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Yll Limani — TSN Tour 2026.

Thirrëm Sot ose Nesër — international live tour '26
Tour Tour in progress
Integrated tour production for Yll Limani's Thirrëm Sot ose Nesër tour — stage and lighting design, touring audio, real-time visual systems, show control and live camera integration. A planned 15-show route across 10 cities. Seven weeks from kickoff to opening night.
Stage designLightingReal-timeShow controlAudioLive cameras & IMAG

Overview

Year
2026
Opening nights 17–18 April 2026, Zurich
Category
Tour
Planned route · 15 shows · 10 cities · 3 phases
Label & management
Three60 Music
Scale
Up to 15,000 per night
Headline open-air shows in Tirana
Timeframe
7 weeks
From kickoff to opening night — rehearsals included
Status
Tour in progress
Stuttgart completed · Bergamo, London and New York ahead · updated 29 September 2026
Live cameras & IMAG
Labas Krabas
Studio
ØJE — Vienna
48.21°N, 16.37°E

Role

Stage & lighting design, touring audio, screen content and real-time systems, show control and tour live operation — ØJE Studio. Label, management and creative direction — Three60 Music. Live cameras and IMAG — Labas Krabas.

Challenge

Full open-air scale in Tirana and Prishtina — and the same feeling in venues a fraction of the size.
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.
Aerial view of the illuminated stage and audience at an outdoor concert at night

Design

Proportion, not square meters.
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.
Yll Limani performing in front of the curved red LED screen with a live close-up of the singer

The shows

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.
01 Zurich The Hall · 17–18 Apr · 10,000 tickets · sold out
02 Oberhausen Turbinenhalle · 23–24 Apr · 6,500 tickets
03 Vienna Gasometer · 9 May · 3,500 tickets
04 Tirana Lake Park · open-air · 12–13 Jun · 30,000 tickets · sold out
05 Skopje ARM Stadium · open-air · 17 Jul · 10,000 tickets
06 Prishtina Prishtina Mall · open-air · 24–25 Jul · 24,000 tickets
07 Stuttgart Porsche Arena · 19 Sep · 6,200 attendees · sold out
08 Bergamo ChorusLife Arena · 3 Oct · upcoming
09 London Troxy · 23 Oct · upcoming
10 New York Manhattan Center · 4–5 Dec · 2 nights · upcoming

Stage & screen

Two constructions, one visual language.
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.

Outdoor stage

A complete stage design for Tirana and Prishtina.
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.
Outdoor stage with a curved LED screen and overhead lighting rig, viewed from the audience area
Stage structure and transparent LED mesh seen from behind at night

Lighting

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.

Content

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.

Real-time camera processing

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.
Broadcast control position with camera multiview monitors, laptops and video switcher panels

Audio

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.

Show control

A show is not a render. It is a system under pressure.
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.
Show operators at their control consoles with the illuminated stage in the background
If the right tool does not exist, we build it. Both are available at tools.oje.studio.

Live cameras & IMAG

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.

The production had to

Preserve the show's visual identity across indoor and headline open-air stages
Reach opening night in 7 weeks, including design, production and rehearsals
Adapt to the planned 10-city route and 3 tour phases
Keep the artist's image recognizable through live camera processing
Coordinate lighting, content and live video around a shared timecode

Technical setup

285 m² transparent LED mesh, 52 m construction at 9.45:1 — headline shows
Solid 3.9 mm LED canvas at 5.7:1 — indoor configuration
Native 60 Hz signal path designed without intermediate converters or scalers
250+ lighting fixtures at the headline shows · 56 tilt bars · 18 DMX universes · grandMA2
Touring audio: Allen & Heath dLive — 2 DM64 MixRacks with UltraFX, Dante & GigaACE · Shure Axient Digital ADX2/AD4D vocal chain · PSM1000 in-ears · 90+ input patch
Real-time camera processing in TouchDesigner, with multiple camera inputs
8 cameras · 2 stage sliders · drone — headline setup
Two-operator video workflow: content · camera processing

