Dua Lipa’s Radical Optimism tour has just wrapped up the European leg of its global journey. Following a run of 10 shows in Australia/New Zealand, and a series of 16 dates across Europe, this latest leg culminated with spectacular sold-out stadium performances: two nights at Wembley, two at Anfield, and one at Dublin’s Aviva Stadium.
The tour’s success begins with an extraordinarily talented artist, backed by world-class performers and production team. It’s a story defined by theatrical vision, exemplary technical delivery, and a huge degree of heart and audience connection. And as you’ll read, this is also a story of expert organisation, shared positivity, and a forward-thinking approach to crew welfare.
At the heart of the story is tour director Pete Abbott, whose role bridges both creative and organisational disciplines, and whose work with Dua Lipa began before she ever performed a show. “I’ve been with her since day one of her career,” he says. “I’m very proud to work with Dua, and to have watched her grow into the incredible artist she is today.”
The groundwork for the Radical Optimism tour was laid in 2023. Last year, the campaign’s public rollout kicked off with Dua’s acclaimed performance at Glastonbury, followed by a series of hybrid arena shows that reached audiences in regions not included in the previous Future Nostalgia tour. In November 2024, the creative vision for the current tour truly took shape, with set fabrication and production ramping up through January and February. The tour officially launched with its opening night in Melbourne, Australia, on 17 March 2025.
Production Design & Process
The tour’s production designer, Matt Pitman of Pixelmappers, begins the story of the Radical Optimism production design process. “At the end of 2019, Pete approached me about working with Dua, as she was planning a big year in 2020,” he recalls. The pandemic changed those plans, but it led to Dua’s record-breaking Studio 2054 livestream – a pioneering project which saw Abbott, Pitman and musical director William Bowerman collaborate together for the first time for its conception and delivery. “It became the most-viewed livestream of all time, effectively replacing the year of touring we had planned.”
“Dua’s team is multifaceted, with many collaborators,” Pitman explains. “For Radical Optimism, Pete was the driving creative force behind the show’s vision. He conceived the scenic elements with set designer Jason Ardizzone-West and his New York studio – they designed the scenic wave riser. Then Dua, Pete and David Black, the campaign’s creative director, developed the themes and overall concept. Pete, together with Pixelmappers, shaped the show’s physicality and flow.”
Once the riser was designed, Pixelmappers helped define the lighting, staging, video surfaces, pyrotechnics, lasers, special effects, and all other production elements. “Dua isn’t about 100 million strobes,” Pitman notes. “She’s about her performance and the incredible troupe around her.” This is reflected in the show’s staging, which prioritises performance space and audience connection. The thrust, B-stage, and elevated C-stage riser create multiple zones for dynamic choreography, while still allowing for intimacy.
Pitman credits Abbott’s deep understanding of Dua’s music and persona: “Pete understands Dua’s music on a granular level – focusing on every minute of the show. He’s an excellent communicator and a trusted collaborator.”
“I don’t really know why, but Dua and I are very aligned on things,” Abbott says. “We talk openly about music and creativity. Much of my concept work starts by asking the artist what they want people to feel as they leave the show – what they felt leaving shows they loved. Having been around music my whole life helps; music was my degree, live music is my passion, and I have clear visions for it.”
Mood boards, rough timelines, and loose narratives form the scaffolding of the show’s concept. “It’s not a strict timeline, but a sense of development – an emotional flow that gives structure, allowing other departments to build around it,” Abbott continues.
From Pitman’s perspective, this leads to a lot of interpretational work: “Everything comes down to what’s achievable within the timeframes, available technology, and even regulations – like flames near scissor lifts or lots of pyro near video screens. We have to keep Dua and her dancers well-lit across a large performance space, among many other challenges.”
Loose renders were developed between Abbott’s and Pitman’s teams, together with the video content team lead by Charli Davis at Luke Halls Studio, forming a deck to propose looks for each song to Dua.
The process is highly iterative, with ideas constantly workshopped through rehearsals. “Nobody thinks you can preconceive an entire show and just deliver it. It would be futile, and it wouldn’t involve everybody,” Abbott states. “A lot of what we do is be in a room together – Dua, Charm La’Donna (choreographer), William Bowerman (musical director), Matt and I – and have fun, going, ‘Oh, that’s a good idea, wait, what if we did . . .?’”
