[India] When Karan Aujla kicked off the India leg of his P-Pop Culture Tour in New Delhi, it was a show that set a new benchmark for live music in the country. Among its achievements, this production featured the largest deployment of d&b inventory in India to date.
One of the most popular artists in the Punjabi-speaking music world, Karan Aujla also provides an important connection to the wider music industry, with hits on the UK Asian chart and Global YouTube music chart. With Aujla drawing massive attention, the arrival of his P-Pop Culture Tour in India was as high profile as any performance has ever been in the region.
Given the task of making this show heard for the 75,000 audience in Delhi’s Jawaharlal Nehru Stadium was front-of-house sound engineer O’Necean Gordon.
“With a crowd of this size, it’s important to make sure the experience translates everywhere, and is consistent from show to show,” explains Gordon. “I like to keep things clean and controlled, especially in the low end, so that it doesn’t become uneven across different zones. My approach was to really trust the system design and then mix into that.”
That solution, specified for this leg of the tour by local rental company Hertz & Pixels and supplied by d&b’s local partner Ansata, was the biggest d&b system to be fielded in the country to date. Consisting largely of d&b’s SL-Series, with its proven full-bandwidth directivity and cardioid performance, it provided the targeted, consistent output needed to keep the “clean and controlled” sound that Gordon sought.
It saw 32 GSL cabinets making up the main system, supported by 20 flown SL-SUBs and 52 floor-standing SL-GSUBs, with more SL-Series – 96 KSL cabinets in total – providing out-fills and delays. The system also included 16 AL90 augmented array boxes as front-fills, 12 V-Series as 270˚ stacked-fills. The entire system, with the exception of the subs and fills, was optimised with d&b’s ArrayProcessing.
Neil Lean, education and application support at d&b audiotechnik EMEA, who supported Hertz & Pixels and Ansata with the system design, says: “The goal in designing a system for a stadium isn’t only how loud can it go?’, but ‘how even can the coverage be?’ and ‘what’s the best intelligibility that can be achieved?’. The challenge is to do this at a level that can be heard above the noise of 75,000 excited audience members.”
“d&b’s ArrayProcessing makes it easy to achieve consistent overlap between the mains, out-fills, delays and fills. That accuracy helped immensely with the evolution of the design, from the planning phase to deployment.”
“A system like d&b gives a solid foundation before you even touch the console,” commends Gordon. “The clarity and headroom mean you’re not fighting the PA, you’re working with it. That lets you focus more on the musicality of the mix rather than problem-solving. What stood out was how predictable everything felt. When I made a move, it translated the way I expected it to. That kind of consistency builds a lot of confidence, especially in a fast paced, high-pressure environment.
“The support was top tier,” continues Gordon. “Ansata and d&b understood the assignment – that it’s not just about having great gear, it’s also about execution. Everything was dialled in, and communication was smooth throughout. Knowing those competent individuals were there made it very easy to focus on delivering. That kind of support makes a huge difference, especially on a production of this scale.”
Karan Aujla’s P-Pop Culture Tour continued through 11 cities in India during March and April 2026.
