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Fidelis Sound & Lighting Provides dBTechnologies Systems for British Music Embassy at SXSW 2025

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UK House & BME façade at Palm Door on Sixth. Photo by Thomas Jackson / TyneSight Media

AUSTIN, TX – The British Music Embassy (BME) returned to SXSW for its 32nd edition with its most ambitious showcase to date, hosted for the first time at the Palm Door on Sixth. Liberty Hill, TX based production company Fidelis Sound & Lighting, provided dBTechnologies systems for every BME performance and panel.

More details from dBTechnologies (www.dbtechnologies.com):

Sam Ryder performs. Photo by Thomas Jackson / TyneSight Media

Over the course of seven days, BME welcomed 72 UK artists for 42 hours of genre-spanning live music. Curated by the British Music Council and led on the ground by the indefatigable production manager Ant Forbes, the event featured top-tier sound gear and a dedicated production team. This included six students from the Academy of Live Technology, who not only handled systems tech duties during setup but also operated the FOH and monitor positions—gaining real-world experience alongside seasoned sound engineers.

EASE analysis of the main room for BME at SXSW

System design and tuning were executed by dBTechnologies’ Applications Engineer Andy Tindall, who worked closely with the BME technical crew to ensure seamless integration throughout the venue. Featured equipment included the award-winning VIO X series as well as FMX series.

Mary In The Junkyard with VIO X visible on the Alt Indoor Stage. Photo by Thomas Jackson / TyneSight Media

The Alt Indoors Stage featured a setup with two ViO X310 ceiling-mounted 3-way mains, two VIO X310 delay speakers, a VIO X206 center fill, and six VIO S118 subwoofers delivering deep, even low-end coverage. Monitoring was handled by eight VIO W15 active wedges, with the entire system managed via a Control8 unit running AuroraNet software. On the Outdoor Stage, performers were supported by eight FMX15 powered monitor wedges, providing consistent clarity and punch. Meanwhile, the UK House Speaking area utilized two VIO X205s featuring the 100° dispersion waveguides on tripods for main coverage, and a single Sub915 subwoofer to reinforce the low end, delivering immersive audio with intelligibility and presence for panel discussions and presentations.

Monitor crew at BME Outdoor Stage with dBTechnologies FMX wedges. Photo by Ant Forbes

“It was like butter,” raved CVC’s FOH Engineer Elliot Frazier. “I wish I could mix on it all day.”

Paul Mercer, FOH for BLACKGOLD, added, “dBTechnologies provided an extremely reactive system that gave both high-end clarity and low-end power, letting me drive the mix to a new level.”

BME panel with VIO X205s on pole mounts. Photo by Thomas Jackson / TyneSight Media

Running alongside the music showcase, UK House hosted immersive “Stay & Play” tech activations, cultural panels, and conversation series that explored topics like advertising ethics, women in immersive tech, and the future of entertainment. —spotlighting British innovation in both sound and dialogue.

Steam Down turning the Outdoor Stage into a jazz jam. Photo by Thomas Jackson / TyneSight Media

This year’s BME lineup featured a diverse range of emerging talent that brought their unique energy to the Palm Door’s stages. Acts like Sam Ryder, whose Texas set delivered a thrilling performance of his hit single “Mountain” to a packed audience, Beth McCarthy, who captivated with raw emotional resonance in songs like “She Gets the Flowers”, and Steam Down, whose jazz-fueled improvisation turned the stage into a collective celebration of sound. The raw, emotionally charged set by Big Special delivered one of the most talked-about moments of the festival, showcasing their fusion of punk, spoken word, and soul-driven intensity.

Venus Grrrls drummer Gabby Cooke delivering fierce alt-rock. Photo by Thomas Jackson / TyneSight Media

Venus Grrrls brought unapologetic riot-grrrl spirit and powerful synth-driven rock to the outdoor stage, delivering a fierce and empowering set. On the more introspective end of the spectrum, Antony Szmierek connected deeply with the crowd through a blend of rap, spoken word and danceable grooves. His set stood out not just for its lyrical finesse but supported by a clean monitor mix that allowed for seamless audience connection. Mary In The Junkyard added to the standout performances with their signature atmospheric rock—moody, experimental, and hauntingly beautiful.

Big Special electrifying with punk-poetry fusion. Photo by Thomas Jackson / TyneSight Media

Ant Forbes, the engine behind BME’s production excellence, praised the week as one of their most successful ever:

“You have once again shown the rising stars of tomorrow, those both on and off the stage, the high quality that they can expect from our industry as their burgeoning careers blossom and they develop into the festivals headliners of the future.”

Beth McCarthy performing in front of dBTechnologies monitors. Photo by Thomas Jackson / TyneSight Media

Selector Radio host and DJ Sian Eleri summed it up:

“Cultural exchange and collaboration are at the heart of what we do. SXSW gives these emerging acts—and the brilliant teams behind them—a chance to shine on a global stage.”

BME crew with Academy of Live Technology students.