New York, NY (November 19, 2025)—When Oasis first started filling stadiums in the mid-90s, point-source systems were still the standard, ensuring that each side of the stage sported a proverbial wonderwall of loudspeakers. By the turn of the millennium, however, line arrays had become the format of choice—a concept proven and championed by L-Acoustics. With that in mind, it was no surprise that Britannia Row fielded a sizable L-Acoustics P.A. based around K1 and K2 speakers.
“A lot of thought has been put into how the PA interacts with what goes on on-stage,” said co-FOH engineer Sam Parker. “Liam’s not a fan of too much low end up there and we’ve done our best to try and steer that away from his position to a lower frequency and ensure we’re not flooding the stage.”
While the tour ships the control package worldwide, production manager Tony Gittins advocated that the sheer amount of PA needed for eager audiences, would come from Britannia Row / Clair Global for global feasibility.
“On my part, it was a very easy decision to make, because of my long-term relationship with Britannia Row,” said co-FOH engineer Dan Lewis. “I’ve known [account executive] Dave Compton and Josh Lloyd, who designed the P.A., for many years. Sam used L-Acoustics products on Liam’s last solo tour with Skan PA, so it all slotted into place rather quickly knowing that Britannia Row would undertake looking after the K1/K2 system.
“Working with a team we’ve known for a long time, and whose opinions we trust on everything—including who they bring out on the road—makes everything easier. I’d never worked with Ben Webb, our systems engineer before, but he’s smashing it out of the park. We’ve got an all-star cast out here. That’s been very evident during load-ins; there’s no flapping, no shouting, no running. It’s cool, calm and that’s just one of the reasons to go with Britannia Row; you know you’ll get that atmosphere.
“Plus, as Urban Audio, I don’t have to worry about the P.A. pressure and that’s where Clair Global really swings into action; we know we’re both doing a good job. I’ve known Dave Compton for so long, that once we had the agreement in place of where the dividing line would be and what we’d need from each other for us to make this work perfectly, we’ve gotten on with it.”
Britannia Row’s resident system designer, Josh Lloyd, is no stranger to Oasis’s tour sound either, having been the band’s Monitor Tech pre-split. He notes how the industry has grown up since the band’s earlier days: “On a personal level, it’s so nice to be involved with Oasis again. 20 years ago, we were really pleased with what we achieved on their tours, but we just know so much more as an industry now. Audio technology has really matured and what we can design has really come a long way.
“It wasn’t until we got to the first show into Cardiff and flew the P.A. that we knew our design had really paid off,” Lloyd continued. “Being able to model everything in SoundVision, L-Acoustics’ modelling software, is a huge advantage, but the reality is, we don’t know how a system will perform on site with weather, venue acoustics or how it will interact in that space on the day, until we’re there.
“Dan and Sam have got a great understanding of what the band are after,” he added. “It’s always nice to work with FOH engineers who have a clear direction in terms of what they need out of the P.A. Where it’s been possible to put ring delays into venues, we have done. There was a real emphasis on the audio team being able to place the speakers as needed, and optimizing the show design around the tour sound was very important. Oasis is an audio band, and that’s what people come for. I think people can forget what rock and roll actually is, but there’s something about Oasis that gives a live rock performance a certain exciting energy.”
Lloyd’s design, created in unison with Lewis, has K1 main hangs with K1 side and delay hangs. “We’ve got a lot of K1SBs on top of the main and side K1 hangs to help extend the line length and get some pattern control into the low frequency,” Lloyd explained. “We’ve flown K1SB’s next to the main arrays both to get the tonality that Oasis likes as well as helping us with pattern control. The design means we can steer that low energy correctly and it enables us to get the directivity we want for both Liam and Noel, as Liam likes to hear a bit of the low end from the P.A., and Noel doesn’t like any. There was a lot of effort put into making sure that Liam had the right amount of energy coming back off the P.A. while we created a pocket to ensure that where Noel stands, he doesn’t.”
Ensuring fans on the floor get their fair share of musical mayhem, the system is supported by KS28 subs on the ground in a large sub arc/cardioid sub arc formation, both physically and electronically arced. Meanwhile, various K2 boxes are used for rear hangs and down fills in the main and side hangs, and K3 is being used as front fills and A15 for out fills. The system is controlled and powered by L-Acoustics’ LA12X’s with dual redundant Milan audio transport throughout.
Josh continues: “It’s worked out really well, having two FOH engineers, because of the busyness of certain points in their songs. On top of that, having two engineers means having two opinions to bounce off. And the results speak for themselves.”
Discover more great stories—get a free Mix SmartBrief subscription!
FOH engineers don’t work in a bubble, however—as the saying goes, it takes a village, and in the Oasis Live 25 tour’s case, it benefits from the tightly synchronized efforts of monitor engineers Bertie Hunter and Steven Weall, and Urban Audio’s Finlay Watt (Monitor and RF tech), Dan Speed (monitor and stage tech) and Jake Roberts (FOH tech). Britannia Row’s P.A. system crew comprises P.A. techs Victor Calle Gonzalez (SR) and Claus Köpplin Orrán (SL), delay tech William Smith, ring delay crew; delay system engineer Mark Pantlin and P.A. technicians Matthew Peters, Joy Isernia, Jonas Luzys and Rowan Cahill.
The result has been a hit tour that many hope is not merely a welcome return to the international stage but instead a giant precursor of things to come.
