Hardly an issue of TPi goes by where one of our editorial team has not sat down with one of the many faces of the global Solotech family to discuss a recent project. Take consecutive cover stories such as Justin Timberlake’s The Forget Tomorrow Tour and Adele’s record-breaking Live in Munich, for example, the company has been supplying technical equipment and expertise for some of the most discussed shows of the past 12 months. With 2024 ending, TPi was keen to catch up with the company to hear about this bumper year.
Three key members of the Live Production management team were in attendance at THE Conference: Live at Lititz. Solotech’s Senior Vice President of Live Productions, Lee Moro; Director of Business Development for the Live Productions Division, Robert Kennedy; and Director of Special Projects, Ian ‘Woody’ Woodall gathered around Rock Lititz’s Per Diem bar to ruminate on an impressive calendar year.
“There’s been a huge list of achievements,” Kennedy stated to TPi. “We saw a surge coming out of the COVID-19 pandemic when artists were looking to come back on the road, which pushed us as a vendor finding ways to support them. Between new enquiries and existing clients, it was a real challenge to juggle all commitments.”
However, with the proceeding surge of 2022 and 2023, Kennedy shared the company’s desire to “re-balance the flow” of touring. “Artists are trying to re-establish their work-life balance, as a lot of them have been on the road for the past few years. As a result, I think we’ll see a reduction of artists out at the same time.”
It’s a trend that Moro believes is vital, not just for Solotech, but the wider entire entertainment industry. “The pace we’ve been operating at is extraordinary. Although I’m incredibly proud of what we have achieved during this time, we’re seeing a natural shift as the industry adapts. It’s about finding balance and sustainability, both for the artists and the teams that support them.”
The Senior Vice President went on to express how, in previous years, rental houses like Solotech used to benefit from ‘down periods’ where they would be able to sort equipment and consolidate – something which he is hoping will return. “This industry has always been cyclical, and I think we’re starting to see those rhythms return. It’s not about slowing down; it’s about building longevity for the future.”
A NEW TYPE OF SHOW
Solotech has a well-documented history of working on Las Vegas-style residencies from Cirque du Soleil to other musical performances in the famed entertainment city. Yet in the past few years, the vendor has been involved in other residency-style shows thousands of miles away from the ‘Entertainment Capital of the World’ that are equally worth noting – ABBA Voyage and Adele Live in Munich – both of which pushed the boundaries of video in the live events space.
Having worked on both projects, Woody shared his thoughts: “I think these types of shows bring up interesting points such as sustainability. I appreciate there can be mixed views on this topic as audiences are still having to travel to the show. However, my argument would be that when working on a stadium show, you are still getting same level of audience travel and at least amid these ‘residencies’ you are not moving equipment from show to show.”
He went on to state how he did not see this type of show ‘replacing’ touring but added another route when it came to approaching a live show. “Artists also need a chance to recharge,” he noted, adding that the residency setup allows artists to achieve more balance.
Naturally, projects on the scale of ABBA Voyage and Adele Live in Munich require a greater deal of onboarding with the manufacturers involved. The upshot of this relationship is vendors like Solotech can develop a direct line of communication with manufacturers about what they require to facilitate the project and vice-versa.
“Currently, we have more ‘Solotech versions’ of various pieces of hardware than we have ever had, where manufacturers have made slight ‘tweaks’ to software and hardware products for a project,” Woody commented.
“A good example of this is a feature developed for Adele in Munich which will now be an element we offer moving forward.”
Moro further commented on the close relationship Solotech shares with various brands in the sector. “We like to collaborate with manufacturers to let them know what we need their products to do, which in turn, gives them such a valuable insight into what the market is asking for.”
On the topic of manufacturers, Kennedy noted the greater level of choice that is now available in the market – specifically, when it comes to lighting. “Around 15 years ago, there were a few major lighting brands that were delivering at a professional level, but that next tier down has done a fantastic job in recent years gaining designers’ trust.”