The team’s trust in each other is key. “Because we know each other so well, there’s a belief we can do these things, and an understanding that everyone’s input is valuable. Nobody rejects ideas because everyone has contributed a killer idea at some point. It’s worth listening to everybody.”
When designing for both arena and stadium shows, the team found a middle ground – something big and present in an arena, and equally imposing in a stadium. Pitman is keen to credit master carpenter and head of set Pete Geary for making this stadium transition possible. He also credits Tom Snell and Oliver Hynds from Pixelmappers for their tireless work in drawing, rendering, and iterating to shape everyone’s hopes and dreams into something that fits the show’s parameters.
Pitman says, for him, the timeline between concept and defining the actual technology to deploy is almost concurrent. “I’m living a career where I see something one day and spec it the next,” he says. “I’m grateful to be approached by suppliers with exciting new products. We discuss, visit, and assess what’s possible – sometimes storing ideas for years, sometimes integrating them immediately.”
Is there a risk in adopting new products so quickly? “I do think about it, but I feel our industry is mature enough to solve issues quickly if a technology isn’t fully optimised. To mitigate, I rarely specify anything from suppliers I don’t trust.”
Rehearsal and Precision
The production’s reputation for technical excellence also stems from exhaustive rehearsal processes. “We rehearse a lot,” Pitman explains. The team spent seven weeks at the Fly by Nite rehearsal facility.
“We rehearse, we record rehearsals, we cue scripts for every event in the show, and we have embraced the use of LiveEdit software to run in real-time alongside the rehearsals, so that all departments know when cues they weren’t expecting are coming up.”
With multiple teams contributing, LiveEdit runs to timecode and sends ‘go’ signals to everyone who is logged in and watching. “It almost becomes a DSM in a theatrical sense,” says Pitman. “And we use its playback to pre-programme when everyone’s gone home. There are a couple of people on the payroll who look after LiveEdit during rehearsals, and it pays dividends. The choreography team can watch everything, then come to me and say: ‘In that song, in cue 39, Matt, did that light change actually happen?’”
Pitman continues: “Initially we rehearse without Dua, who is busy working with the band and dancers on the performance. The dance captain, Sammi Lee Jayne, stands in. We get to a point where we essentially have a framework of a finished production, and then Dua arrives with everything she has been working on in choreo and band rehearsals and we run it many times with her.”
Dua’s own approach is described with admiration. “She is an absolute machine. When Dua has decided she’s going to do something, she’s going to get it right, and keep doing it until it’s perfect,” says Pitman. “She’s a wondrous person to work with, incredibly professional, and therefore so is the rehearsal process.”
This meticulous preparation paid dividends not only on this tour, but during high-profile shows like Glastonbury, where the technical precision and performance was so flawless that some questioned whether it was pre-recorded. “We rehearsed the f**k out of it,” Pitman states emphatically. “Dua likes to get it right. We like to get it right.”
Sound
Pitman emphasises the show is ultimately about Dua’s live performance. “She is a live vocalist. She sings her show – you can hear it. She dances so hard you’re aware she’s breathing, moving, and giving her all. Sound is an incredibly important part of our show.” The audio head of department is James Covill, with Will Nicholson (FOH engineer), Alex Cerutti (monitors), and Giorgio Chiosso (system engineer). All audio equipment was supplied by Britannia Row.
William Bowerman is musical director, and Matty Carroll is band leader and bassist. The live band further comprises Georgie Ward (keys), Alex Lanyon (guitar, BVs), Adam Wade (drums), Sophie Galpin (percussion, guitar, BVs), Ciara O’Connor (BVs), Naomi Scarlett (BVs). Carl Lewis heads the backline tech department, supporting guitar and bass, together with Steven Cowley (playback), Stacey Edwards (MIDI), Jonny Hall (backline) and TJ Thuluxton (drums).
FOH engineer Will Nicholson has worked with Dua since her early touring days. Reflecting on his approach, he says: “I wanted to create an exciting, dynamic experience that stays true to the arrangements, songwriting, and band’s performance.”
