Where are live venues currently with spatial audio systems? 

Few venues have fully installed 360° spatial audio systems, mainly due to cost, limited content, and the need for artists with resources to create spatial shows. Those that have invested are often motivated by innovative programming or are theatres and opera houses familiar with the benefits of advanced sound localisation. To break the cycle of limited venues and content, collaboration among creatives, artists, manufacturers, and promoters is essential. We believe that high-profile, collaborative 360° projects can drive a revolution in live and playback experiences. 

Can you share examples of venues that have successfully implemented spatial audio, and the impact on their events or reputation? 

A few London venues we work with have seen notable success with d&b Soundscape installations. Kings Place Hall 2 has used its system for a wide range of events, from playback to fully live performances and hybrids. They’ve hosted festivals and given artists opportunities to experiment with spatial audio, attracting new audiences and expanding their programming. 

The Institute of Contemporary Arts also has a system in its live venue and the in-house team regularly uses the 180° setup and supports visiting engineers. We’ve held several sold-out deep-listening events at the ICA, including Sigur Rós, Jon Hopkins, and Public Service Broadcasting, as well as live improvisations and events integrating natural sounds. The value is clear to programmers, but the challenge remains in generating content that truly demands the format. 

At a recent Sigur Rós anniversary listening event, several attendees asked when more spatial audio events would be held and whether they could buy the mixes. One even joked we had “ruined” the record for them in traditional stereo! 

What role do audience expectations and feedback play in a venue’s decision to invest in spatial audio? 

Audience education is essential, as most attendees and even professionals are unfamiliar with spatial audio and often expect something like quadraphonic sound. Experiencing spatial audio in person is vital, and once audiences do, they’re usually eager to return.  

Early collaborations with artists like Max Richter [a recent event is pictured here], Sigur Rós, and Jon Hopkins help attract curious fans and show how music is meant to be heard. Venues and programmers investing in spatial audio know it takes time to build an audience, but by offering unique events that can’t be replicated elsewhere, we can redefine how music is experienced. 

How do you see the adoption of spatial audio evolving over the next few years in the live music industry? 

We see a future where small-to-medium venues with spatial audio host a wide range of live and streamed musical experiences. As audiences become more familiar with spatial sound, traditional shows may feel outdated.  

Engineers and artists will have accessible tools and training to fully use these systems, allowing local venues to stream real-time spatial events and making high-quality experiences more widely available. This approach can boost artist revenue, create tech jobs, and lower touring’s carbon footprint.  

By focusing on community-driven, immersive events that can’t be replicated at home, and by collaborating on high-quality content, we can deliver unforgettable experiences and reshape how music is enjoyed. 

Are there any misconceptions about spatial audio that need to be addressed among venue stakeholders or the wider public? 

There’s still uncertainty about what spatial audio means for live music. While Apple Spatial is recognised in digital music, its role in live events is less understood. Many immersive experiences are visually driven, which can create both curiosity and confusion. People often attend 360° listening events not knowing what to expect but usually want more after experiencing them. Some think spatial audio means constant sound movement, but most find it deepens their connection to music.  

The main challenge for venues is accessing content that fully uses spatial audio’s potential. With ongoing collaboration and support, spatial audio can become as familiar as digital consoles or in-ear monitoring, making the effort worthwhile. 

Stay informed! 

ISE is the world-renowned annual tech show for the AV and systems integration industry, taking place in Barcelona, 3-6 February 2026. For updates on audio for live events, venues, residences, corporate spaces and more, and to discover more about ISE 2026 as details are released, sign up for updates. 

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