The Back Catalogue
A Resume of Tours, Productions and Special Projects
Over the years I've had the pleasure of working with some of the world's most talented musicians. Click a tour below to view the details.
Westlife — The 25 World Tour
August 2026 – Present
Role: Camera PPU Systems Engineer
As the Camera PPU Systems Engineer for Westlife's 25 World Tour, I am responsible for the camera and vision systems, working with Adlib's Xenon PPU and the Panasonic Kairos Switcher.
We have 7 x Sony HDC-3500 broadcast cameras, 4 x Panasonic UE160 PTZ cameras, 1 x Panasonic UE70 'Spy' camera, 1 x DJI Ronin camera, and the 'Bandcam', which is a 3D-printed camera case containing a Marshall camera and DJI transmitter.
We are outputting the 3 MEs from the switcher directly to the Disguise GX3+ servers, which are feeding the LED wall. We also have 3 Aux outputs, two of which are feeding the AI server used to apply effects in real time over the audience shots.
I love using the Kairos system — it's such a great piece of kit. We are using all 4 multiviewers: one for the Director, one for me in Engineering, one for the PTZ operator, and the last is being used by the Monitor Engineer, Playback Tech and Stage Manager so they can see what's happening on stage.
We are also using Stream Deck Pros with Kairos macros to help with the complex switching requirements that this technologically demanding show requires.
For the Panasonic PTZs we're using the Ereca Topas 4K — a specialised optical fibre transmission system built specifically to integrate, power and control Panasonic PTZ cameras (like the UE150, UE160 and the legacy HE120/130) over a single SMPTE hybrid fibre.
Michael Bublé
June 2026 – July 2026 · UK / EU / Canada
Role: Camera PPU Systems Engineer
For Michael Bublé's UK, European and Canadian dates we were using a camera and media server package, built around Adlib's Xenon PPU feeding into a Panasonic Kairos switcher.
The camera line-up was a mix of 3 Grass Valley LDX150 broadcast cameras alongside 4 cameras supplied locally at each festival site, so the exact combination changes from show to show.
Two MEs run straight off the switcher to the Lighting Director's Archaos media servers which feed the in house LED walls and imag screens, keeping the signal path simple across some very different venues.
The Kairos multiviewers get split three ways — one for the Director, one on my desk in Engineering, one for the Lighting Director at Front of House.,
Stream Deck Pros loaded with Kairos macros handle the quick-fire switching this run of arena and festival dates demands.
Zayn
May 2026 – June 2026 · UK Tour
Role: Camera PPU Systems Engineer
For Zayn's UK dates we used Adlib's Xenon PPU and the Panasonic Kairos switcher.
The cameras were 6 ARRI Alexa 35 Live broadcast cameras alongside 4 Panasonic UE160 PTZ camaeras.
Outputs from the desk were three MEs into the Disguise media servers, feeding both the LED walls and the IMAG screens.
Screens were Roe Vanish 8, 352 square meters of screen.
Multiviewer coverage is split across four Kairos feeds: one for the Director, one for me in Engineering, one for the PTZ operator, and a fourth shared between the Lighting Director at FOH and the Monitor and Playback techs working under the stage.
Kairos macros loaded onto Stream Deck Pros keep the switching fast and consistent night to night.
The Panasonic PTZs run over an Ereca Topas 4K — a fibre transmission system built specifically for Panasonic PTZ cameras (UE150, UE160, and the older HE120/130), handling power, control and video over a single SMPTE hybrid fibre run.
James Arthur
Nov 2025 - Feb 2026 UK/Europe
Role: Camera PPU Systems Engineer
For James Arthur's Pisces tour we used Adlib's Helium PPU and the Cobalt Carbonite switcher.
The cameras were 5 Panasonic UC4000 cameras alongside 4 Panasonic UE160 PTZ camaeras.
Outputs from the desk were two MEs into the Disguise media servers, feeding both the LED walls and the IMAG screens.
Screens were Roe Vanish 8, 11m x 8m portrait image screens and two 16 x 4 curved screens.
The Kooks
Sept 2025 – Oct 2026 · UK / Europe
Role: Camera PPU Systems Engineer
For The Kooks tour we used Adlib's Helium PPU and the Cobalt Carbonite switcher.
The cameras were 4 Panasonic UC4000 cameras alongside 3 Panasonic UE160 PTZ camaeras.
Outputs from the desk were two MEs into the Disguise media servers at FOH, feeding the LED wall that wrapped the back of the stage.