He went on to explain how this market proliferation has affected Solotech’s purchasing choice. “You can never stock everything, and the goal is to have depth of inventory of three to four select brands,” Kennedy said, citing how the other branches of Solotech’s operation provides further flexibility in its purchasing power. “The other half of our business is systems integration, which effectively means that we can move product very quickly.”
He went on to discuss a recurring trend in the live market where a tour might request a “unique type of fixture” that produces a specific effect, explaining that such products often have a short rental lifespan in the touring market. “Essentially, people don’t want to see the same type of look several years later,” he stated. “To overcome this, we can funnel these solutions into different market sectors and geographic territories.”
TURNKEY SOLUTIONS
As one of the live events industry’s largest turnkey providers, TPi was eager to speak to three representatives about the advantage of facilitating multiple departments of a project. “We’ve delivered a 360° offering for a long time – far before video was such a focal point of a live event,” commented Kennedy, expressing the pressure that can come with delivering a turnkey service. “One complaint we often hear from the industry on the topic of 360° providers can be that they are very ‘departmentalised’. You might approach a single salesperson but then that individual must go to all the individual departments separately.”
To combat this, Kennedy spoke of Solotech’s methodology of “leveraging project management departments along with software platforms to effectively disseminate information to our wider team,” ensuring that all verticals work cohesively together. He continued: “We realised long ago that bringing in senior members of the audio, lighting and video teams early on when a client makes an enquiry was key to a successful delivery and ensuring that there is continued conversation after the fact.”
Moro also highlighted the importance of both internal and client communication: “It’s all about what the client is looking for and finding the best solution – which may or may not have us looking after multiple departments on a show,” he stated, listing the advantages a 360° offering Solotech can provide. “Projects gain real efficiencies, from optimising truck space to sharing rigging equipment, all of which help deliver a smoother, more cost-effective result.” “That all said,” interjected Woody. “We never want to force a 360° package on clients.”
OPEN TO ALL
To close our conversation, the Solotech trio shared how the company is looking to progress in 2025. “When you look at the list of shows we were involved in – including the likes of Adele in Munich, Harry Styles’ Love On Tour [see TPi #276], P!nk’s Summer Carnival World Tour and Taylor Swift’s Eras Tour – if you were a young band or production, you might feel that Solotech might be unattainable, which frankly, is not the case,” emphasised Woody. “Being involved with some of the biggest names in live events over the past 12 months has encouraged us to become more approachable to all levels.”
Kennedy concurred: “We deal with several acts such as Wilco, who we have serviced for several years,” he commented. “We often have production managers wanting to work with us, while making the point that their artist might not be at stadium level. However, we always want to have those conversations – if we have the right equipment and we’re the right fit, we really want to help.”
Speaking to the trio, it appears that what Solotech brings to the table is far more than just a large inventory of stock. “It’s also the global support, expertise and wealth of knowledge we can bring to any project,” said Moro. “But more than that, it’s the people behind the scenes – our skilled crew, staff, and creative teams – who make it all possible. Their passion, precision and deep understanding of live production set us apart, as we attempt to ensure every show exceeds expectations.”
Crew welfare is another key priority for Moro. “It’s about ensuring people have the right tools and resources to succeed,” added Woody. Moro elaborated: “One of the greatest improvements we can make as an industry is giving crews more time to prepare for large-scale shows. More time allows for better planning, promotes sustainability, and helps control costs. Most importantly, it protects the well-being of the crew. If someone plays a vital role in a show’s success, it’s only fair to give them advance notice about a major project – especially one that could keep them away from home for months.”
To further support crew welfare, Solotech provides freelancers access to mental health, first aid courses and Global Health Insurance, offering peace of mind for crew while on the road on tour.
Drawing a line under 2024, it appears 2025 will shape up to be another milestone year for Solotech, which will continue its bid to not only meet and exceed the demands of its clientele but ensure the longevity of the live entertainment sector at large; supporting projects at all levels and futureproofing those behind the scenes.
Words: Stew Hume
Photos: Stufish Entertainment Architects and Solotech
