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TPi Magazine

The definitive international live event design, technology & production magazine and annual awards.

Launched in 1998, Total Production International (TPi) is the definitive, authoritative publication catering for the global live event production industry. The internationally distributed magazine primarily covers the application of sound, lighting, video, staging design and technologies in the creative environment of concert touring, theatre, festivals, live music venues and special events, no matter how big or small. We endeavour to cover all aspects of production support throughout the year

04/09/2026

🎪 SEPTEMBER / OCTOBER 🤡

Take That brings one of the most memorable tours to the cover of TPi #295 🗞️✨
Featuring: Lily Allen’s brings West End Girl to arenas 🎤 • Dermot Kennedy returns home for a full-circle performance 🌲• Jack Childs mixes Tom Misch 🎸 •The Streets’ crew turn venues into Noughties inner-city Birmingham 🚏• Festival Focus 🎏• Rentman prepares for the future 👷• Meet those at the forefront of the pre-vis conversation 💻• The Tronios Group looks back on over four decades of business 🔆 • Make Noise Pro Audio branches out into the rental market 🔈• Pieter Smit acquires MM Band Services 🚌• Retracing a decade of Follow-Me 🗓️• Production Futures celebrates 10 years • Highlite reveals CHIMP G3 • L-Acoustics Source Intelligence • Avolites unveils Prism 🖥️ • Jim Digby on the need for leadership training • MITC asks what responsible touring should look like? • NOWIE previews The BIG Survey • Suzi Green muses about retirement in the industry • PSA partners with on:board earth 📰• 22live’s Alex Penn and Spencer Beard tell all about new headquarters 🏢•

🔗: https://issuu.com/mondiale/docs/tpi_295_september_october_26

📸: Emma Tranter

01/09/2026

✨ The TPi Awards is back! ✨

The TPi Awards 2027 will celebrate the incredible kaleidoscope of talent across the live events industry, bringing together the people and companies who make our industry what it is.

Tickets are now on sale!
🔗 https://tpiawards.com/

📅 Monday 22 February 2027
📍 Evolution, London

Get your tickets now and join us for another unforgettable night celebrating the very best of the live events industry.

28/08/2026

Today marks five decades since Pasquale ‘Paky’ Quadri founded Claypaky with a bold idea: light could be more than illumination – it could move, transform, respond to music and create emotion. From the Golden Scan and Sharpy to B-Eye, Mythos and Xtylos, Claypaky has illuminated some of the world’s biggest stages, from the Eurovision Song Contest and the Olympic Games to Cirque du Soleil and tours by The Rolling Stones, Beyoncé, Coldplay and Metallica, among others. Now entering its next chapter under EK Lights, the company remains rooted in Seriate and continues to put innovation at the heart of its work. Happy golden anniversary, Claypaky ! 💡✨

🔗: https://www.tpimagazine.com/claypaky-celebrates-50-years-of-business/

21/08/2026

Joris Corthout, CEO and co-founder of Prismax, discusses Tomorrowland 2026: How the creative process of the theme "Consciencia" came to fruition, how he hopes the audience felt as they stepped foot on the festival grounds and how Prismax and Tomorrowland have grown side by side.

Read the full Q+A here: https://www.tpimagazine.com/bringing-tomorrowlands-consciencia-to-life/

19/08/2026

As official technical suppliers to host broadcaster ORF for the 70th anniversary edition Eurovision Song Contest (ESC) 2026, Sennheiser deployed its largest Spectera set-up to date at Vienna’s Stadthalle. This included pre-production samples of the yet-to-be-launched Spectera handheld transmitter; Riedel Communications resumed its long-standing relationship and enlisted newly acquired ARRI to capture the action.

A total of four active base stations handled around 150 live streams covering wireless microphones, in-ear monitoring and control data, in what is widely regarded as the best live sound ever achieved for ESC, delivered by technical production company Agorà. Sennheiser’s technical application engineering (TAE) team, led by Jonas Næsby and Volker Schmitt, were on site to support the wideband system and the new workflows it enables.

Read the full story in the new issue and via the link in our bio 🔗

Photo: Sennheiser

17/08/2026

In the past few years, we’ve seen several female pop acts step up to arena and stadium touring. From Tate McRae to Zara Larsson, Olivia Rodrigo to Chappell Roan, many of these names were not part of mainstream consciousness five years ago. Among this new crop of up-and-coming stars now gaining huge popularity, Olivia Dean stands in a league of her own.