The process is highly collaborative, with input from the musical director, creative team and management. “With that foundation, I can then focus on the show’s dynamics, build the core musical elements, and create space for emotional moments. And it needs to be fun!”
With multiple stages, full band moves, costume changes, aerial stunts, and guest appearances, rehearsals were thorough. The team used existing Brit Row packages to move quickly from detailed band rehearsals to full production rehearsals at Fly By Nite. “That’s where I hear the mix in the context of the full production,” Nicholson explains. “I can step back and consider the show’s dynamics, loudness, tonal shifts, and the PA’s role.”
Modern technology continues to blur the lines between studio and live sound. “We can now accurately reproduce so much of what we hear on records and use techniques that were once studio-only,” he says. Nicholson’s approach is to blend the familiarity of the record with the power of live performance. “I don’t want to lose the dynamics or sense of space. If we build on a solid foundation, we can highlight the nuances fans love.” For example, a consistent kick drum sound “anchors the rhythm section and lets me move people without worrying about tonal shifts.”
When showtime arrives, Nicholson’s first focus is how the audience has affected the space. “The biggest change from soundcheck to show is the presence of the crowd. I listen for how it affects the room response, ambient conditions, and overall level – sometimes the audience absorbs frequencies that were problematic at soundcheck, or they raise the noise floor.” Temperature and humidity can shift indoors, while outdoor conditions can change rapidly. “Some spaces tighten up perfectly at showtime, while others never quite settle, and the first ten minutes are spent adapting.”
The most important part of the signal chain is Dua herself. I’m lucky to mix such an outstanding performer . . .
What about the five minutes before the show? “They’re good! I enjoy my job. I have a decaf espresso and start the PA debate with the audio crew at FOH – what will the temperature be, is the crowd extra excited, where will we need to focus?”
The tour’s PA is an L-Acoustics K1 system, scaled for venue size. In arenas, each side typically features 12 K1 and four K2 mains, eight KS28 flown subs, eight K1/4 K2 sides, eight K3 rears, six K2 delays, and 16 KS28 ground subs. Stadiums expand to 18 K1 (including K1SB) and two K2 mains, 16 KS28 flown subs, 18 K1/2 K2 sides, 12 K3 rears, 12 K1/4 K2 delays, and 24 KS28 ground subs.
Nicholson aims to keep his mix consistent regardless of venue: “I try not to change my mix just because I’m in a different space. Instead, system design and deployment are the main levers. In stadiums or outdoor spaces, there are fewer reflections, which gives us a real opportunity for coherency at a controlled SPL.”
System engineer Giorgio Chiosso, working from Josh Lloyd’s Brit Row design, uses L-Acoustics software for venue-specific predictions. “He really understands what I need for my mix to translate, and has great taste,” Nicholson says. Once the hangs are up, Giorgio aligns and EQs the system via DirectOut Prodigy and L-Acoustics P1, with the FOH engineer joining to finesse EQ and discuss options. “This conversation continues right up to showtime. It’s so important to play to the strengths of the team – it’s much more rewarding.” Nicholson also credits Lez Dwight at Brit Row for his “excellent support and advice”.
FOH is mixed on a DiGiCo Q852 with four SD-Racks (one for inserts, all 32-bit cards) and an Orange Box (HMA and Dante DMI). “It’s a big console, perfect for a modern, creative pop show in terms of IO, redundancy, and onboard processing. The continual updates to Macro functionality and Mustard processing have been a huge benefit, saving me time and extra equipment.”
Plug-in processing is handled by a Fourier Audio transform.engine, with a blend of classics (Softube CL1B, Shadow Hills Mastering Compressor), modern staples (Fabfilter, Valhalla, SSL), and outliers (Magic Death Eye). Outboard includes Neve 5045s on all six vocal mics, a Neve Shelford channel on main vocal, Crane Song STC8 for vocal sum, Empirical Labs FATSO on guitars, Overstayer M-A-S for kick/snare, Bricasti for reverbs, and Neve MBT on band sum. Final mix EQ is via GML 8200, with a Sonic Farm Creamliner for saturation and Neve MBC for limiting.
