Hippotizer Teka MX Drives Immersive Projection On Hayley Williams' Tour

singer Hayley Williams' latest tour is running on a Hippotizer TEKA MX Series Media Server, delivering a projection-first production that turns theatres into enveloping visual spaces across the US and Europe.

Part of Green Hippo's new MX Series – the ACT Entertainment brand's latest media server line – the TEKA MX was chosen for its compact 1RU form factor, generous performance headroom and touring efficiency. The unit has been central to preserving premium playback in venues where front-of-house space is at a premium.

With projection serving as the main scenic and atmospheric element, the team required a server capable of layered playback, real-time manipulation and tight grandMA control, all in a lean, tour-ready package.

The concept was shaped by Lighting Director and Programmer Matthew Greer, designers Tobias Rylander and Michael Straun, Media Server Technician Dan Gentile, and Production Manager Riley Emminger, with LMG Touring supplying the show.

"Tobias and I wanted to approach Hippotizer in the same way we approach lighting fixtures," says Straun. "We use the same language and the same design thinking. We were working from a single projection source and didn't require IMAG or a heavy video infrastructure, so the TEKA MX was the right fit both technically and economically."

"The projection canvas is literally the entire stage," explains Cory Froke, Technical Project Manager at LMG. "We're using white drapes over custom-built lighting ladders and scenic pods, along with fabric hung from truss in more traditional configurations. In effect, the entire proscenium becomes the raster."

Straun continues: "We started by sharing ideas and references with Hayley. During preproduction, we tested one of her music videos across the stage, scenic elements, and performance space. It immediately confirmed the direction — the imagery sat naturally across the environment and reinforced the concept.

"We wanted to be in a room that was timeless and would make the audience ask, 'where are we?' The idea was to create a space that feels timeless and undefined, where it isn't immediately clear whether Hayley is entering a space or leaving it. That ambiguity became a core part of the design."

Content house Frameworx produced abstract environments, textures and atmospheric sequences to complement Williams' setlist, interweaving refreshed album art, promotional visuals and re-synchronised music video material.

"We had limited time to build and refine content," says Straun. "Hippotizer gave us the ability to load, test, and manipulate material quickly. Using tools like brightness, contrast, and the internal effects engine, we could adapt content directly to the physical environment and immediately evaluate how it behaved on stage."

"Being able to house the servers directly in the FOH lighting rack significantly reduced system footprint and simplified load-in," adds Froke. "In many of the venues on this tour, FOH space is extremely limited, so that efficiency is critical.

The release notes: "The MX Series allows designers to work with high-resolution content and complex layering without constantly needing to think about system limitations. The system is designed with a modular approach and future workflows in mind. Support for emerging standards like ST 2110 and IPMX shows where the platform is heading, which is important for long-term production planning."

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