Callum Lloyd-Williams, the engineer Olivia Dean's live shows, walks through his current setup, including his trusty Yamaha RIVAGE PM5, for the singer’s recent arena tour.

Read the full story in the new issue of TPi.

Photo: Richie Gough

14/08/2026

On 9 July 2026, the industry’s finest came together to support Backup Tech. Sponsored by 5 Star Cases, Autograph, Catalyst Finance, DBpixelhouse, d&b audiotechnik, IPS, PLASA, NEXO, The Technical Department and Unusual Rigging, a staggering £50K was raised, matching last year’s record-breaking total.

The Village Fete’s brand-new venue, Whilton Mill Karting Circuit, delivered high-octane racing and even more space for the Flight Case Relay, Bake Off and Veg Off competitions, all overseen by the ever-upstanding Parish Council. Stew Hume, Managing Editor of TPi Magazine and long -time supporter of Backup, was part of the council and took his duties very seriously.

“I'm here at the Village Fete to judge the cake competition and be part of the Parish Council,” he explained. “So many people put their heart and soul into this industry to put on events for everyone, but they're not always able to access the support they need. Thankfully, Backup is there to help people when they fall down.”

🔗 in bio

📸: Backup Tech

13/08/2026

Viva La Visa’s Andy Corrigan documents the challenges of worldwide travel and how supporting evidence on visas is increasing.

In 2022, when Viva La Visa last tackled this subject for TPi, touring was navigating a perfect storm of Brexit bureaucracy and post-Covid restart – and nobody had the full picture yet. The biggest change since 2022 is probably that the touring industry has stopped thinking of visas and work permits as a temporary “post-pandemic problem” and accepted them as part of the normal advance process. The panic has subsided a little, but the workload certainly hasn’t.

Read the full story in the new issue and via the link in our bio 🔗

Photo: Callan Halliwell

11/08/2026

Wireless technology is now fundamental to modern live production. From radio microphones and in-ear monitoring systems to comms, tracking and data transmission, the demands placed on RF systems across touring, festivals and large-scale events continue to grow. At the same time, the amount of available spectrum has steadily reduced, creating it increasingly complex to deliver reliable wireless performance.For engineers who have worked across that transition, the change is not simply technical. It represents a broader shift in how wireless is understood within productions. What was once a manageable part of the audio system has become critical infrastructure and a layer that now underpins the entire show.

This shift has not happened in isolation. It reflects decades of technical evolution across live production, from entirely wired analogue systems through to today’s highly interdependent, spectrum-reliant environments. In its Centennial year, RG Jones is uniquely placed within the industry and benefitting from that history, its staff, past and present, have a shared knowledge of how expectations, tolerance and working practices have changed over time. It is this understanding that sits behind the perspectives shared here.

To explore how this has played out in practice, RG Jones Pro Audio Commercial Manager, Sam Thomas, joined RG Jones alumni, FOH Engineer Steve Carr, Monitor Engineer Becky Pell and Mission Control’s Ali Viles to reflect on how spectrum pressure is reshaping the way wireless is planned, managed and relied upon at live events.

07/08/2026

No matter the industry, innovation often comes from an outsider’s perspective on established frameworks. Given the increasingly complex nature of live touring, many companies are looking to break the long-held convention of ‘how things should be done’ and offer an alternative. One such company that seems keen to explore new methods of production design and workflows is Zeal.

In the relatively short time since it was founded, the company has been heavily involved in designing shows for the likes of Tom Grennan, Barry Can’t Swim, and Bicep, to name but a few. Rather than simply being a rental house or a design agency, Zeal’s USP is that it handles everything from design through to equipment provision, offering a more holistic service to clients. With the company celebrating its move to a new warehouse, TPi sat down with Zeal’s Steve Hough, to learn about the company’s unique offering and how it is preparing for a busy summer season 🗣️

Read the full story in the latest issue of TPi Magazine 🗞️

🔗 : https://www.tpimagazine.com/zeal-a-new-design-rental-paradigm/

📸: 1. Luke Dyson

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