Nicholson was involved at the road-testing stage of the Shure KSM11 cardioid condenser capsule used for Dua’s vocal. “Shure have always been supportive, and we were able to work with them early in the KSM11’s life. It’s been excellent for this show – pleasing lift in the upper registers, minimal proximity effect, tight pattern, and low handling noise. Combined with the linearity of a condenser, I know the vocal chain starts off right and isn’t coloured by the mic.”
The processing chain is designed to capture all the nuances of Dua’s voice, while accommodating the show’s physical demands – dancing, flying, and performing in front of the PA. “I use serial compression for clarity and dynamic control without raising the noise floor or distorting the gain structure. I want the processing to be musical and exciting, so the emotion isn’t lost – it’s not about brute level, but colour and gain staging. I use some of the same gear as on the records, partly by design, partly by chance. But the most important part of the signal chain is Dua herself. I’m lucky to mix such an outstanding performer.”
Monitors
“My main aim is always to get the best possible musical performance from the musicians I work with,” says monitor engineer Alex Cerutti. “Ideally, they’re so comfortable with their mix that they can forget I’m even there.”
The monitoring system is built around a DiGiCo Q852 console, with three SD-Racks, an SD-MiNi Rack, and a Nano Rack. The IEM system is Shure PSM1000 with P10 plus, and wireless mics are Shure Axient with KSM 11 capsules. Outboard includes four Bricasti M7s – two for main and spare vocals, one for snare reverb, and one for other instrument reverbs. Backing vocals are processed through three Rupert Neve 5045s. Waves SuperRack and servers are used, and the IEMs are JH Audio Roxannes. The current console setup is 168 channel paths, 50 aux busses, 22 group busses, 44 matrix inputs, and 36 matrix outputs, with 96 musical channels and 52 for shout mics, comms, and infrastructure.
Monitor mixes are dialed in during music rehearsals. “At this point I can ascertain what certain band members prefer as far as timing, pitching, or general musical likes and dislikes; what they musically gel with and gives them confidence to play well. This could be anything from the amount of reverb on their voice, to everything being mono except the hi-hat panned hard left! All requests are valid, however strange they may seem.”
In-ear ambience is managed with audience mics, based on artist preference, with Cerutti hands-on with level control. “My approach is to attempt to replicate what they’d hear without IEMs – crowd interaction, call and response, etc. This doesn’t mean they’re always on, more that I adjust levels to create a steady sonic signature.”
Collaboration with Will Nicholson started early, from selecting microphones and processing to planning for guest artists. “Will and I start before rehearsals, speaking to the artist, musical director, and management about the band line-up, instrumentation, and the show’s musical direction.”
He adds: “When it comes to shows, what makes my life easiest is a well-designed and executed PA. The biggest change in what my clients hear – especially on shows where much of the stage is in front of the main PA hangs – is the PA. Thankfully, both Will and Giorgio do a fantastic job at this!”
RF
Specialist Lucy Mackinnon is responsible for all the RF management on the tour – both vital and extensive. “I’m providing around 90 radio channels of mics, guitar packs, IEMs for Dua and the two support acts,” she explains. “The show takes place on top of this huge metal stage structure, with an even bigger metal structure below the stage, a B-stage and, for the stadium shows, a C-stage – so it’s a pretty complex set-up to manage.”
The RF environment is much more challenging in the outdoor stadiums. “Without the protection of an arena’s walls and roof, you’re exposed to all the RF in the outside world. Here in Liverpool, I’ve got maybe four usable TV channels, which isn’t ideal for 90 frequencies! But here we are, and I’ve squeezed them all in!”
The sophisticated technical design is built around Shure and Wisycom systems. “I’ve been able to design the system myself – with trust from my crew and advice from experts at Brit Row – which I’ve really enjoyed,” she says.
Antenna placement was a vital discussion. “I’m fortunate to have ended up with my own flown antenna rigging point,” she explains. “This helped solve lots of challenges, not least because this stage is so tall. Our discussion included whether the point could be rigged in the same position at every show, and of course that position couldn’t be in front of a video wall or lighting. At the same time, I wanted to minimise cable runs to avoid RF loss. This solution has worked brilliantly.”
