RAYE – A 360° Arena Tour Production by Solotech

Solotech was first approached by Pull The Pin Out Productions to support RAYE’s first arena tour, with the production requiring a company capable of delivering both the creative and technical infrastructure needed to bring RAYE’s vision to life.

A full 360° solution covering audio, lighting, video and rigging was chosen to streamline communication and workflow across the tour. By supplying audio, lighting, video and rigging as a single package, the production team could rely on one integrated technical partner throughout the run.

RAYE’s ‘This Tour May Contain New Music’ spans more than 40 shows, including six performances at London’s O2 Arena.

The show moves through four distinct performance styles: orchestral, rave, jazz club and stripped-back acoustic moments, requiring systems capable of adapting seamlessly between the different environments night after night.

With such a wide creative range throughout the set, the touring systems needed to be both adaptable and durable, capable of supporting rapid transitions in atmosphere, scale and performance style while maintaining consistency across every show.

Pull The Pin Out Productions were originally tasked with orchestrating RAYE’s creative vision and chose Solotech as the ideal technical partner to help deliver it. Challenges emerged across every area of the tour, but close collaboration between departments allowed solutions to be implemented quickly and efficiently.

Robin Conway, Solotech Senior Account Manager, agrees: “Everyone has their role to play, miss a step and the chain breaks. Fortunately, the teams here and in the US understand what it takes. As it’s all under one roof, communication is quick and the flow of information is streamlined, which makes a real difference on a production of this size.”

The full audio package centred around DiGiCo Quantum 326 and Quantum 7 consoles at FOH and monitors respectively, paired with a d&b audiotechnik SL-Series system comprising GSL main hangs, KSL side hangs and XSL outfills to achieve consistent arena-wide coverage.

The package also incorporated extensive analogue outboard from Neve, API, AMS Neve, Lexicon, Bricasti and SSL, allowing the engineering team to maintain flexibility across the shows.

The monitor system was built around a DiGiCo Quantum 7, with RAYE’s vocal chain utilising Neve 1073 preamps, Tube-Tech compression and Bricasti reverbs to maintain consistency throughout the performance.

The orchestral set-up posed its own challenges where maintaining clarity and consistency for the string section in an arena environment proved difficult. FOH engineer Matt Simmons explained how support from Solotech helped solve the issue: “Dave Shepherd from Solotech suggested string mics called Remic, from Denmark. Ever since those came into play, it’s been night and day. Being able to play with and shape each player’s characteristics is something I’ve never been able to do before in this environment. From a ‘make do and mend’ situation I now have a real abundance of options to fine-tune and create consistency between each instrument.”

RF and comms engineer Kevin Snugs also highlighted the impact of the Remic microphone solution: “We had an issue with strings and spill from the drums and PA, so we went for the Remic string mics – and they’ve been quite a game-changer. Significantly less spill, and still a very good-sounding product.”

The show’s visual identity was equally ambitious. Production and lighting designer Thomas Edwards wanted lighting and video to integrate naturally within the stage design, maintaining a clean aesthetic while still delivering the scale expected from an arena production.

Working with Solotech’s Technical Manager of Lighting, Cy Dodimead, the lighting package incorporated five flown lighting pods alongside a rig built around Acme Pixel Lines, Robe Fortes, Martin MAC Ones and Acme Tornadoes. Full-pixel workflows allowed the rig to transition fluidly between the contrasting visual styles of the show.

Edwards praised the versatility of the Pixel Lines: “They double up as truss lining, strobes, and visual eye-candy – they give us the structure, the shape, the frame.”

He added: “It’s not always about using the ‘best’ fixtures. It’s about using fixtures that will be brilliant for the job, in a quantity that makes it look as big as you want it to look in your head, on the budget you have.”

The system was controlled via two grandMA3 full-size consoles alongside an MA3 Light for technical and programming responsibilities. Edwards also praised the consoles, stating “The platform’s ability to handle large groups, complex effects and precise timing has become essential.”

Solotech supplied the complete video infrastructure for the tour, including LED processing, media servers, camera systems and playback infrastructure.

Video also played a central role in the storytelling throughout the performance. The design team wanted the screen environment to immerse audiences within the visual narrative of the show, regardless of position within the arena.

Working closely with the creative team, Solotech’s video team helped develop a custom curved LED design built around 286 ROE Carbon CB5 MKII tiles.

“We didn’t want just a flat upstage screen, we ended up designing a screen that convexed and concaved like a metaphorical hug,” explained Edwards.

The production also incorporated IMAG screens built from ROE Visual CB5 MKII panels, band risers using SACO S-Line LED panels and a seven-camera workflow combining Grass Valley systems, Sony FX3 handhelds and Panasonic PTZ cameras.

Playback and processing were handled via Disguise GX3 media servers, Brompton processing and Ross Carbonite systems.

The result was a touring production capable of shifting seamlessly between cinematic visuals, intimate performance moments and high-energy live sequences, all while maintaining a unified visual and technical language across every arena on the tour.

Production manager Stevie Reeve reflected on the success of the run: “I can’t praise them (Solotech) enough, they were amazing. In 30 years, this is one of the shows I’m most proud of. The teams delivered exactly what she (Raye) envisioned, while adding a level of gravitas and power through their own creative flair.”

Solotech would like to thank all departments involved in delivering RAYE’s first arena tour and is proud to have supported the production with a fully integrated technical solution.

Further coverage of the tour can also be found via TPi Magazine and LSi Magazine.