LED wall was Roe Vanish 8.
Silo — Season 3 (Apple TV)
Oct 2024 · Hoddeston Studios
Role: Virtual Production Systems Engineer
For Silo I built the Pixera server rack that fed the show's curved LED screen — a major set piece in the cafeteria, and a genuinely pivotal part of the story. Silo is set in a dystopian future after a nuclear holocaust, and the screen is what shows the fake "outside world" the characters believe they're seeing, including the moments where cast members are sent out to clean the camera.
My role was building out the Pixera server rack itself — getting the render, storage and control layers in place before the servers ever touched a camera.
Once the ARRI Studio cameras were synced to the screen, I ran the camera sync tests to make sure there were no image errors — the LED content had to line up perfectly with what the cameras were capturing.
Alongside that I carried out shutter tests, checking the cameras rendered the screen content correctly rather than picking up banding or flicker — getting that right on set avoids costly fixes in post rather than finding the problem after the shoot's wrapped.
London College of Fashion
February 2024 · London
Role: Virtual Production Build Engineer
London College of Fashion wanted a permanent LED volume with a real-time render engine behind it. CCTV cameras track people as they move around inside the volume, so the render engine can actively place them into whatever scene is running — a live, reactive backdrop rather than a fixed loop.
I worked as the server build-out technician on the install, which went in as a permanent fixture around February 2024.
The render pipeline runs on Pixera across ten servers: two control servers, four storage servers and four dedicated render engine servers.
Video routing is handled by an AJA matrix and converters, with a 100GB Netgear backbone and 25GB fibre running between every server to keep the storage, rendering and control layers talking to each other without becoming a bottleneck.
Skeptre — Big Smoke Festival
Summer 2025 · Crystal Palace
Role: LED Crew Chief
For Skepta's Big Smoke Festival slot we built a stage riser running the full width of the stage, standing 1.5m high. I was tasked with fitting an LED screen to the front of it.
Once it was in, my job for the weekend was babysitting the LED processors through the festival, with input into them coming from the FOH Resolume servers.
Lynyrd Skynyrd — 50 Years
Summer 2025 · EU & UK Tour
Role: PPU Systems Engineer
For the 50th anniversary run I built Video Design's Ross Carbonite PPU and vision mixer system, and operated one of the Sony pit cameras during the shows themselves.
The camera package was 3 Sony HDX cameras alongside 2 Panasonic UE160 PTZ cameras.
LED wall varied by leg: across the European festival run it was supplied locally at each site, while for the UK arena dates Video Design supplied the wall themselves.
I was asked for directly by the production team for this one, having worked with them on Lynyrd Skynyrd's previous Street Survivors tour back in 2019.
Shirin David — Schlau Aber Blond
Spring 2025 · EU
Role: Arri Alexa 35 Live Camera Engineer
This was an Adlib Cobalt system, running 4 ARRI Alexa 35 Live cameras with custom-built Fujinon lenses — two at FOH on 90mm lenses, and two on pedestals in the pit on 20mm lenses.
This was the first music tour to use ARRI's new Alexa 35 Live — the camera back that attaches to the rear of the Alexa 35, turning it into the ARRI Alexa 35 Live. The camera's large 35mm 4K sensor gives a huge 17 stops of dynamic range, so it picks up incredible detail even in the most extreme lighting — something other cameras have always struggled with. They were paired with SKAARHOJ RCP Pros, which made them a dream to control.
Output went to two large portrait LED IMAG screens and a large LED backdrop. Video from the camera PPU fed into Disguise servers, which fed the screens. The Disguise operator was based at FOH, so we ran KVM switching in our FOH rack to let him and the LD both control the show.
We also had 4 Panasonic UE160 PTZ cameras in the rig.
Being the first show to use the ARRI Alexa 35 Live cameras, we worked directly with ARRI to implement them, feeding back issues and usability ideas that they then built into the system. They even gave us a private tour of the ARRI factory in Germany, on a Sunday.
Simple Minds — Global Tour
Summer 2024 · EU & UK
Role: LED Crew Chief / Media Server Racks Engineer
We ran the LED wall on nine custom carts built from LED dollies, each holding two 1m x 1m ROE Vanish 8 panels with a scaff-pole frame of lights behind them to shine through the screen. The carts locked together, so we could pre-rig them for festival dates and roll the whole wall into place on a tight turnaround.
Content came from two Mac Studios running Resolume, routed through a Lightware matrix into Megapixel Helios LED processors.