The flown point is used for TX, featuring four Sennheiser A5000-CP Transmit Helical Antennas – one for Dua and the dancers, another for the band, a third for all techs, and a fourth with some spares, whilst also acting as a redundant spare itself. “I use a 90/10 coupler from the main out of the Dua/dancers’ combiner, with the 90% going to one of the flown helicals and the 10% going into an SR20 amp and antenna to give solid coverage when Dua and the dancers are moving underneath the stage.”
In addition, there are three pairs of RX antennas. “My Shure Axient AD4Ds all go into a Wisycom MAT 288 Matrix. This is very flexible and allows me up to eight pairs of antennae instead of just one without the matrix. I have one omni and one directional antenna at the B-stage/end of the thrust, another pair for the main stage, and another to cover the top of the band risers.”
For the additional challenge of the C-stage for the stadium run, 100m away from the RF racks, Mackinnon turned to a Wisycom RF-over-fibre solution, which she describes as a “game-changing success”.
“The RF loss over running copper cables to this stage would be too great,” she explains. “The Wisycom MFL was the perfect solution, as it could do two transmits – for Dua’s main and spare in-ears – as well as a pair of receives for her handheld, over only one core of fibre.”
“The system is robust, the team is fantastic, and seeing it all come together each night is incredibly rewarding,” she concludes. “It’s high-stakes, but I absolutely love it!”
Lighting and SFX
The lighting crew chief is Alex Peters. “Alex just made everything feel so easy,” says Pitman. “His team had a really positive attitude; excited to be doing the work.” The lighting programmer and associate LD is Olly Martin, and Aaron Veness is lighting director. Lighting supply was from Lights Control Rigging (LCR).
SFX is provided by ER Productions, with Jason Scrivener as SFX crew chief, Cameron Dominey as laser operator, and Jasper Sharp as pyro operator.
For pre-vis, Pitman’s team uses Vectorworks extensively, outputting MVR files into Depence 4 for visualisation. All control is via MA3.
“The arena show uses a huge amount of key light from overhead trusses and followspot positions – possible in arenas but not in stadiums,” describes Pitman. “So, we had to reimagine all the key and effects lighting for stadiums, whilst keeping the same visual language.”
The team took design ideas from the arena and supersized them. The lighting rig expanded from 300 to 800 fixtures for stadium shows. “Everything basically just got a multiplier added. And they still made it happen,” Pitman says, praising LCR and account handler Steve Bliss.
A double run of strobes was added for stadiums: “I needed some weaponry to counteract daylight – something mad like 260 Chauvet Color Strikes just in that header.” Additional fixtures were placed around the floor, B-stage, and C-stage, so from above it all looks cohesive.
Fixture highlights for Pitman included Robe iForte LTX Spots: “We had lots as the main backlight and followspots. I love these lights.” Ayrton’s Veloce Spots served as “lovely toplight/keylight fixtures,” while Ayrton Rivale on the delay towers did “important audience work,” extending energy deep into the stadium. For sweeping, sky-tracking moments, Ayrton Mamba fixtures brought “the mega sky-tracking beam light look.” The Chauvet Color Strikes provided saturated washes and strobe effects, and Acme Pixel Line IPs – “superb linear strobes” – framed the stage and delay towers, giving the production its bold, architectural edge.
Followspots were all Robe iForte LTX fixtures using RoboSpot. “These were mounted on the delay towers, mostly pointing at Dua, with a bit of guest and choreo coverage, all expertly choreographed by Aaron Veness,” says Pitman.
At Wembley, the team interfaced with the stadium’s LED floodlights via Stadium FX’s installed Apollo system. “When the lightning elements took place, we strobed the entire pitch,” describes Pitman. “For guest Charli XCX, there are three camera flash sound effects in 360 Party Girl. Each time, we did flashes from different sides in the stadium with the pitch lights. It was a lot of fun.”
Video
Video content is used both as a scene setter and a live element, with much of the screen time dedicated to live camera feeds. Video content was created by Luke Halls Studio. The video team, led by head of department Matt Canter, includes Robin Senoner (video director), Phil Woodhead (camera director), Harry Watkinson (lead engineer), Sam James (lead LED) and Sam Lammond (camera supervisor). All equipment was supplied by Creative Technology London.
