Follow-Me with Sabaton on Arena Tour
February 18, 2026
On the recent arena tour of the successful Swedish power metal band Sabaton, a high-performance FOLLOW-ME system was used to precisely track the band at all times, even in an exceptionally complex stage setup. To meet the vision of lighting designer Bertil Mark, two FOLLOW-ME 3D SIX systems were chosen, which were set up and operated throughout the tour by Torben Lehmann (“Herr Lehmann”).
The tour ran from November 14th to December 13th, 2025, and comprised 22 arena shows with over 250,000 attendees across Central and Northern Europe, including stops in Cologne, Berlin, Vienna, Zurich, Paris, London, Stockholm, and Oslo. The finale took place in Stockholm as the band’s hometown show in front of approximately 25,000 spectators.
Two FOLLOW-ME 3D SIX systems for maximum overview
To meet the production requirements, two FOLLOW-ME 3D SIX systems were used in parallel. A second camera was required for the stage setup; its position had to be oriented in the same direction for the necessary PSN tracking, and therefore the signal had to be handled accordingly. Additionally, a backup solution was used for each system – a total of four computers were running in the setup.
Complex stage design poses a challenge for tracking.
The stage placed high demands on the tracking system. During the show, Sabaton performed across four different height levels and several spatially separated performance areas:
The main stage was designed as an imposing castle structure, approximately 20 meters wide and about two meters high. At the rear of the stage, there was an additional balcony at a height of approximately four meters, which was integrated into the scenic design. The setup was complemented by a B-stage at the front-of-house position, measuring 4.60 x 4.60 meters and 2.20 meters high, positioned about 28 meters from the main stage. Both stages could be connected by a flown catwalk at a height of approximately 3.60 meters. Furthermore, there were scenes where the band moved through the audience, requiring the audience area to be actively integrated into the show – all in all, a complex task for the tracking system and the responsible technician.
“Besides large distances in the room, we also had to manage significant differences in height,” said Mr. Lehmann. “However, the software, with its features integrated into its own 3D setup, had the right solution for each of the requirements.”
Creative camera positioning
Since there was no traditional front truss, the cameras had to be positioned creatively. The main camera was installed in the first of the seven lighting trusses (LX1) and its position changed daily, depending on the hall’s layout, by being extended and/or lowered to achieve a suitable perspective of the performance area despite the building’s constraints. The second camera was positioned in the FOH truss above the B-stage and rotated 90 degrees, allowing it to reliably capture the area around the B-stage, the catwalk, and parts of the audience in a 9:16 aspect ratio. Due to the distance to the control room below the stage, the signal paths were routed via the existing network infrastructure, including RS485 converters for camera control.
36 spotlights, six targets
The FOLLOW-ME system incorporated 36 moving lights in various positions (6x FOH, 6x Gasse SL, 6x Gasse SR, 18x LX4). Six targets were tracked: four permanently assigned band members (guitar, vocals, bass, guitar) and two flexible targets for secondary areas such as actors or choir. Bertil Mark dynamically used the LX4 truss fixtures as backlight spots depending on the song.
A key advantage of the system was its flexibility during the show. Target assignments could be changed spontaneously, for example, if multiple stage areas were being used simultaneously and the lights would have obscured each other.
“The major advantage is that the artists no longer have to worry about their solo positions during their performance,” explains Mr. Lehmann. “No tedious setup rehearsals, no afterglow during the show – the target moves freely, and the system follows. In addition, Bertil used many different back-spot configurations during the show. This was really easy to implement with the FOLLOW-ME system.”
Preparation, training and support by LMP
LMP product manager Marcel Vranken supported the project from the outset, allowing Mr. Lehmann to prepare the software setup during the pre-production phase. This was followed by two days of training at LMP and personal support at the first show in Cologne.
“PRG handled the system configuration, and I only made fine adjustments during rehearsals in Berlin,” recalls Mr. Lehmann. “And whenever there were questions, Marcel was always available as a reliable ‘phone-a-friend’.”
Stability in everyday touring
Despite tight schedules (doors sometimes opening as early as 4:30 pm), back-to-back shows with long distances and limited setup time, as well as approximately 12,000 km on the road, the system ran stably throughout the entire tour.
“From a software perspective, there wasn’t a single critical moment or failure,” summarizes Mr. Lehmann. “Especially on my first assignment as a FOLLOW-ME system technician, this was an enormously important and, at the same time, very reassuring factor.”
The use of FOLLOW-ME on the Sabaton Arena Tour 2025 demonstrates once again how precise performer tracking enables creative freedom even under the most demanding conditions. As the distributor for Germany and Austria, LMP Lichttechnik supports productions from planning and training to live operation – thus creating the foundation for safe, flexible, and modern touring workflows together with the manufacturer.