On dates with an upstage wall and IMAG screens, we fed the same 4K raster from the Mac Studios into two ImagePro 4K units to map it across the house screens as well as our own wall, giving us different content on each screen or the ability to wipe content across all of them as if they were one.
UB40 feat. Ali Campbell — Hits Tour
Spring 2024 · UK
Role: PPU Systems Engineer / Camera Director (Nottingham)
We ran Video Design's Ross Carbonite vision mixing system alongside four Sony HDX cameras. Output was split to two IMag screens either side of the stage and an upstage wall, which mainly ran Resolume content with occasional live camera cuts.
I took the directing role for the Nottingham show after the tour director had to leave the tour for an emergency.
Rammstein — Dresden
Spring 2024 · Germany
Role: LED Relay Screen Crew Chief
Rammstein played five outdoor shows in Dresden to fields in excess of 70,000 people, well beyond what the onstage screens alone could serve, so relay video screens were brought in to cover the crowd further back. My role was overseeing their build and looking after them across all five shows.
Melanie Martinez — Portals Tour
Autumn 2023 · Europe / UK
Role: LED Crew Chief
This arena tour ran across European capital cities with a large upstage LED video wall driven by Resolume, no cameras or IMag screens involved.
(G)I-DLE — European Tour
Spring / Summer 2023 · Europe / UK
Role: LED Crew
Part of the LED team building the large IMag screens and a multifaceted upstage wall for this European tour, using a mix of ROE Vanish panels for the IMag and CB5 for the upstage wall.
Westlife — The Twenty Tour
Asia, Summer 2019 · BBC Radio 2 Hyde Park, Sep 2019
Role: Media Server Tech / Video Tech
I was asked to program and operate Resolume for the Asia leg alongside a colleague. Over six weeks, two teams — each a Resolume op, a lighting tech and an audio tech — leapfrogged each other city to city, meeting local video, audio and lighting suppliers to have everything ready before the band and touring party flew in.
For the Resolume programming I built each song across multiple layers, 24 in total, but since playback was fired by timecode, I used timecode offsets so only the layers needed for a given moment actually played. That kept the computational overhead to a minimum, letting us run the shows off two MacBook Pros via ImagePro 4Ks to the local screens.
Lynyrd Skynyrd — Last of the Street Survivors Tour
2019 · UK & Europe
Role: PPU Systems Engineer
Ran Video Design's Ross Carbonite PPU and vision switcher alongside three Sony HDX cameras. The upstage wall ran content from a Resolume server, while the cameras were on a clean feed to the LED IMag screens.
Gods of Rap — Wu-Tang Clan, Public Enemy & De La Soul
2019 · UK & Europe
Role: Set & Staging Tech
I was asked to join this tour by the stage manager. The stage was built around risers with a central DJ set-up for each of the three acts, fronted by LED screens. With only a 15-minute turnaround between acts, there was no time to build each DJ rig in place from scratch, so I came up with a concept where the centre-back section of the middle riser could be rolled out and replaced with a new one, the next act's equipment already set up on it.
Neil Sedaka — UK Concert Hall Tour
2017 · UK
Role: Multi Camera Vision Director
An intimate concert hall tour with Neil on stage at a grand piano, backed by a projection screen. I had three mini cams dotted around and inside the open piano, plus a FOH camera, cutting the show live on a Blackmagic mixer straight to the projection screen.
Arcade Fire — Everything Now
2017 · European Festival Tour
Role: LED Crew Chief / Engineer
We toured a large upstage "smoke box" with an LED screen suspended behind it, and also projected into the sides of the box itself so the smoke was illuminated by the projection light rays. Content was fed from two Disguise servers at FOH.
Deadmau5 — The Cube
2017 · Creamfields & SW4 Festivals
Role: LED Tech
Deadmau5 wanted the illusion of a huge 3D cube of video. We built a scaffold frame to hold the three visible sides of the LED cube, mounted on a rolling riser so the whole system could be moved into place for his show. The 3D content itself was programmed by Deadmau5.
The 1975 — European Tour
2015 – 2016
Role: LED Crew Chief / Media Server Tech
The set featured four LED towers, each with screens on the front and both sides, plus three overhead suspended pixel-line LED battens. Content was driven from a Green Hippo media server.
Lady Gaga — The ArtPop Ball
2014 · Worldwide
Role: PPU Systems Engineer
Solotech Montreal asked me to build a custom fly rack PPU for this world tour, with the brief that it had to fit into air freight cargo holds. The director specified a Sony MVS6000 vision mixing desk and asked Solotech for me directly, having worked together on the Rihanna tour.