“From a design point of view, the show is all about Dua and achieving the highest level of quality and clarity possible,” says Canter. “The video system was specified and built from scratch for this tour, with every decision measured against the need for maximum image quality.”
During the arena run, the LED inventory included 454 ROE Black Quartz 6 panels for the upstage centre wall, 144 ROE Black Quartz 4 panels for IMAGs, and 84 ROE Black Quartz 3 for the on-stage set, all controlled via 11 Megapixel Helios LED processors.
“Megapixel gives us huge flexibility in how we configure the screens, and with Simplex SFPs helps keeps our fibre counts low,” details Canter. “I always describe ROE as ‘the Rolls-Royce of LED’ and the Black Quartz range serves us well with its built-in wind-bracing ladder system and ability to be maintained efficiently in the air.”
For stadiums, the main changes were moving the IMAGs to BQ6 and increasing the surface sizes, with IMAGs growing by 500%. The BQ6 inventory for stadia totalled 1,140 panels. “This increase brought the canvas size to a perfect 2160px high, allowing us to achieve perfect 1:1 signal from cameras to LED, with no scaling,” says Canter. “The clarity was phenomenal.”
The system’s backbone included four Disguise GX3 servers, 12 Adderlink XDIP units, three Ereca Stage Racer 2, four Ereca Topas 4K, and three Barco ImagePro-4K. Routing and switching were handled by a Lightware MX2 24×24, a Blackmagic Videohub 12G 40×40, and Cisco Business 250 and 350 switches. The Ross Ultrix Carbonite and Carbonite Ultra, with
a TouchDrive control panel, managed live mixing, and 12 throwdown monitors (including TSL panels) provided monitoring at key positions.
The camera package was chosen for clarity and cinematic flexibility. “All camera outputs were set to 3840 x 2160 @ 25p, and the main push was for incredible clarity everywhere,” Canter continues. The system included four Panasonic UC4000s with Canon X122 lenses, four Panasonic PLV100s with Canon CN10 and CN8 lenses, four Sony FR7 PTZs with Sony E-mount 28-135mm and 16-35mm lenses, a Panasonic BGH1 with Leica 10-25mm, five Marshall mini-cams, a Luna Remote 10m Towercam, three Polecam AutoPod Plus robotic telescopic systems, a Waterbird MS XL robotic track and dolly, and two additional track and dolly systems.
“The Panasonic PLV100s have PL cinematic lenses, offering an incredible shallow depth of field. The shots look amazing either on the track and dolly or handheld in the pit,” he says. “We also used a Luna Remote Towercam at the C-stage lift, which created some iconic shots of one of the show’s biggest moments.”
Signal management for PTZs was streamlined: “We used Ereca’s Topas 4K PTZ SMPTE system, allowing a single SMPTE to each PTZ for huge flexibility and a really clean look, rather than the usual mess of PTZ looms. Like everything from Ereca, they’ve been absolutely bulletproof!”
“We had a total of 17 people in the video team at the stadia shows, they all deserve credit,” concludes Canter. “And Creative Technology have made the whole process easy for us – any technical issues have been well supported, and we’re now moving around 1TB of video signals per second without any issues.”
Camera Direction
According to Pitman, camera director Phil Woodhead “has brought a fantastic level of quality to the show.” Woodhead, who joined at the start of this tour, brings extensive experience with concert touring bands and says he’s relishing this production. “It’s the largest pop act artist I’ve done, and a completely different discipline to rock‘n’roll bands,” he explains.
With the multiple screens – the large upstage and two IMAGs – Woodhead creates dynamic double cuts. “We might have a close-up of Dua on the upstage screen and feature more of the dance routines on the side screens, or vice versa. We try to frame shots to include as many dancers as possible, since they’re integral to the show. We mix and match, and it’s been
a great discipline to learn, getting to know the songs and choreography, and collaborating with Sharon Mangoendinomo, the associate choreographer.”