Photos © Jens Panda
Follow-Me with Sabaton on Arena Tour
February 18, 2026
On the recent arena tour of the successful Swedish power metal band Sabaton, a high-performance FOLLOW-ME system was used to precisely track the band at all times, even in an exceptionally complex stage setup. To meet the vision of lighting designer Bertil Mark, two FOLLOW-ME 3D SIX systems were chosen, which were set up and operated throughout the tour by Torben Lehmann (“Herr Lehmann”).
The tour ran from November 14th to December 13th, 2025, and comprised 22 arena shows with over 250,000 attendees across Central and Northern Europe, including stops in Cologne, Berlin, Vienna, Zurich, Paris, London, Stockholm, and Oslo. The finale took place in Stockholm as the band’s hometown show in front of approximately 25,000 spectators.
Two FOLLOW-ME 3D SIX systems for maximum overview
To meet the production requirements, two FOLLOW-ME 3D SIX systems were used in parallel. A second camera was required for the stage setup; its position had to be oriented in the same direction for the necessary PSN tracking, and therefore the signal had to be handled accordingly. Additionally, a backup solution was used for each system – a total of four computers were running in the setup.
Complex stage design poses a challenge for tracking.
The stage placed high demands on the tracking system. During the show, Sabaton performed across four different height levels and several spatially separated performance areas:
The main stage was designed as an imposing castle structure, approximately 20 meters wide and about two meters high. At the rear of the stage, there was an additional balcony at a height of approximately four meters, which was integrated into the scenic design. The setup was complemented by a B-stage at the front-of-house position, measuring 4.60 x 4.60 meters and 2.20 meters high, positioned about 28 meters from the main stage. Both stages could be connected by a flown catwalk at a height of approximately 3.60 meters. Furthermore, there were scenes where the band moved through the audience, requiring the audience area to be actively integrated into the show – all in all, a complex task for the tracking system and the responsible technician.
“Besides large distances in the room, we also had to manage significant differences in height,” said Mr. Lehmann. “However, the software, with its features integrated into its own 3D setup, had the right solution for each of the requirements.”
Creative camera positioning
Since there was no traditional front truss, the cameras had to be positioned creatively. The main camera was installed in the first of the seven lighting trusses (LX1) and its position changed daily, depending on the hall’s layout, by being extended and/or lowered to achieve a suitable perspective of the performance area despite the building’s constraints. The second camera was positioned in the FOH truss above the B-stage and rotated 90 degrees, allowing it to reliably capture the area around the B-stage, the catwalk, and parts of the audience in a 9:16 aspect ratio. Due to the distance to the control room below the stage, the signal paths were routed via the existing network infrastructure, including RS485 converters for camera control.
36 spotlights, six targets
The FOLLOW-ME system incorporated 36 moving lights in various positions (6x FOH, 6x Gasse SL, 6x Gasse SR, 18x LX4). Six targets were tracked: four permanently assigned band members (guitar, vocals, bass, guitar) and two flexible targets for secondary areas such as actors or choir. Bertil Mark dynamically used the LX4 truss fixtures as backlight spots depending on the song.
A key advantage of the system was its flexibility during the show. Target assignments could be changed spontaneously, for example, if multiple stage areas were being used simultaneously and the lights would have obscured each other.
“The major advantage is that the artists no longer have to worry about their solo positions during their performance,” explains Mr. Lehmann. “No tedious setup rehearsals, no afterglow during the show – the target moves freely, and the system follows. In addition, Bertil used many different back-spot configurations during the show. This was really easy to implement with the FOLLOW-ME system.”
Preparation, training and support by LMP
LMP product manager Marcel Vranken supported the project from the outset, allowing Mr. Lehmann to prepare the software setup during the pre-production phase. This was followed by two days of training at LMP and personal support at the first show in Cologne.
“PRG handled the system configuration, and I only made fine adjustments during rehearsals in Berlin,” recalls Mr. Lehmann. “And whenever there were questions, Marcel was always available as a reliable ‘phone-a-friend’.”
Stability in everyday touring
Despite tight schedules (doors sometimes opening as early as 4:30 pm), back-to-back shows with long distances and limited setup time, as well as approximately 12,000 km on the road, the system ran stably throughout the entire tour.
“From a software perspective, there wasn’t a single critical moment or failure,” summarizes Mr. Lehmann. “Especially on my first assignment as a FOLLOW-ME system technician, this was an enormously important and, at the same time, very reassuring factor.”
The use of FOLLOW-ME on the Sabaton Arena Tour 2025 demonstrates once again how precise performer tracking enables creative freedom even under the most demanding conditions. As the distributor for Germany and Austria, LMP Lichttechnik supports productions from planning and training to live operation – thus creating the foundation for safe, flexible, and modern touring workflows together with the manufacturer.
Photos © Jens Panda