Cameras were a mix of four Sony HDX and three Panasonic PTZ, plus extensive understage monitoring so the operators based below the stage could see what was happening above.
Rihanna — Diamonds Tour
2013 · Worldwide
Role: PPU Systems Engineer
Ran the PPU with four Sony HDX cameras, with the multiple screens around the show fed from Green Hippo servers.
Madonna — MDNA Tour
2012 · European & North American Tour
Role: Matrix LED Tech
The MDNA Tour had an LED dance floor built from 36 lifts that raised electrically up to 3m above stage level, carried on 18 custom lift carts, each holding two lifts, designed by Tate. I ran one central control rack and four power racks at each corner of the system, with the whole lift matrix supplied by 400A three-phase power and the control rack fed from the central video racks.
The show also had a large IMag screen and an upstage wall that opened on automation to fly various set pieces in and out, including 20 drummers suspended in the air. The lift floor itself was driven by Disguise servers, which fed content and controlled each lift's height using greyscale video — black meant fully down, white meant fully extended, with the shade of grey in between setting the lift's position at any given moment. The final song saw the whole stage rippling as the lifts moved independently.
Primal Scream — Screamadelica
2011 · World Tour
Role: Catalyst Media Server Tech / Projectionist
I ran Catalyst media servers off a GrandMA lighting desk, driving content to a triple stack of projectors at FOH onto a large backdrop at the back of the stage, which also washed content over the band.
In the south of France it was too windy to fly the screen, so instead I projected into the trees either side of the stage, giving the effect of a giant lollipop of a screen with the leaves letting the light pass through.
The Chemical Brothers — Various Tours
2001 – 2005 · Worldwide
Role: PPU Systems Engineer / Projectionist
Across these tours I projected onto a 60ft-wide screen. On the first tour we used six Barco G8 projectors suspended from two trusses, three per truss, fed through a matrix that let the individual projected images form one large picture. There was no soft-edging or projection blending at that point, so the line-up had to be exact and the colour balance spot-on, or the screen would have looked terrible.
On the second tour we used three Barco ELM projectors overlapped to form the same image — a lot easier.
Peter Gabriel — Growing Up
2002 – 2005 · Europe & North America
Role: Multi Camera Vision Director / PPU Systems Engineer
I joined mid production rehearsals for this in-the-round show. Four Barco ELM projectors sat at the end of four trusses reaching out from the stage, each with a moving-head mirror on the front so the image could be steered around the set pieces emerging from the centre of the "mothergrid" — a truss structure that weighed over 40 tonnes, with two circular screens mounted north and south of it.
Peter asked me to provide a camera for "The Barry Williams Show", which he wanted to use to film himself and the audience and project onto the centre scrim as he walked the suspended circle stage. That concept camera quickly grew into a five-camera PPU I custom built at XL Video, using Sony cameras split between the pit and the edges of the arena.
I engineered the first US leg, then moved into directing the cameras for the remaining tours. For the US shed run I also built a helmet camera from scratch for Peter to wear during "Digging in the Dirt".
Meat Loaf — Couldn't Have Said It Better
2003 – 2004 · Europe & Australasia
Role: Multi Camera Vision Director
I was originally booked as engineer, but the tour director didn't show up for the first show, so I was asked to direct a show I'd had no rehearsals or notes on. Flying blind, not knowing any of the songs, I pulled off a good cut — enough that after three weeks touring the UK I was asked to do the Australia/New Zealand leg too.
Meat Loaf would sit with me before each show to write graphics for me to key over the camera shots during his band intros, usually something naughty about each band member, and he'd forget what we'd written every time and be laughing his head off as each one appeared.
In New Zealand we played two nights with the Auckland Philharmonic Orchestra, where I had seven cameras and four mini cams among the orchestra, pit and FOH — giving me what the LD told me was the best-looking cut he'd ever seen. Meat was a larger-than-life character who was fantastic to work with, and this was probably my favourite tour, especially those New Zealand shows.
The Who — Quadrophenia
1996
Role: Projectionist / Cameraman
Getting to work with my favourite band growing up was a real highlight, especially as a bass player myself — my role as cameraman put me in the pit right in front of the legendary John Entwistle. Filming him play "My Generation" was a career highlight in itself; his fingers were an absolute blur through that epic bass solo.
“The technology is there to support the creative vision and, ultimately, give the audience something worth remembering.”