Trusted festival audio across the Pyramid Stage, West Holts, and Block9.
Glastonbury isn’t just the world’s most iconic greenfield festival – it’s also one of the most technically complex. With over 100 stages, stringent licensing, unpredictable weather and artists performing to global broadcast audiences, it’s a place where reputation matters. And whilst it’s best known for the music, Glastonbury also raises millions for Oxfam, WaterAid, and Greenpeace — all of which adds another layer of responsibility to those behind the scenes.
Since 2007, RG Jones has been one of Glastonbury’s most consistent technical partners, providing full-scale audio support across the Pyramid Stage, West Holts, and Block9’s Genosys and IICON.
Although the festival takes a break during occasional fallow years to rest the land, RG’s core crew returns every time the gates open; a trusted presence working quietly behind the main event.
Calm Under Pressure
Jack Bowcher leads the on-site operation as Project Manager, overseeing a long-serving team of around 20 engineers and technicians. Ben Milton heads up sound on Pyramid, managing system prep and FOH delivery for some of the most-watched live performances in the world.
There are only so many crews with the ability – and the temperament – to manage a job like this. RG Jones’ team ranks at the top of that list, and it’s why they’ve been invited back again and again.
“We don’t compromise on site. There are plenty of people who can push a fader. What matters is what happens when it goes off-script — that’s where this team delivers.”
— Ben Milton, FOH Engineer, Pyramid Stage
Pyramid Stage
RG Jones first took on FOH and Monitors for Pyramid in 2007. The system has since evolved from Martin Audio W8L to MLA and MLA Compact, with MLX sub arrays deployed in a broadside cardioid configuration.
Design adjustments are made annually to keep up with the festival’s growing footprint. In recent years, delay towers have extended out as far as Grid W, and additional sub arrays have been introduced to maintain impact and coverage in a larger arena space.
In 2019, extended delays and Martin Audio DISPLAY optimisation allowed consistent coverage across the 200m audience area — with less than 3dB of drop-off, even in high wind conditions.
The rig sounded great, even with the wind. The crew were spot-on — no stress, totally professional.
— Paul David Hager, FOH for Miley Cyrus
I expected the sound to get blown away in the wind, but all the power stayed there. I’m very happy.
— Davey Ogilvy, FOH for Tom Odell
I was really impressed with how it held up in the wind. It sounded great, and the low end was good.
— Mike Timm, FOH for George Ezra
West Holts Stage
Once known as the Jazz World Stage, West Holts is one of Glastonbury’s most musically diverse platforms — from dub and roots to Afrofuturism and electro-soul. It demands punch, clarity, and control across the full frequency spectrum.
The location poses real acoustic challenges — surrounded by markets and other performance spaces. In 2019, RG Jones deployed a full MLA system, repositioning hangs and applying Hard Avoid to tighten the field and prevent bleed into neighbouring stages like Greenpeace and Theatre & Circus.
In subsequent years, the team made a strategic switch to Martin Audio WPL, adjusting the system deployment while maintaining the same core goals: powerful, contained, full-range sound across the field. The choice reflects RG’s ongoing refinement of system design across the wider site — adapting tools to context while keeping quality front and centre.
“The system sounded really crisp — full in both the bottom and high top end, exactly what I need for reggae. It was very well tuned by RG Jones on site.”
— Andrew Lorenzo, FOH Engineer for Hollie Cook, West Holts
It was a massive improvement – better quality through the field, and exceptional containment.
— Jack Bowcher, RG Jones Project Manager
Block9: Genosys and IICON
The Block9 district is home to some of the festival’s most ambitious audio environments – with big expectations and zero tolerance for compromise.
At Genosys, RG Jones deployed flown MLA Compact arrays designed to deliver 98–99dBA SPL in the audience zone while eliminating offsite complaints — a significant improvement on the previously limited 88dBA design.
For IICON, launched in 2019, the challenge was not just SPL but immersion. Working closely with the creative team, RG Jones designed a 6.1 surround sound system using Martin Audio WPL, a 23-metre SHX218 cardioid sub array, and a Trinnov Altitude 32 processor to upmix stereo DJ sets into surround sound. The result was a system that kept the energy in — and pushed boundaries in the process.
“This was a technical leap, and RG supported us every step — from design through deployment. The result kept the energy where it should be — inside.”
— Gideon Berger & Stephen Gallagher, Co-Founders, Block9
The Work You Don’t See
RG Jones doesn’t chase headlines. The company’s presence at Glastonbury is built on consistency, discretion, and deep technical trust.
From the early days of W8L to modern immersive systems, RG continues to deliver sound systems that work — not just on paper, but in the high-stakes, no-retakes environment of Glastonbury Festival.
“How proud Ronald Geoffrey Jones would be to see his name in the credits for not one, but three of Glastonbury’s most technically demanding stages.”
At a Glance
| Feature | Detail |
|---|---|
| Client: | Glastonbury Festival |
| Partnership: | Technical audio partner since 2007 |
| Stages Covered: | Pyramid Stage, West Holts, and Block9 (Genosys & IICON) |
| Scope: | Full-scale design, deployment, and operation of site-wide sound systems |
| Systems: | Martin Audio MLA, MLA Compact, WPL, MLX, SHX218, and Trinnov Altitude 32 |
| Crew: | 20 engineers and technicians led by Project Manager Jack Bowcher |
| Capacity: | Up to 150,000 audience coverage across multiple sites |
| Outcome: | Trusted delivery across the festival’s most complex stages — precise, contained, and broadcast-ready |