BeWunder took home the Inavation Award for Best Live Event with its work at Dubai 7s in 2023. The company built on the success of that event with a bigger and better iteration in 2024. Anna Mitchell reports.
The Emirates Dubai 7s is more than just a sporting event, it’s a festival of sound, light, and spectacle that transforms a desert landscape into a multi-stage, multi-venue entertainment hub.
With between 80,000 and 100,000 attendees across three days, four stages hosting world-class performers, and a stadium built from scratch in 2024, the sheer scale of the technical deployment is staggering.
At the heart of this colossal operation was BeWunder, the company responsible for audio, video, lighting, rigging, event infrastructure, and event communications across all stages and activations. Overseeing it all was project manager Nigel Ranasinghe whose foresight, meticulous planning, and deep technical expertise ensured that the entire production ran with remarkable smoothness.
Nigel Ranasinghe, project manager, BeWunder
But behind the seamless execution lay a challenge of epic proportions: orchestrating four major performance spaces, 18 separate activations, multiple sporting venues, and a main stadium that required a crystal-clear audio system - all under the unforgiving conditions of the Dubai desert.
A temporary AV empire in the desert
Unlike sporting events held in established venues, Dubai 7s is built from scratch every year. While the main stadium is a semi-permanent scaffolding structure, every other stage, activation zone, and infrastructure component must be erected from the ground up.
Nigel and his team were tasked with delivering a full AVL scope, covering everything from rugby pitches to entertainment stages, to crowd engagement zones and supporting additional sporting events of paddle, netball and cricket.
Key areas included four performance stages: Frequency on 8, Rugby Rocks, Brew Fest, and Beats on 2 as well as a stadium-wide audio and comms system for live matches, opening ceremonies, and entertainment acts.
“The planning alone took months,” Nigel explains. “We weren’t just deploying AV; we were designing and building an entire ecosystem from scratch.”
Kicking off at Pitch 1
One of the biggest technical challenges was delivering clear, impactful audio across Pitch 1, the main stadium. A loud, open-air venue with a scaffolding structure, it presented significant acoustical challenges.
“Previously, the sound was muddy and lacked definition,” Nigel explains. “We worked closely with the stadium’s scaffolding team, modelled the space in 3D, and designed the audio system using a combination of Vectorworks and Soundvision which gave us a clear prediction of what the system would sound like when deployed.”
The stadium's PA system was designed for extensive coverage and high-fidelity audio, ensuring clear and consistent sound throughout the venue. The system featured 50 L-Acoustics A15 Wide speakers which, in a first for Dubai 7s, were flown from the grandstands. These were complemented by 46 L-Acoustics X8 passive 2-way coaxial speakers. Additional flexibility came from 16 L-Acoustics X12 speakers. To drive the system, 13 L-Acoustics LA12X 4-channel amplifiers and 16 L-Acoustics LA4X amplifiers delivered high-performance power and DSP control.
Pitch 1 was networked using redundant Luminex switches, placed in the grandstands around the stadium.
At Front of House, the control setup was built around a Yamaha QL5 digital console. Shure radio mics and in-ear monitors were provided for performers that took to the pitch including MCs, cheerleaders and even a choir.
The stadium’s communications system was built around a Riedel Communications Bolero wireless intercom setup, ensuring seamless coordination for production crews, event staff, and technical teams. Twenty-five Riedel BL-BPK-1006-19 Bolero beltpacks provided mobile, high-quality intercom access.
To maintain reliable wireless connectivity, five Riedel BL-ANT-1010-19G-EU Bolero antennas were strategically placed throughout the stadium, ensuring robust signal coverage. This setup provided a flexible, high-performance communication infrastructure essential for smooth stadium operations.
Riedel was used across the entire site with Nigel saying: “Bolero is my go-to comms system. It’s rock solid, and when you’re dealing with four stages, multiple changeovers, and live sports, you can’t afford any delays.”
Frequency on 8: The ultimate stage
At the heart of Dubai7s’ entertainment lineup was Frequency on 8, the festival’s flagship stage. Designed as a statement piece, the stage was dominated by a 20m x 6m, 4.8mm pixel pitch Absen LED display framed by an extensive lighting rig to create a visual representation of sound waves in motion, bringing the theme of ‘Frequency’ to life. A Follow-Me tracking system was installed and integrated with Martin MAC Ultra Performance moving lights to always keep a spotlight on performers.
However, the stage design underwent a major last-minute transformation to accommodate headliner Stormzy.
"Stormzy is 6ft 5-in and the original stage design simply didn’t work for his performance style," Nigel explains. "The existing stage was 28m wide and 8m deep. We had to redesign the stage entrance and increase the performance space with an 18m-wide and 6m-deep stage extension, all while ensuring it worked seamlessly with other acts."
To handle high-energy performances on this stage, BeWunder deployed an L-Acoustics K2 rig with KS28 subwoofers and Kara II for out- and front-fill coverage. Mixing was managed with Avid S6L and Yamaha QL5 consoles, while monitor world featured a DiGiCo Quantum 7.
“Stormzy’s team flew in their own backline from the UK, which arrived just a day before soundcheck,” Nigel recalls. “We had to move fast, but everything came together perfectly in the end.”
Three remote controlled Sony HD broadcast cameras captured the action at Frequency on 8. A Blackmagic Atem 2 M/E switcher and recorder handled the video feeds to show all the action on screens within the venue as well as recording for the organiser’s promotional activities.
