Attend any mega-show by an A-list superstar, and what sticks in the mind afterwards? The costumes, mind-bending visuals, and explosive pyrotechnics? Giant robots firing lasers into the audience? Immersive 3D on huge LED screens? All very impressive, no doubt. But many overlook one of the most crucial elements of any live spectacle, mainly because they only notice when it’s bad. We’re talking, of course, about the sound. Live audio is often taken somewhat for granted, but a huge amount of effort goes into ensuring the artist sounds exactly like they should – and that fans, wherever they’re standing or seated, can hear every note and nuance.

This challenge, coupled with the record number of global tours and festivals planned for 2025, mean the demands on the live audio sector have never been greater. Suppliers must now navigate a complex landscape: tighter touring schedules, increasing technical expectations from artists and audiences alike, and a supply chain still under strain. At the same time, advances in speaker design, immersive systems, and rigging efficiency are reshaping what’s possible and expected, both onstage and behind the scenes.

In this report, IQ speaks with four leading audio firms about the pressures of today’s market, the tech they’re investing in, and the realities of delivering consistent high-quality sound in a fast-moving industry. And for many suppliers, the question isn’t just what’s next in terms of innovation – it’s whether there’s enough gear and qualified personnel to meet demand.

From rental cycles to maintenance logistics, staffing shortages to sustainability, this is the state of play in professional live audio.

Just how buoyant is the live audio sector? “Global touring is booming,” says Amnon Harman, CEO of d&b group, “and so the demand for high-quality sound equipment is ever increasing.” D&b serviced five of the top ten highest grossing global tours recently, including Coldplay, Taylor Swift, and Pink, as well as festivals including Rock in Rio, Sziget, and Glastonbury, but Harman notes that success isn’t just linked to mega gigs and events. “We anticipate solid growth in smaller venues for this segment in 2025, and we also expect a healthy festival market in 2025 – our installation business is steadily growing.”

“Immersive and spatial technology can be incredibly exciting with the right music content, but it’s not for everyone”

2024 was, says Andy Davies, senior director of product management at Meyer Sound, “another record-breaking year.” Yet this year, he foresees more “consistency in touring rather than major growth. The explosive post-pandemic growth has now stabilised, and I think that’s actually a good thing – it means a sustainable number of artists touring and venues filling seats.” One area he does see growth in, however, is venues upgrading their in-house systems. “A lot were financially impacted during the pandemic, but with sold-out shows and strong attendance, they’re now in a more stable position and have the confidence to invest,” he says. “That momentum is driven by fan experience, proving this is still a vibrant and valid industry.”

Sound Affects
As noted above, that fan experience can be harder to affect with audio – by its very nature, it lacks the creative one-upmanship and “wow” aspect of visual elements like screens, lighting, and pyro (although it is no less crucial). The average concert-goer might be completely unaware of the latest innovations or audio tweaks that keep their favourites sounding crisp and authentic, and indeed, can even be overkill. “Immersive and spatial technology can be incredibly exciting with the right music content, but it’s not for everyone,” says Bryan Grant, non-executive director at Clair Global.

But those who do have a use for such technology can develop ever more immersive and impressive productions. “Artists are becoming increasingly adventurous in their productions, and spatial audio solutions, such as d&b Soundscape, are enabling this creative evolution,” says Nick Malgieri, director of immersive enablement at d&b audiotechnik. With a focus on seamless collaboration between lighting, video, and audio departments, and further developing such technology to become even more ergonomic and intuitive, the likes of Soundscape can be integrated effortlessly into artists’ setups. “Spatial audio is also becoming more accessible through advancements in software, studios, and venues, further accelerating its adoption,” adds Malgieri.

Dispersed speaker systems in stadiums are also becoming more common, with fans in the nosebleed and faraway sections (quite rightly) demanding the same audio quality as those nearer the stage. So, too, are technologies like broadband directivity control and cardioid performance in large-scale systems. Malgieri notes that advances in research and development have pushed the boundaries of what manufacturers can achieve, raising expectations among engineers and sound designers. “We have extended these capabilities to smaller venues and applications, making high-performance sound more widely available.”

L-Acoustics are another innovator pushing the boundaries of audio. Following a mantra of source, system, and space – “all essential elements for complete audience engagement,” says Germain Simon, the company’s director of product management for loudspeakers. Their L-series is, he adds, “revolutionising immersive and 360° audio implementations. Its dramatically reduced form factor makes placement significantly more flexible, resolving traditional sightline challenges that have limited immersive design. Combined with up to [five times] faster load-in times, productions can now implement sophisticated immersive configurations that were previously impractical due to time or space constraints. This efficiency transforms immersive audio from a specialised exception to a readily achievable option for many more productions.”

“Even when it was pouring rain, I stood out in the audience just to listen – the quality was that good”

That watchword – efficiency – is another key driver of innovation for those IQ speaks to. “[Our focus is on making] equipment more powerful yet smaller and lighter,” says Andy Davies. “We’re using less raw material to make a smaller box that can meet the power output and pull less electricity while doing so. And being lightweight means that they use less truck space – that’s not just a practicality and cost thing; there’s a huge sustainability benefit as well.”

