashong-Katai, Manager, Audiovisual Systems, added: “Our goal has always been to provide the best possible service to our

customers and Van Damme has offered us the opportunity to take on a wide-ranging portfolio of products suited to our customer base, which are not only market leading, but also fits into our long-term vision. We are looking forward to seeing what the future holds for both parties as a result of this association.”

Photo: Van Damme www.avsghana.com www.van-damme.com

HH ELECTRONICS LAUNCHES IN BOTSWANA

APEXPRO AND SIXDOTS INTRODUCE THE BRITISH AUDIO BRAND IN RESPONSE TO INCREASINGLY STRONG DEMAND IN SUB-SAHARAN AFRICA.

Distributor ApexPro recently introduced Headstock Group’s HH Electronics brand at an AV Expo in Botswana, following a similarly successful launch in South Africa last year.

Staged at the Town Lodge Convention Centre in Gaborone with partner SixDots, the well-attended showcase allowed visitors to experience close-up the quality and flexibility of HH products, giving insights into the wide range of applications they can address.

Demand in sub-Saharan Africa for robust, cost-competitive, high-quality professional audio for live sound and installation is growing, with HH Electronics ideally placed to take advantage, according to Global Sales Director, Ian Wright.

“In the relatively short time we’ve been working with ApexPro, they’ve demonstrated a very strong commitment to delivering the HH message to the region,” he said. “They have a

long and successful history in the African pro audio market, with a tradition of offering the highest levels of support and training to their customers. Events like this one in Botswana are invaluable, enabling the knowledgeable ApexPro staff to highlight the benefits of our systems in a close-up and personal environment.”

Jus tin Acres, Director at ApexPro, added: “With an emphasis on line array and portable systems for small- to medium-sized live applications, and a wide variety of scalable installation products, we have every confidence in HH Electronics’ range to provide the right balance of quality, durability, and affordability that our customer base deserves. Interest at the demos was strong and we’re certain that it will translate into a significant market share.”

Photo: HH Electronics www.hhelectronics.com

AUDIOVISUAL

VAN

Robe Forte grandMA3 Series

Elation Maximus

Elation Lucius

Ayrton Domino

Ayrton Perseo

SGM

Q8

SGM P6

Martin MAC Ultra Wash

Martin MAC Ultra Performance

K3 /

STUDIOMASTER APPOINTS STAGEONE AS SOUTH AFRICA DISTRIBUTOR

THE DEAL SEES STAGEONE GIVEN THE RIGHT TO DISTRIBUTE THE BRITISH COMPANY’S FULL RANGE OF SOUND MIXING CONSOLES, LOUDSPEAKERS, AMPLIFICATION AND ACCESSORIES IN SOUTH AFRICA.

British-headquartered manufacturer of live sound solutions, Studiomaster, has appointed StageOne (formerly TV Audio) as its exclusive distribution partner.

The first Studiomaster shipment, which arrived in South Africa in early January, consisted of a hand-picked range of digital and analogue audio mixing consoles including the Studiomaster DigiLive 4C, DigLive 8C, DigiLive 16, DigiLive 16RS, DigiLive16P-600, DigiTrack18, C6XS-12, C6XS-16, Sessionmix 822, Sessionmix 1222, Sessionmix 1622 consoles and AC48II processors.

“I am particularly excited about taking on the Studiomaster brand as I believe that it’s a great product at a price point suitable for the South African market,” commented Peter Berry, Owner of StageOne.

“T he mixing consoles in particular are the perfect fit for our existing range of FBT speakers

which we also distribute in South Africa. FBT UK has also recently started the sub-distribution of Studiomaster analogue and digital consoles along with amplification products which speaks volumes for the Studiomaster brand.”

Studiomaster’s Director of Global Sales, Mike Bufton, added: “With StageOne having more than 40 years’ trading experience, and a perfect portfolio fit, the partnership is a very obvious choice for the Studiomaster brand in all sectors from musical instruments, to install to pro-audio.

“A s StageOne are a highly respected distributor, Studiomaster is delighted to be partners with Peter Berry and we look forward to working alongside his StageOne experienced team over the coming years.”

Photo: Stage One www.stage-one.co.za www.studiomaster.com

HALL TECHNOLOGIES PARTNERS WITH CINEAV AND VISUALIZATION

VUE GROUP EXPANDS INTO VIDEO DISTRIBUTION, SWITCHERS, SCALERS AND UC SOLUTIONS TO ENHANCE PROVISION IN SOUTH AFRICA AND THE UK.

Hall Technologies has expanded its presence and supply chains in EMEA via African technical support and distribution provider CineAV, as well as UK-based technical solutions distributors, Visualization.

Hall announced a strategic distribution agreement whereby both will have full access to Hall’s extensive range of products covering connectivity and UC.

“We’re excited to add such a broad line of class leading products to our distribution portfolio,” stated Managing Director of CineAV, Tyron Ackerman. “Along with VueAV and our other sister companies, we believe that the market across the countries in which they are

active will benefit from both the unique product lines and Hall Technologies’ excellent customer services,” stated Nick Pidgeon, Visualization Managing Director.

Hall Technologies’ Hal Truax, Vice President of Sales and Marketing, added: “We are delighted to announce Visualization as a UK distributor for our world class product line. Along with VueAV, CineAV and Visua, we believe that Visualization will offer us broad reach into the expanding market of unified communication.”

Photo: CineAV

www.cineavs.com

www.halltechav.com

www.vizuk.com