Rugby Rocks: Classic rock, modern tech
Rugby Rocks, the festival’s dedicated rock music stage, required a different approach. BeWunder crafted a lighting design that evoked the nostalgic aesthetic of classic rock and combined static and dynamic lighting elements as well as atmospheric effects. An MA Lighting GrandMA3 Light console handled programming and live operation.
The audio system was built around an L-Acoustics Kara II rig with KS21 subwoofers. Powering the system were four L-Acoustics LA-RAK II AVB amplifiers, delivering high-efficiency performance and DSP control for precise system tuning. An L-Acoustics system was also used for on-stage monitoring.
Artists used Shure microphones and in-ear monitors, with mixing handled by a Yamaha CL5 with RIO 32/24 D2, an Avid S6L with a Stage64, and a DiGiCo Quantum 338 with an SDRack. An Apple Mac Mini served as the backbone for system management and show control, integrating with QLab Audio Pro, a software tool for playback, automation, and effects.
Brew Fest and Beats on 2
For Brew Fest, BeWunder switched to an Adamson PA system instead of L-Acoustics. “It was an artist preference,” Nigel says. “The performers at Brew Fest were mostly local acts and many specifically requested Adamson. L-Acoustics was our primary choice across the site and easiest to sell to most A-list artists, but we wanted to cater to the specific needs at Brew Fest.”
The main PA comprised eight Adamson S10 2-way 10-in full-range line array speakers. Low-end reinforcement came from four Adamson S119 19-in subwoofers. Four Adamson S10P full-range point source speakers were deployed for fills or supplementary coverage. On stage, four Adamson M12 lightweight stage monitors provided monitoring for performers.
Powering the system were two Lab Gruppen PLM 12K44 amplifiers. Signal distribution was managed through an Adamson E-Rack, housing essential system processing and connectivity.
At the heart of the setup, a Yamaha DM7 digital mixer provided control over the mix while a Yamaha Rio3224-D2 Dante stage box ensured digital connectivity. Performers used a Shure QLX-D digital wireless mic system.
The lighting rig made extensive use of Cyclops fixtures including fresnels, spots, moving head spots, strobes and PARs controlled with an Avolites Tiger Touch II lighting console.
Meanwhile, Beats on 2 ran with a streamlined L-Acoustics setup, optimised for rapid changeovers between DJ sets and live performances.
Precision, timing, and a 6am start
With performances running from morning until midnight, BeWunder’s team operated in shifts, starting at 6am each day. More than 60 crew members worked across the site during the installation phase, while a team of 40 were deployed during the show, executing back-to-back performances, rapid changeovers, and intricate technical setups.
Nigel’s methodical approach - locking in suppliers early, confirming equipment months in advance, and pre-planning every crew movement - meant that when show day arrived, the execution was seamless. Standardising on the kit deployment was key to ensuring reliable kit provision, back-ups and ease of deployment.
L-Acoustics audio systems were used extensively and the PA systems for Pitch 1, Frequency on 8 and Rugby Rocks were run through redundant AVB using the L-Acoustics P1. Networking for all areas used Luminex switches.
Despite the immense complexity of the operation, everything ran on schedule.
"The biggest challenge was Saturday, we had four stages running simultaneously with Stormzy on Frequency on 8, and three other stages active at the same time. That had never been done before at Dubai7s," Nigel says. "But we made it happen." The pressure didn’t let up on Sunday either when the second headliner, the Sugababes took to the stage.
As the 2024 edition of Dubai7s wrapped up, BeWunder had not only met expectations but exceeded them. The event’s scale, technical complexity, and execution were hailed as the best in the tournament’s history.
So successful was the delivery that BeWunder has already begun planning for an even bigger 2025 edition, with additional stages and activations in the works.
“Every year, we push the boundaries further,” Nigel says. “We’re already thinking about what’s next.”
For an event that started with little more than scaffolding in the desert, the transformation has been nothing short of spectacular.
Tech-Spec
Audio
Adamson S-Series loudspeakers and subwoofers, M12 stage monitors and E-Rack
Avid S6L digital mixers
DiGiCo Quantum digital mixing consoles
König and Meyer broadcast desk arms and speaker stands
Lab Gruppen PLM amplifiers
L-Acoustics P1 processers, A15 Wide, X Series and Kara II speakers; KS28 subwoofers; and LA-RAK II AVB, LA12X and LA4X amplifiers
Luminex switches
Mackie Mix8 8-channel compact mixer
Pioneer DJ mixer and CDJ- 2000 Nexus IIs
RCF HD 35-A speakers
Riedel Communications Bolero wireless intercom systems
Shure QLX-D digital wireless mic system, Axient Spectrum manager, SM58 mics, radio mics and in-ear monitors
Yamaha DM7, CL5 and QL Series consoles, MSP3 speakers and Rio stage boxes
Show control
Apple Mac Minis
QLab Audio Pro
Lighting and effects
Avolites Tiger Touch II lighting console
CLF Ares, Yara, LEDbar Pro, Poseidon lights
Cyclops Lighting fresnels, spots, moving head spots, strobes and PARs
Desisti SuperLED F4.7 fresnel lighting
Follow-Me tracking system
Luminex LumiNode 12 and GigaCore 12
Madrix Luna network node
MA Lighting GrandMA 3 lighting console
Martin MAC Ultra Performance moving lights
MDG Atmosphere haze generator
Robe Patt 2013 lights
Video
Absen 4.8mm LED display
Blackmagic Atem switcher and recorder
Sony HD broadcast cameras
Swit monitors