Live Goes On
All this has led to some groundbreaking recent audio solutions. Meyer Sound were tasked with creating a lightweight, compact PA system that could deliver stadium-level sound for Ed Sheeran’s +–=÷x Tour, a stadium tour with a completely open, in-the-round stage – no roof, no cover. “That’s when our PANTHER large-format linear line array loudspeaker was born,” says Davies. “PANTHER launched on that tour, and it’s since become our best-selling large-format line array by a significant margin.”

That system has since been used at the Montreux Jazz Festival. “It was my first time hearing PANTHER with the 2100-LFC low-frequency control element as a full system in the real world – live music, outdoors, night after night,” says Davies. “Even when it was pouring rain, I stood out in the audience just to listen – the quality was that good.”

Earlier this year, d&b Artist Relations took on a groundbreaking spatial audio project with Björk and Aleph Molinari at the Centre Pompidou in Paris. The vision was to create a six-story, immersive sound experience within the iconic “caterpillar” escalators – a space that had never been used for such an artistic endeavour before. “This ambitious installation combined [Björk’s] voice with the recreated calls of endangered and extinct animals, blending ecological activism with cutting-edge spatial audio,” says Roland “Roly” Oliver, global touring manager at d&b audiotechnik.

“The challenge was to deliver a fully immersive audio experience for both stationary and moving audiences across all six levels of the building. By leveraging advanced spatial audio technology and precise system calibration (powered by the DS100 Signal Engine and a network of compact E-Series loudspeakers), we achieved clarity, impact, and seamless spatialisation, even within the unique architectural constraints of the caterpillar.”

“Our built-in safety measures, such as limiters and system monitoring, help prevent damage and ensure consistent performance”

Sound Proofing
Take a rig outside the cosy confines of a venue or arena and another major issue presents itself – the weather. Any outdoor event or festival must contend with unpredictability and be braced for extremes. For this reason, sound equipment meeting the demanding IP55 rating – protecting against dust ingress and water jets from any direction – has long been a basic requirement. “That kind of protection needs to be baked in by the manufacturer – it’s not optional,” says Davies.

The norm is now to go beyond that, however, and offer further levels of weatherproofing. “We recognise that IP55 alone is not sufficient for extreme environmental challenges such as cruiseships, coastal salt air, tropical humidity, desert heat, or freezing conditions,” says Simon. “In these cases, we work closely with integrators to provide custom solutions tailored to fulfil the specific needs of each project.”

D&b are similarly invested in resilience in extreme or unique conditions. “For permanent outdoor installations or environments exposed to harsh conditions, such as sea air on cruise ships or coastal venues, we offer weather and seawater-resistant solutions across a wide range of our loudspeakers,” says Sebastian Schubnell, VP of product management at d&b audiotechnik. “These options ensure reliable performance even in the most challenging environments.”

Sound & Safe
Keeping all this cutting-edge equipment tip-top and ready to turn up to 11 is no mean feat, particularly when it’s being lugged around the world on mammoth tours (of the type where failure is not an option). While most installations these days do tend to be more rugged and therefore more reliable, things still occasionally break or malfunction. Therefore, maintenance is key to keeping such disruption to a minimum.

“In the rare instance that our integrated system check detects a driver failure, we ensure swift resolution through field service and replacement by an experienced technician,” says Oliver. “Additionally, our built-in safety measures, such as limiters and system monitoring, help prevent damage and ensure consistent performance under demanding conditions.”

“We’ve expanded our inventory in all territories so that customers can carry less on their global tours, especially speakers, amps, and rigging”

“We prepare each system we send out from pretty much scratch, so all components in the chain are rigorously tested before they leave the building,” adds Clair Global’s Grant. “Our techs are trained to identify, remedy, or work around faults on the road, but if the problem is too complex to solve in situ, we can generally replace a faulty item before it becomes a showstopper.”

And following the maxim that prevention is better than cure, some providers are investing significantly in their people and knowledge – and spreading both around the world to make the logistics of touring that much easier.

“We believe that our greatest asset is our people and have an extensive worldwide training programme, which means that non-key technicians can be supplied locally – a saving in travel costs with the added benefit of local knowledge,” says Grant. “In addition, we’ve expanded our inventory in all territories so that customers can carry less on their global tours, especially speakers, amps, and rigging.”

“A proactive approach minimises downtime and maximises reliability on the road,” adds Oliver. “We rely on a global network of experienced partners and offer comprehensive education programmes. These include workshops and training sessions that empower users to operate d&b systems efficiently and prevent potential errors. Such training ensures that users are prepared for any challenge.”

And as with video and screen technology, there are now a whole range of ancillary services popping up around audio ,and some companies, like Clair Global, are keen to step in. Beyond supplying equipment, they also design systems for tours and events, like The BRIT Awards and the MTV EMAs, and now provide comprehensive IT and comms services for both touring and major events – “a vital part of our business,” says Grant.

