EDITOR’S WELCOME 3
EDITORIAL Editor Verity Butler +44 (0) 1223 492246 veritybutler@bright.uk.com Senior staff writer Chief sub editor Matthew Winney Junior sub editors Tabitha John Kezia Kurtz Editorial director Nicola Foley ADVERTISING Sales director Sam Scott-Smith +44 (0) 1223 499457 +44 (0) 7875 711967 samscott-smith@bright.uk.com Katie Kasperson Features writer Oliver Webb +44 (0) 1223 499462 +44 (0) 7376 665779 emmastevens@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer and ad production Holly May Sales manager Emma Stevens PUBLISHING Managing director Andy Brogden FOLLOW US @livemagsocial linkedin.com/company/ livemagsocial MEDIA PARTNERS
V alued at around $146 billion in 2025, and projected to continue to grow significantly, it’s fair to say the global immersive entertainment business is well and truly booming. This, as it happens, is great news for the pro AV industry, which has responded to the success through the innovation of increasingly complex live experience technologies and solutions. The immersive race is certainly on and, given its rate of development, can feel difficult to keep up with. Our new issue is here to help on that front; aiming to dig a little deeper into the immersive landscape by discussing precisely the scale of pro AV’s contribution. From the reimagining of retail and hospitality spaces to the broadcast-grade studios that used to be known more commonly as ‘offices’, experience technology is touching almost every corner of our daily lives. And then, of course, there is the immersified landscape of live entertainment and theatre. As our cover story, which stomps behind the curtain of Dinosaur World Live, exposes: just reading lines from a script and following cues doesn’t quite cut it in theatre anymore. Find out why on page 14. This issue also features the AV scoop on two very different, but equally empowering musicians’ recent world tours. We have a behind-the-scenes look at Dave’s The Boy Who Played the Harp , which uses advanced LED and staging technology to help build a powerful narrative of black experience in the UK. Then there’s a piece on Florence + The Machine’s Everybody Scream tour on page 36, which featured a cleverly thought-out sound system that the band used to bring a liberating story of survival to audiences worldwide. Plus, our round table sees five experts from various sectors discuss the art of ‘invisible AV’, and how teams can deliver subtle yet powerful AV tech, in order to provide that crucial believability. Finally, if you’re heading to InfoComm next month, then be sure to give our annual show guide on page 74 a good read over. We’ve highlighted the booths, talks and panels you won’t want to be missing out on. And, if you’re at the show and have an AV or live production story worth sharing, please feel free to drop me a line and we can get a meeting booked in!
Tap into raw
emotions on page 36 , as we explore the AV behind Florence + the Machine’s world tour
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Verity Butler Editor veritybutler@bright.uk.com
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