Danish rock band Volbeat took their unmistakable sound back into arenas on The Greatest Of All Tours Worldwide, celebrating their ninth studio album, God Of Angels Trust. Known for blending heavy metal, rockabilly and punk rock influences, the band has more than 150 platinum and gold certifications around the globe and returned to the stage with one of their most extensive tours to date; all supported by an advanced video system designed to capture the energy and emotion of every performance.

PRG’s Role

Production Resource Group (PRG) supplied a full video and camera system package, providing both the technology and the specialist crew to deliver it seamlessly across multiple territories.

Production Manager Dennie Miller said choosing PRG was as much about the people as the performance. “I’ve built strong friendships with many of the PRG team over the years,” he said. “Any time there’s a chance to work together again, I’m all for it.”

He added:

“They’re the premier outfit for video this side of the pond. Anyone can buy gear, but not everyone can match the level of people and support PRG provides.”

The Crew

At the heart of the PRG operation was Video Dept. Head Steven ‘Waffle’ Lemahieu, a long-time PRG freelancer with more than 30 years of touring experience. His credits include Iron Maiden, Foo Fighters and Coldplay’s Music of the Spheres World Tour, as well as earning a Guinness World Record at MDLBeast Soundstorm.

Waffle was joined by Volbeat Video Director Paris Visone, PRG LED/Camera Operators Cedric and Noah Vandepitte, Volbeat Camera Operator Francesca Ludikar, and PRG Engineer-In-Charge Ed Lawlor, a skilled and tightly coordinated team.

He characteristically joked that his role come show time sometimes felt like “running around like a headless chicken,” as he dashed around the pit with his ultra-wide Sony HDC-2500 to capture the energy of the performance from the best angles in the house.

Camera Direction

Visone’s direction favoured instinct and movement over rigid broadcast structure, working closely with each operator to build a visual story that matched the live energy of the band.

The nine-camera system was designed for flexibility, incorporating:

Panasonic AW-UE160KEJ PTZ slice camera capturing sweeping venue shots on a custom daily movement loop.

Sony HDC-2500 pit camera with an ultra-wide lens operated by Lemahieu for dynamic crowd and stage coverage.

Wireless gimbal camera operated by Ludikar for roaming, cinematic tracking shots.

Two Blackmagic Micro Studio 4K G2 drum cameras with an additional reverse cam on the catwalk.

Sony HDC-2500 FOH camera for front-on band coverage.Stage-left PTZ camera for crowd reaction and atmosphere.

A standout creative addition came during the band’s performance of Servant of the Mind song “The Devil Rages On,” where Visone designed a unique overhead gimbal shot captuing the band forming a circle mid-song. To achieve it, a small aperture was cut into the stage to allow the camera to rise through the floor, an inventive solution that became a visual highlight of the tour.

Visual Design and Technology

The show featured dual IMAG screens (8x7 tiles, 4m x 7.2m) constructed from ROE Carbon CB5 panels, with Brompton and Resolume handling processing and playback. The system’s modular, lightweight carbon-fibre infrastructure allowed for rapid deployment and easy transport, streamlining load-ins and changeovers between venues.

Reliability was built into every layer: a full Brompton backup system, mirrored routing, and spare cameras ensured uninterrupted performance. “We’ve yet to need the backups,” said Visone with a grin, “but it’s good to know they’re there.”

Drawing from the dark, surreal tone of God Of Angels Trust, Visone wove in visual motifs, notably the album’s cover model Thor the Goat, to add a sense of narrative continuity. Appearing during new fan-favorite song “In the Barn of the Goat Giving Birth to Satan’s Spawn in the Dying World of Doom,” the imagery was integrated into the live feed as a symbolic “fifth band member,” amplifying the show’s distinctive aesthetic.

Collaboration and Experience

Miller credited Tour Manager Guy Sykes for his four decades of experience in keeping all things running smoothly. “We’ve toured together for nearly my entire career,” he said, “and that shared trust makes a huge difference.”

He also thanked PRG Account Manager Stefaan Michels and Project Planner Emil Sterma for their hands-on support throughout the tour, ensuring consistency across international legs.

Reflecting on the project, Michels commented:

“Our aim from the outset was to deliver a package that was robust, flexible and intuitive. Volbeat’s shows are driven by energy and connection, and our focus was on ensuring the technology empowered that. It’s been a pleasure supporting Dennie and the team on this exciting world tour and to my fantastic team who performed above and beyond as usual under the guidance of Steven “waffle” and Ed Lawlor.”