Sion Under the Stars 2026: Behind the Scenes of a Large-Scale Technical Setup

A New Collaboration with Live Music Production

For "Sion Under the Stars," SKYNIGHT is once again supporting Live Music Production, the company organizing the festival.

This collaboration is part of a partnership that has spanned more than 30 years between the two companies. Over the years, the teams have worked together on numerous events and musical productions, both in Switzerland and on other stages.

This continuity makes it easier to prepare particularly demanding productions. A shared understanding of working methods, the unique challenges of live performance, and the needs of productions allows us to plan ahead for the various stages of the project.

At a festival of this scale, coordination begins well before the first pieces of equipment arrive on site. Technical plans, the artists’ needs, stage constraints, and staffing requirements must all be carefully considered in advance in order to create a cohesive setup.

The teams can then organize the setup, assign responsibilities, and prepare the systems that will be used during the three evenings of concerts.

Seven days of events surrounding the festival

The part visible to the public represents only one stage of the work carried out. For every three days of operations, the SKYNIGHT teams work for a full week at the Plaine de Tourbillon:

• Three days of setup, with 25 people working on it every day;
• Three days of operations, also staffed by a team of 25 people per day;
• A day of dismantling, bringing together between 25 and 30 people.

Each phase has different objectives, but all require close coordination among the sound, lighting, video, rigging, and power teams.

This phase also includes laying several kilometers of cable, installing electrical distribution systems, and setting up the networks needed to transmit audio and video signals.

Once the equipment is connected, the teams proceed to configure and program it. The projectors are addressed and tested, the sound systems are adjusted, the LED screens are calibrated, and the video equipment is integrated into the control room.

The 3D visualizer used for lighting also makes it possible to prepare part of the programming and check the positions before the first rehearsals on stage.

Stage managers control the front-of-house lighting and the monitor feeds for the performers. The lighting crews are responsible for programming and executing the various lighting sequences. At the same time, camera operators, video operators, and LED technicians produce and display images on the screens installed around the stage.

This operation relies on constant communication between the various stations. Sound, lighting, and video must change in sync, while adhering to the precise sequence of each concert.

Technicians are also on hand to monitor the networks, power supplies, and suspended equipment. Their presence ensures a rapid response when needed, without interrupting the show.

This phase will require the same level of precision as the installation. The suspended equipment will be removed in a specific order, while the various teams will coordinate their efforts to work efficiently and safely.

Over the course of a single day, the stage and technical areas will be gradually cleared, bringing to a close a full week of work at the festival.

A lighting system designed to support every artist

Lighting plays a central role in concert staging. It helps structure the space, highlight the key moments of each performance, and tailor the visual atmosphere to the artists’ unique style.

For this 11th edition of “Sion sous les étoiles,” the SKYNIGHT teams deployed more than 250 projectors and lighting equipment on site.

The program includes, in particular:

• 30 ROBE BMFL Blade motorized projectors, used to produce precise beams and create cutouts;
• 62 ClayPaky HY B-EYE K25, allowing for a combination of wash, beam, and pixel mapping effects;
• 14 iForte SPEAKER, designed to meet the needs for power and precision on a large stage;
• 26 Ayrton Cobra, used to create light beams visible over long distances;
• 40 Chauvet Color Strike M, combining strobe effects and light panels;
• 36 Briteq BT-Blinder2 IP, supplemented by Cameo, Astera, Cromatic, and SE Lighting projectors.

Two lawsuits Robert Juliat Lancelot and a remote-controlled system RoboSpot also make it possible to track the performers as they move around the stage.

The lighting is complemented by three MDG fog machines. The fog helps to make the light beams more visible and enhance the sense of depth in the light installations, without obscuring the artists or interfering with the video recording.

The entire system is controlled from three consoles grandMA3 light. These consoles allow operators to program effects, prepare various sequences, and adapt to the artistic teams’ requests both during rehearsals and concerts.

In the run-up to the event, using a 3D visualizer makes it easier to prepare the program. This allows teams to simulate positions, colors, and movements before the system is fully deployed on-site.

In addition to this installation, the necessary wiring, electrical distribution, and rigging are required to safely power, control, and suspend the various pieces of equipment.

Meyer Sound audio coverage for the stage and the Village

The sound system was designed to provide even coverage of the Plaine de Tourbillon, while maintaining the precision required for the musical performances held during the festival.

The main sound system is based on a setup Meyer Sound system consisting of:

• 32 Panther L speakers ;
• 20 Panther W speakers ;
• 24 1100-LFC subwoofers ;
• 10 UPQ-1P speakers.

The Panther L and W speakers are positioned to cover different sections of the audience. The subwoofers boost the low frequencies, while the UPQ-1P speakers supplement the sound in areas requiring additional coverage.

The system is operated from two digital consoles, one Yamaha DM7 and a Yamaha QL1, connected to a Dante interface. This network allows audio signals to be transmitted between the various control rooms and equipment while minimizing the number of analog connections.

Equipment tailored to artists and productions

The section dedicated to artists also includes:

• 12 handheld wireless microphones;
• 8 Shure Axient headset microphones;
• an ear monitor kit designed for 12 people;
• microphone kits designed for bands;
• a kit specifically designed for DJs.

This equipment is set up based on the technical specifications received in advance. During sound checks, the teams adjust the levels, monitor levels, and frequencies to meet the needs of each performance.

