Oasis Live '25 Tour Showcases Major Production Push With Dual DiGiCo Quantum852 Monitor Desks

Announced just two days before the 30th anniversary of Oasis’ landmark debut Definitely Maybe, the Oasis Live '25 tour has become one of the most talked-about reunions in modern music.

The band's first live run since their 2009 breakup has spanned the UK, the Americas, Australia, and Asia—and demand has been so intense that six of the group’s previous albums re-entered the UK charts, with one returning to the top ten.

Behind the scenes, the long-awaited tour is powered by an extensive monitor-mixing setup led by Steve Weall and Bertie Hunter. Weall mixes monitors for Noel Gallagher and half the band, while Hunter handles Liam Gallagher and the remaining musicians. Despite the Gallagher brothers’ famously strained relationship, the split desks are purely a matter of workflow and scale. "That's not unusual at the very pinnacle level of stadium touring,” says Weall, who also mixes Noel’s High Flying Birds shows. “When you’ve got the wherewithal to do it, it’s quite nice to have someone who’s just there for you.”

The crew is supported by a full suite of DiGiCo technology supplied by Midlands-based Urban Audio Productions Ltd. The company delivered two Quantum852 consoles for the monitor team, along with Quantum338 and Quantum326 desks used by support acts. Urban Audio technical director—and Oasis front-of-house engineer—Dan Lewis also provided a Fourier Audio transform.engine for Weall.

“We have a separate console each, and they are side-by-side next to each other, very close, very sociable,” Weall laughs. “And despite obviously having a significant budget, the floor space is not infinite, so we also have a shared SD-Rack setup: two main SD-Racks that take all the inputs and the majority of the outputs that we share between two consoles, and we additionally share a master Shure RF rig for the in-ear monitors. I also have another local SD-Rack, and Bertie has a local SD-MiNi Rack, and then we have another SD11 mixer running some shouts, talkbacks, matrixing and other elements, all on a large Optocore network.” He estimates roughly 140 inputs and 100 outputs across the system.

Even with this shared infrastructure, the two monitor mixes are built to keep Noel and Liam fully independent. “We both have to kind of work together,” Hunter says. “We both have to decide on the gain structure of every channel. It’s been a lot easier because we’ve been working quite closely together physically, as opposed to being in our own little worlds, which we could have been if we had separate SD-Racks.” He notes that coordination with front-of-house is also crucial: “I take some effects stems and things like delays, slap delays on Liam’s voice, and sort of one-off catching words from Sam Parker… just to kind of keep it all locked in. The DiGiCo infrastructure gives us the options and we chose what works best for this situation.”

The Quantum852 desks were purchased specifically for the tour—an upgrade the team welcomed. The expanded screen space and redundant engine were major selling points. “In case of an emergency – one that has yet to happen,” Weall jokes.

The consoles’ flexibility proves vital for a band as dynamic as Oasis. Liam Gallagher often opts for wedges but switches to IEMs at times, while Noel uses IEMs consistently. “So I kind of split the desk up,” Hunter explains. “There really isn’t another desk that could be laid out that easily and where I can pretty much grab anything, anywhere I need to be… And the amount of faders is definitely useful. If I was to have to start flipping through layers, that’s not where you want to be on a show of this size. And with the 852, I don’t even have to think about it.”

Hunter also relies on the onboard Spice Rack tools. “It’s really handy,” he says of the Chilli 6 processor. His setup incorporates Midas XL42 preamps for Liam’s vocal, Distressors, Kush EQs, and Bricasti reverbs.

Weall, meanwhile, manages 24 stereo effects returns. “The central screen can be fully usable as a home screen… which is very handy,” he says. His processing chain includes Neve 5045 enhancers, Summit DCL-200s, a Bricasti M7, and Neve bus processors. The powerful routing options of the Quantum852, he notes, keep even a large show manageable: “We have the flexibility to send anything we want pretty much anywhere.”

Though not a heavy plugin user, Weall has integrated tools via the Fourier transform.engine. “The demo and support I received… was invaluable,” he says. “I’ve really enjoyed having the extra tools available and am looking forward to bringing the Fourier engine further into my workflow on future projects.”

Urban Audio Managing Director Warren Fisher says the company’s long-standing investment in DiGiCo made outfitting the tour straightforward. “We have the philosophy of giving people what they want to do the gig, so naturally have invested heavily in DiGiCo over the years as they are a very popular product for our clients,” he explains.

“In the early planning phases of the Oasis tour, it became apparent that both Bertie and Steve were seasoned DiGiCo users, so it made sense for them to stay in the familiar DiGiCo ecosystem,” Fisher adds. He says the Quantum852’s redundancy, I/O capacity, and smooth integration over Optocore made it the right fit. “DiGiCo’s flagship consoles have been performing brilliantly on this tour, and we here at Urban Audio look forward to using them on more projects soon!”

With the band back on the road after 15 years and production operating at stadium scale, the Oasis Live ’25 tour is proving to be both a nostalgic milestone and a technical showcase—one backed by meticulous monitor engineering and a robust DiGiCo-powered infrastructure.

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