Result

One touring production, adapted to different stages.
From the opening nights in Zurich to the headline open-air shows and sold-out Stuttgart, ØJE adapted the stage, lighting, audio and visual systems to different venues while keeping a shared content approach and timecode structure. The scope continued from design and technical preparation through rehearsals and live operation.
The tour remains in progress, with Bergamo, London and New York ahead. Two tools developed for the production, ØJE CUE MONITOR and MA2 Timecode Tools, are available at tools.oje.studio.
Fireworks above the illuminated outdoor stage and concert audience at night

Tools

01
TouchDesigner
02
grandMA2
03
Allen & Heath dLive DM64
04
Shure Axient Digital · PSM1000
05
ØJE media server — custom hardware
06
MA2 Timecode Tools
07
ØJE CUE MONITOR
08
MØRPH — ØJE generative engine

Credits

Yll Limani — artist. Three60 Music — label, management and creative direction. ØJE Studio — stage and lighting design, touring audio, content and real-time systems, show control and tour live operation. Live cameras and IMAG — Labas Krabas.
Yll Limani tour team posing together in front of the stage at the Stuttgart arena

Three60 Music

CEO & founder — Bonart Ajvazi
Creative director — Eni Pirana
General tour coordinator — Adrian Berisha
Show director — Tringa Kasneci
Media team — Artiola Fejza, Drilon Doberdoli, Flakon Zharku, Urim Xhemajli, Medi Rushiti, Berat Ramadani
Hospitality — Vlera Kupa

ØJE Studio

General producer — Artem Kharchenko
Stage & lighting design — Maksim Spasibko
Content, generative systems — Konstantin Dovzhik, Nikita Klimenko
Lighting operation — Daniil Moskovich
Head of sound production, monitor engineer — Volodymyr Yakubovsky
Front of house — Robertas Boimas
Audio engineer — Dmitri Elkin
VJ — Fedor Zubkov, Mikhail Ivanov
TouchDesigner artist — Aleksei Parkhomenko
Software (MA2 Timecode Tools, ØJE CUE MONITOR) — Artem Kharchenko
Tour producer — Artem Akimov
Tour coordination — Valeriia Riasina

Live cameras & IMAG — Labas Krabas

Camera direction — Yauheni Sergejenia
Engineer — Ernest Gaidamovic
DOP — Danila Vinnik
Camera operators — Jana Teus, Daniel Orlovs, Daniel Geibovic

Band

Keys — Fatjon Miftaraj
Drums — Aleks Zisi
Electric and acoustic guitar — Kevin Kaceli
Bouzouki, nylon guitar — Astrit Stafai
Bass — Erjet Barbullushi
Percussion — Xhemil Gjini
Clarinet, saxophone — Leon Hajdari
Violin — Rron Bakalli, Dalvin Mamusha
Backing vocals — Aurela Krasniqi, Rita Hyseni
Violin, Balkan shows — Dejon Bendaj, Aiola Laska
Trombone, Balkan shows — Ilir Vorpsi
Trumpet, Balkan shows — Xhino Daja
Folk flute, Skopje and Prishtina — Gent Hoxha

Frames

09—16
Wide view of the concert stage and audience under warm lighting
09
Orange sunrise visuals filling the curved stage screen
10
Singer in white beneath vertical golden stage lights
11
Live close-up of the singer on the screen behind the band
12
Outdoor stage with blue and white visuals across the curved screen
13
Purple screen visuals framing the singer at centre stage
14
Warm stage lights and smoke above the performers and audience
15
View from the audience of the singer and band under purple lighting
16

See also

01 2026 Isle of Summer '26 Festival Stage → 02 2026 Array Installation → 03 2025 Visionaries XR Production → 04 2026 ØJE CUE MONITOR Tooling →

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