With her aptly titled THIS TOUR MAY CONTAIN NEW MUSIC, the genre-spanning RAYE showcases the freedoms and possibilities that come with being a proudly independent artist – chief among them, creative control. With her sisters, Amma and Absolutely, warming the crowds before she hits the stage, nowhere is this more apparent than on her first-ever headline arena tour – a theatrical spectacle unfolding in four distinct acts.
Pull The Pin Out was tasked with assembling the creative and technical teams around RAYE’s vision. “It has all come out of RAYE’s head,” said Stephen ‘Stevie’ Reeve, Production Manager and Director of Pull The Pin Out, welcoming TPi backstage at Manchester’s Co-op Live. “She’s the creative drive.”
Working alongside RAYE and Creative Director, Mikey Robbins, Reeve brought in key collaborators including Lyndon Ogbourne, Thomas Edwards, and Matt Askem. “They are hugely important creative forces,” he noted. “Alongside Treatment Studio, who delivered the visuals with RAYE. It’s the best team I’ve ever worked with.”
Planning began in September 2025, with the final design signed off in early December. Rehearsals loaded into Fly By Nite Studios on 9 January, leaving a month to realise the build. Pull The Pin Out enlisted the support of Solotech (audio, lighting, video, and rigging), WICREATIONS and ShowTex (automation and drapes), KB Event (trucking), Phoenix Bussing (artist and crew travel), Ox Event House (custom metalwork and set design), Luna Remote Systems (cameras and dollies), Treatment Studio (content), ER Productions (lasers and special effects), Onstage Travel (travel agent), CC Young (accountants), Live Nation (promoters), Popcorn Catering (food), among many others.
“There was an 11-week lead time on the drapes,” Reeve recalled. “Before the creative and budget were signed off, we had to hit go on the order with ShowTex and WICREATIONS to guarantee them being delivered in time.” Cash flow at the outset of a tour, he explained, is often one of production’s toughest hurdles. “You’re waiting on promoter advances, but you’ve got to commit from day one.”
He praised artist accountants CC Young for their support, as well as promoter Live Nation. “They’ve been behind the show and focussed on making it work without being greedy. We’ve been blessed.”
In total, around 120 crew travel with the production, rising to approximately 150 daily once double drivers across 17 trucks and nine buses are factored in. “The two most important things on the road are where people sleep and what they eat,” Reeve stated, crediting KB Event, Phoenix Bussing and Popcorn Catering for keeping morale high.
KB Event supplied 17 trucks to transport the show elements, including Scania R 500S and Volvo FH and FH12 models. To maximise UK rehearsal time, KB Event scheduled double drivers to ensure the trucks reached Łódź in time for the second rehearsal block, allowing contingency for any customs delays at Dover–Calais. Lead Driver Al Mac headed up the driving team.
“It’s been incredible to witness the production’s growth,” said KB Event’s Stuart McPherson. From early conversations through rehearsals to final delivery, the project engaged around 35 people across multiple Solotech departments. “To deliver a show of this scale takes every one of those departments,” added Solotech’s Robin Conway. “Everyone has their role to play, miss a step and the chain breaks.”
He credited Cy Dodimead (lighting and rigging), David Shepherd (audio) and Ian ‘Woody’ Woodall (video) for their leadership across disciplines. “Fortunately, the teams here and in the US understand what it takes,” he continued. “We can push the button on certain elements early to protect deadlines. As it’s all under one roof, communication is quick and the flow of information is streamlined, which makes a real difference on a production of this size.”
CSE Crosscom radios, packaged in custom flightcases, ensured communication between departments. “It’s a pleasure to collaborate with this production team, supporting them year after year allows us to refine the system to suit a fast-paced touring environment,” CSE Crosscom Hire Manager, Dan Howroyd said.
The show spans more than 100ft across stage and screen, with IMAG towers and drapery providing isolation for the band while retaining intimacy. Support slots from RAYE’s sisters are integrated into the design, with additional projection and a white silk overlay transforming the red drape to create a distinct aesthetic. Reeve, who comes from a lighting background, was effusive about the lighting department. “[Production and Lighting Designer] Thomas Edwards and the lighting programmers have done a phenomenal job. The lighting is exceptional.”
The performance unfolds in four acts: an overtly theatrical opening, a bold Motown-inspired section, a downstage jazz club vignette, an intimate piano moment during Ice Cream Man, followed by a euphoric nightclub segment with lasers and an “all killer, no filler” encore. “She’s an engaging performer. The audience hangs on her every word.”
Operationally, the day begins at 6.30am as 17 trucks unload. By 1pm the stage is in place, moving swiftly into lighting focus, laser safe-zoning, PA checks, camera line-up and soundchecks ahead of 6pm doors. Two long-standing stage managers – Lee Freeman and Joe Greenash – oversee load-in, with Stewart Quinnell calling the show. Around 90 local crew and 20 riggers support each date.
Design efficiencies allowed props to be stored upstage, while two carpenters doubled as nightclub bouncers during the show. The crew dressed in white shirts, waistcoats and bow ties, overseen by Wardrobe Coordinator Shelena, with the band in coordinated Nike Air Force 1s. “We even tour our own washing machines,” Reeve smiled.
With no traditional record label campaign, the tour is driving the album launch, with all 26 dates sold out. “We’re playing new music every night,” he said. “The tour went on sale before the album. It’s a unique approach.”
Despite long European drives between single shows, Reeve has prioritised welfare. “Mental health comes first. We make sure everyone gets proper rest,” he said.
With nine buses split into A, B and C parties, and a five-person production office dividing daily responsibilities, the operation runs lean and efficient. “It’s taken six months to get this over the line,” Reeve concluded. “That only happens with an amazing artist, a supportive creative team and suppliers who genuinely collaborate. We’re very lucky.”
Pull The Pin Out Director, Kevin Hopgood; Band TM, Juliet Baldrey; Live Nation’s Sabena Von Aston; Production Assistant, Rebecca Duggan; Pull The Pin Out’s Bree Ishikawa; Tour Manager, Elodie Dubois and Production Coordinator, Francine Hough adopted an open-door policy in the production office: “If there’s a complaint, an issue, or someone’s just having a hard time, they come to the production office. On the rare occasion our door is closed, it just means we’re heads-down for a bit – but everyone knows they can still come to us. We’re here to work, but we’re also always here to listen,” Hough said.
Marking the first double-show run of the campaign, the team found time for a morale boost. “We brought in puppies on the final day,” she smiled. “It lifted everyone. After long days, that bit of joy makes a difference.”
Despite the scale, Hough describes it as “probably the easiest touring schedule” she’s worked on. “We only had two back-to-backs. Great crew. The show is brilliant. RAYE looks and sounds incredible. The set and design are stunning. My Mam has never wanted to come to a show in the whole 28 years I’ve been working on gigs – but she even came to visit, so we must be doing something right.”
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Words: Jacob Waite
Photos: Luke Dyson, Callan Halliwell and TPi