The show’s transition to the B-stage for more band-led music and sometimes guest artists provides the opportunity for alternative looks. Even without a guest, Dua often sings in the local language, which the audience loves. “It’s a clever part of the show and enjoyable for us, too, because we can use more rock‘n’roll style shots and I like the opportunity to truly showcase the band,” says Woodhead.
There are 10 manned cameras in the stadium, plus four robotic cameras. “We have a tracking dolly system around the B-stage for dynamic movement, and a tower cam on the C-stage that goes up to 8m high, capturing truly beautiful shots when the artist rises on the platform,” he describes.
Woodhead doesn’t use any timecode: “I have my set notes, but they’re more like guidelines. I like to give camera operators freedom to use their creative instincts,” he says. “There’s no point forcing someone to shoot a certain way if it’s not their style. Even though the show is similar every night, we have room for creativity. If you’re just doing the same thing every night, you may as well use a computer to cut the show. We evolve the camera work with every show, finding new shots and in turn making it better each time.”
Comms
For Abbott and Maynard, a sophisticated intercomm system to support team communication across the production was non-negotiable. The comms system is designed and managed by Autumn Eve, whom Maynard calls “an absolute wizard!”.
“We never want to hear anyone shouting across a rehearsal room,” explains Abbott. “The minute someone raises their voice, even to say ‘I love you,’ the tone changes everything.”
The system has evolved throughout the tour, adapting to new needs as they arise. “It’s not the biggest comms rig I’ve ever built, but it’s by far the largest I’ve done on a tour,” begins Eve. “Most tours might run half this many packs, but few have this level of automation or SFX, which brings extra safety requirements. We’ve got 42 people on wireless packs roaming the venue, plus about 10 on base stations at front-of-house and other key spots.”
The system is a Riedel Artist-128 frame, interfacing with a Dante network for video and comms, analogue lines for the monitor system and IEMs, four Motorola base transceivers for handheld portables, and a two-wire system for spot operators. There are 48 Bolero wireless beltpacks and multiple digital Riedel SmartPanels for fixed operators like the LD, showcaller, and video director, all interconnected by various fibre links.
Each department has its own channel for coordination without cross-talk, plus multiple global conferences to bring teams together. “The stage managers love it – they can be anywhere and still get things done, without chasing people or wondering if a message got through,” Eve adds. “It just lets everyone get on with their job.”
“Autumn has produced a system that is absolutely sublime,” says Abbott. “In rehearsals, I can chat to Dua and the band leader, the choreographers are on comms. And if I need to talk to those same people during the show, I can. Not that I’ve ever had to, but we can.”
“We’ve built in safety measures,” confirms Eve. “You can’t just press it and talk into a performer’s ears by mistake mid-show. There’s a physical release latch, like in a missile silo!”
Equally important, Maynard explains, is the system’s impact on team welfare. “On load-in days, when everyone’s tired and the schedule’s tight, bad comms add stress. With this system, everyone can communicate calmly and efficiently, with clear messaging to do their job. It’s probably the best value for money element on the tour.”
Eve also praises Brit Row: “They always provide such well-packaged, well-maintained tour equipment, which helps keep things running when it gets busy!”
Moments of Connection
Despite the show’s technological complexity, the team’s focus remains on creating authentic moments of connection between artist and audience.
Pitman describes a standout moment during Break My Heart, where Dua walks from the main stage all the way down the thrust to the B-stage. “We do a thing where she holds her microphone down, and Will Nicholson turns up her microphone gain and you hear the click of her heels all the way down the thrust – she absolutely owns it. She strikes
a pose, and then as the beat of the third chorus kicks in, a confetti hit goes off and it’s loads of red hearts and it becomes playful again. It’s all departments coming together to accentuate Dua’s performance, creating a specific moment for the audience.”
The C-stage rise moment is probably the main Instagram moment from the stadium show. “We have this amazing backlight on her that just gives her this godlike look, with the correct amount of environmental support – smoke and ambient light. Knowing how to push a remote moment into feeling as epic as that is something I love finding out about,” he says. “On the main stage, you’ve got all the support of screens, but you have to come up with some really good concepts when you go and stand out in the middle of the audience.”