Coordinating with the artists’ stage managers and technicians allows us to quickly implement different setups, even when set changes must be made on a tight schedule.

A broadcast dedicated to the Village

The Festival Village has its own sound system. It consists of 12 Meyer Sound Lina speakers and one 2100-LFC.

This system allows for sound reinforcement in this space independently of the main stage and enables the sound levels to be adjusted to suit its specific use.

As with the Main Stage, the system includes the cabling, networks, electrical distribution, and rigging components necessary for its operation.

Nearly 200 m² of LED screens and 4K video capture

Video allows the audience to follow the performers, even from the areas farthest from the stage. It also contributes to the visual identity of concerts by broadcasting live footage, graphic content, and elements prepared by the production team.

The display installed in Sion under the stars covers nearly 200 m² of LED screens.

It consists of four main areas:

• a left side screen measuring 8 meters by 5 meters ;
• a right-side screen measuring 8 meters by 5 meters ;
• an IMAG screen measuring 5 meters by 3 meters, installed in the control room facing the stage;
• a stage backdrop LED wall measuring 15 meters by 7 meters.

The two side screens use panels Artixium Beryl XL 4.8panels, while the monitor in the control room uses an Artixium Beryl S 4.8.

The stage wall is made of slabs Artixium Orion 2.0 3.9. Its resolution and surface area allow for the display of large-scale visual content behind the performers.

Three broadcast cameras to cover the concerts

The recording is handled by three cameras Panasonic AK-UC4000GSJ. This broadcast equipment produces 4K images suitable for display on large LED screens.

Cameramen follow the performers and capture key moments of the concerts from various vantage points around the stage. The footage is then transmitted to the control room, where it is selected and edited live.

The program also includes:

• a 4K mixer;
• a mixer Analog Way Aquilon C 4K ;
• a 4K video processing rack;
• a UCU600 4K control rack;
• the screens needed for control room monitoring.

Displaying content on the various LED walls also requires a fiber-optic network, control systems, an appropriate power distribution system, and cabling capable of carrying signals throughout the entire site.

During production, video crews must coordinate live footage with graphic content and the specific requirements of each production. As a result, the visuals can vary from one concert to the next and be integrated into the stage design created by the artists.

Just under 100 motors for the Main Stage rigging

Rigging refers to the structures and equipment used to suspend lighting, sound, and video systems, as well as various stage elements.

For the Main Stage at "Sion sous les étoiles," the setup includes just under 100 motors, as well as trusses in 300, 400, and 500 sections.

These structures must support several metric tons of equipment distributed above and around the stage. Each suspension point is designed based on the expected load, its location, and the structural constraints of the infrastructure.

In particular, the teams are responsible for:

• the installation of engines and decks;
• the installation of sound, lighting, and video systems;
• the installation of valances and curtains;
• the electrical power supply required for suspended equipment;
• checking the various points during installation and operation.

Rigging is a less visible part of the setup, but it plays a crucial role in organizing the stage. It allows equipment to be positioned at the intended height and angle, while ensuring the necessary safety conditions are maintained throughout the event.

Its installation must also be coordinated with the other departments. The systems are set up in a specific order to allow the lighting, sound, and video teams to gradually connect and test their equipment.

During setup, each team must proceed while taking the work of the other teams into account. For example, the hoisting of structures determines the installation of projectors, speakers, and screens. The cabling must then be organized to connect the equipment to the control rooms without obstructing traffic or interfering with other installations.

During rehearsals, coordination continues between the sound, lighting, and video consoles. Settings are adjusted to meet the production’s requirements, while final tweaks are made before the audience arrives.

During concerts, the teams remain in constant communication. This organizational structure allows them to monitor the progress of the show and take swift action if a change or verification is needed.

Each profession thus retains its own responsibilities while participating in a shared system.

Three evenings planned collaboratively

By the time the public arrives at the Plaine de Tourbillon, most of the preparatory work has already been completed.

The setups are in place, the sound systems are adjusted, the screens are calibrated, and the lighting consoles have been programmed. However, we still need to support each artist and fine-tune the setup in real time over the course of the three evenings.

The sound system must remain consistent throughout the entire venue. The lighting follows the rhythm of the songs and the stage design choices. The footage is selected in the control room before being displayed on the screens. At the same time, the crews monitor the networks, power supplies, and suspended structures.

This coordination brings together the various technical components to create a single experience.

Behind every concert, there are several days of preparation, changes to the setup, numerous adjustments, and the ongoing presence of the teams on site.

More than 30 years of collaboration with Live Music Production

This 11th edition of "Sion sous les étoiles" is part of a long-standing collaboration between SKYNIGHT and Live Music Production.

For more than 30 years, the two companies have been working together on concerts, festivals, and various musical productions. This long-standing partnership allows them to develop setups tailored to the needs of each event and to refine their technical solutions as projects evolve.

Throughout the three evenings, the teams remain fully engaged in supporting the artists, operating the equipment, and ensuring that each concert runs smoothly.

SKYNIGHT would like to thank Live Music Production for its continued trust and for this partnership, which has lasted for more than 30 years.

Congratulations to all the technical teams and everyone working on the ground. We wish the artists, crews, and audience of “Sion sous les étoiles” a wonderful rest of the festival.