Yll Limani — TSN Tour 2026.

Yll Limani's Thirrëm Sot ose Nesër tour brought the artist's live show to international venues with Three60 Music as label, management and creative direction.

The brief was to preserve the show's visual identity between the headline open-air stages in Tirana and Prishtina and smaller indoor venues, adapting the production to each room.

The second constraint was time: 7 weeks from kickoff to the opening nights in Zurich on 17–18 April, both sold out. Stage and lighting design, content production, crew assembly and full rehearsals for the opening shows had to fit inside that window.

ØJE developed the touring production from design to live operation: stage and lighting design, a redesigned live audio system, screen content and real-time systems, timecode-driven show control, and live camera integration with partner crew Labas Krabas. Three60 Music provided label, management and creative direction. ØJE developed and operated the production systems that translated that direction into the live show, including crew coordination and rehearsals. The studio wrote and advanced the technical riders for audio, backline, lighting, video, live cameras and the support act, city by city.

Two LED configurations shared a common visual language and show-control architecture: a 5.7:1 solid-LED canvas and a 9.45:1 transparent-mesh canvas for the headline open-air shows. Screen dimensions and rigging changed with the venue; the horizontal composition and content approach connected the configurations.

The planned route covers 15 shows across 10 cities in 3 phases. Stuttgart played on 19 September. Bergamo, London and 2 New York dates remain ahead as of 29 September 2026.

Ticket figures are totals across the listed dates in each city. Stuttgart is shown as attendance, not ticket sales.

The indoor configuration used a 5.7:1 canvas of solid 3.9 mm LED, adapted to each venue. The system was designed for a native 60 Hz signal from ØJE's media server to the LED processor, without intermediate converters or scalers. The ultra-wide format gave the stage a single horizontal composition at different sizes.

ØJE's headline stage design used 52 meters of transparent LED mesh, with a 285 m² canvas at 9.45:1. The central section curved around the performers, bringing the image around the front rows rather than treating the screen as a flat backdrop.

ØJE designed the lighting rig and adapted it venue by venue, from indoor rooms to the headline open-air stages. The studio issued lighting plots and DMX addressing per city, with the headline show file spanning 18 DMX universes.

The headline lighting rig exceeded 250 fixtures. Its defining element was a line of 56 tilt bars running across the stage, extending the canvas's horizontal geometry into light. The bars carried the show's kinetic language; the remaining fixtures framed and punctuated it.

The visual direction was shaped in brainstorms with Three60 Music before production began. The visual language followed the music — soft, atmospheric, generative. The core systems ran on MØRPH, ØJE's generative engine, alongside content in a soft synthwave and lo-fi aesthetic.

ØJE produced a pool of adaptive video content, composed for the proportions and curvature of the canvases. Timecode-sequenced content formed the base layer of the visual program, with the VJ handling live operation.

A dedicated system for live camera processing was built in TouchDesigner. It received multiple feeds from the camera crew and allowed live selection and processing — bloom, grain, noise, lo-fi effects, flares, glow and particle-based simulations.

Processing was tuned deliberately soft. The artist's image stays intact and recognizable; the system colors the moment instead of replacing it. For each system state the team prepared color palettes, fade and blend types, and defined how camera images surface in the central, curved area of the screen through pre-designed transitions and blends.

A preset save/load layer allowed visual states to be configured in advance for each venue and content package. Live operation split between 2 positions: one operator on the main video content, the other on camera effects and feed integration. Both used MIDI control surfaces with an adapted interface. The preset manager was adapted from tools by Function Store.

ØJE rebuilt the audio side of the show: a new show file, redesigned routing and a reorganized playback rig, moved onto a touring mixing system carried by the studio. Allen & Heath dLive — 2 DM64 MixRacks with UltraFX, Dante and GigaACE, a C2500 surface and analogue outboard gear — served front of house and monitors. The vocal rig used Shure Axient Digital (ADX2 / AD4D), with Shure PSM1000 for wireless in-ear monitoring.

The patch spans 90+ inputs across 2 dLive systems and around 50 outputs — band, percussion, drums, strings, brass and wind section, triggers, FX and talkbacks. Audio requirements were advanced with local suppliers so the touring mixing and playback systems could connect to each venue's PA.

Lighting and video ran on a shared timecode distributed from the audio rig.

ØJE CUE MONITOR was developed in the week before opening night in Zurich. The LTC/SMPTE-triggered cue display gave departments and crew a shared clock with role-specific cue views across their devices.

MA2 Timecode Tools followed during the tour when the set structure changed. Re-cutting a timecoded show in grandMA2 meant moving the events after an edit point by hand. MA2 Timecode Tools was written between shows to handle ripple-cut edits and reduce that manual work.

Labas Krabas handled live camera coverage and IMAG, the camera images shown on the stage screens. The headline setup used 8 cameras, 2 stage sliders and a drone, with a touring Hollyland package for intercom, wireless tally and wireless video links. Selected camera feeds passed through TouchDesigner before reaching the LED canvas, integrating the artist's live image with the show's visual language.