On the main stage, you’ve got all the support of screens, but you have to come up with some really good concepts when you go and stand out in the middle of the audience . . .
Abbott shares his perspective: “Dua as an artist, and most pop artists, are not creating concept albums about physical spaces with a narrative where there are characters that are specific. What they’re doing is creating pieces of work that evoke the mood of experiences that a human might have in their life. Our job is to try and relate those one way or another. It is broadly a show about emotions, to which the audience can relate. When it’s intimate, it’s incredibly intimate. When it’s big, it’s incredibly big.”
Welfare & Operations
Operationally, the tour is as precise and slick on its back-end as it is on-stage. “We make great use of systems, planning, and databases,” says Abbott. “Our finances, budgeting, and accounting are up-to-the-minute accurate at all times. That lets us make better decisions on the road and deliver a financially successful tour for all stakeholders.”
Central to the touring team is Abbott’s commitment to crew welfare, with a dedicated welfare officer, Sascha Heeney, on the road. Abbott worked with Tamsin Embleton at the Music Industry Therapist Collective to define this role. “Having a welfare officer is a strong visible symbol that welfare matters to us and a strong practical solution when anyone needs support. It also stops production staff feeling obliged to act as counsellors, something often outside their skillset.”
Heeney, a qualified psychiatric nurse with music industry experience and a background in adventure travel, is ideal for the role: “She’s compassionate, empathetic, and logical. Sascha attends production meetings to address welfare issues like working hours and team coherence.”
Abbott also collaborated with the Music Industry Therapist Collective on best practices. “They’ve been fantastic, and their book of essays is brilliant. It helped me reflect on things I’ve seen on the road – why are they happening?” The book explores issues like institutionalization and infantilization, and the need to empower crew: “We need to provide information so people can do their jobs, but we don’t need to spoon-feed them. You hire self-starters because it makes them happier and gives them scope to work,” he says. “And I’m adamant about encouraging people to learn and grow into their roles, rather than fearing losing their job over minor mistakes.”
The show looks and sounds better because we have a welfare officer. That’s absolutely, unequivocally true.
Abbott’s approach is preventative, not reactive: “Prevention is the key thing.” Heeney organises activities like yoga, tennis and running clubs, curates city guides, and facilitates group outings, helping the team engage in social interactions beyond work. This is crucial when people are away from home, fostering friendships outside job roles. She also creates WhatsApp groups for music, reading, and podcasts, and keeps them active.
Abbott shares further examples: “No matter the location or situation, Sascha has been invaluable in giving practical advice and allowing the team to come together and express support for one another. Of course, when someone does need mental health support, Sascha is an excellent counsellor, who can assess the situation, and help people find the help they need.”
For Abbott, this focus on wellbeing is both a moral and practical imperative, and he is emphatic: “The show looks and sounds better because we have a welfare officer. That’s absolutely true, unequivocally true.”
Conclusion
In addition to those already mentioned above, the team are eager to credit the work of every individual, including all the tech crews working on PA, LX, SFX and video, Sam Jackson (head of automation), George Davies (automation operator), Steve Belfield (head rigger), Lorraine Jones (head of wardrobe), and Vicki Lee (head of catering). They also thank additional suppliers not previously mentioned: Tait (staging/set), Cucumber Productions (integrated LED set), Motor Stage (automation), Sarah’s Kitchen (catering), Radio Tek (radios), OX Events House (miscellaneous), Freight Minds (international freight), Transam (trucking), and Phoenix/Beat the Street (bussing).
Finally, what does success look like personally? For Maynard: “We’ve done some tricky logistical moves in the past 18 months and so far there have been no disasters! It’s the team building, the camaraderie, the end result. All these things make me step back and think, well done everyone!”
For Abbott: “Dua enjoys doing the show every night, so that’s a good measure! The fans have a great time. The team are amazing. Watching everyone be brilliant is incredibly rewarding. It’s about providing that environment, and seeing the faith everyone has in each other. Dua has faith in everybody and that radiates outwards.”
By combining creative vision, operational rigour, positivity, and a real commitment to well-being, the team may have set a new standard for what a modern tour can be – one where radical optimism is a lived reality for everyone involved.