“Delivering powerful audio exactly where needed while minimising community disturbance is increasingly critical as noise regulations tighten globally”

“Our system design team works closely with our client engineers to provide touring systems that often encompass a variety of venues from theatres to stadiums depending on an artist’s status in a particular territory,” he adds. “We have built a separate team of trained specialists to design, license, and monitor these activities.”

Of course, challenges remain for audio providers – wind can be a menace, even when delay towers are deployed, and noise restrictions, particularly for events in urban parks, are becoming an increasingly hot topic. “Delivering powerful audio exactly where needed while minimising community disturbance is increasingly critical as noise regulations tighten globally,” notes L-Acoustic’s Simon.

But the sector seems in rude health, fully embracing innovation while doing its part with regards to sustainability and cost concerns.

Sound of the Crowd
Ultimately, it all comes down to providing fans with an authentic – and mind-blowing – experience and turning artists’ visions into reality. Like Stuart McCullam and his performance with The Breath at Manchester’s New Century Hall, where d&b helped transform each string on his guitar into a distinct “sound object” and position them around the audience in a 360-degree spatial audio environment. “The result was extraordinary!” remembers Oliver. “It felt as though we were sitting inside his guitar, with every note enveloping us.”

After all, any artist who steps onto a stage in front of an audience, whether it’s in a club, a festival, or a stadium, wants their music to be faithfully reproduced. “That’s what they’re there for, and they don’t want to be compromised, whatever the space,” says Grant. “Our job is to give them that vehicle to tell their story and to make it happen.”

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Clair Global, a US-based company which provides amplification and tour support to the world’s biggest artists and music festivals, has borrowed US$71 million from the Main Street Lending scheme – the largest loan of its kind in the country, according to The Philadelphia Inquirer. 

The $600 billion taxpayer-backed programme was designed by the federal government to help sustain mid-sized businesses until they recover from the economic disruption caused by the pandemic.

Last year, Clair Global provided sound and support services to the Top 10 grossing tours, including Rolling Stones, Elton John, Ariana Grande and Pink.

Troy Clair, president and CEO of Clair Global, said in a statement that “the loan is proportional to the devastation the industry has felt over the last seven months,” but did not disclose how the $71 million will be deployed.

Funds from the Main Street program must be repaid but in the event of a default, it’s taxpayers’ money at risk

The Main Street Lending Program was devised as part of financial rescue legislation in the spring to help businesses that are too big to qualify for the Paycheck Protection Program (PPP), but too small to benefit from the Federal Reserve’s big purchases of corporate debt.

Unlike the PPP program’s forgivable loans, funds from the Main Street program must be repaid. Loan standards are also more selective, requiring participants to have been in good financial shape with manageable debt before the pandemic.

Banks write loans under the programme but are then able to hand 95% of that debt off to the Fed, so they have fewer assets at risk. In the event of a default, it’s mostly the taxpayers’ money, not the bank’s, that runs the risk of not being repaid.

Clair Global also got between $5 million and $10 million in a PPP loan, records show.

Last month, Clair Global acquired US-based company Eighth Day Sound, adding to its umbrella, which includes Britannia Row Productions in the UK, JPJ in Australia, and AudioRent Clair AG in Switzerland.

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The global live music business is in a state of technological flux, with innovations such as virtual and augmented reality, live streaming, blockchain and bots all being touted as potential new sources of revenue for an increasingly mature industry.

But while the monetisation of live-streamed concerts is, by most estimates, still some way off, a handful of pioneers in the arena space are already delivering concrete results through clever tech to some of the world’s leading entertainment venues.

Meet Digifood, Archaio, Rukkus, Verteda, Clair Global, LiveStyled, Cast, Bottoms Up, Kontakt.io, Yondr and Hurdl: eleven innovators working behind the scenes to make large entertainment venues smarter, more connected and more profitable than ever before…

Read the rest of this feature in the digital edition of IQ’s definitive guide to the European arena market, the European Arena Yearbook 2017:

Britannia Row Productions – the iconic UK-based sound company which has, since its establishment by Pink Floyd in 1975, supplied audio equipment to Queen, Led Zeppelin, Peter Gabriel, The Cure, Stevie Wonder and Oasis – has been acquired by US production support giant Clair Global.

The two companies established a “strategic alliance” at the beginning of 2017, with Pennsylvania-based Clair now taking full control of Britannia Row.

In a joint statement, Britannia Row directors Bryan Grant – who, along with now-retired production manager Robbie Williams, bought out Pink Floyd’s stake in the company in 1979 – and Mike Lowe say the buy-out is “the perfect way to expand and strengthen [both companies’] worldwide client base, allowing them to offer consistent service in all major territories”.

“We are excited to bring this new level of global support to our clients”

Clair Global president and CEO Troy Clair adds: “The synergies we’ve experienced with the entire Britannia Row team have been overwhelmingly positive. Culturally and professionally, we are on the same page.

“We are excited to bring this new level of global support to our clients and better serve their passions to advance this industry.”

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