Live Design chats with Aaron Siebert, VP, Global Projects at TAIT about their work on the recent Morgan Wallen I'm The Problem Tour, and their collaboration with Nighthawk Video on the build of the new MD6 video decks.
Live Design: What was your technical work on this tour?
Aaron Siebert: Building on our work from last year, the new highlight for the I’m the Problem tour is a new configuration of LED Mag Deck integrated with SACO’s MD6 Media Deck, serving as the centerpiece of the MW-shaped thrust and runway. TAIT also supplied the band riser with integrated lifts, Nav Hoists for video and lighting automation, and a 3D NAV Cam system for live camera motion control. TAIT crew supported the tour throughout, ensuring consistent setup, operation, and performance delivery at each venue.
LD: Please talk about the technical elements you provided, especially in terms of new touring staging solutions.
AS: The MD6 Media Deck was a key innovation for this tour. Each 7-inch MD6 LED tile matches the height and footprint of a standard TAIT Mag Deck, allowing the stage to be built, packed, and transported as a single integrated system. The ultra-thin tiles can remain installed during transport, reducing truck space and cutting load-in and load-out times.
The MD6 system features top-servicing, magnetic-mounted tiles that can be accessed without tools, minimizing downtime during touring schedules. Its high brightness and slip-resistant, all-weather lensing ensure the runway performs visually and functionally under both indoor and outdoor stadium conditions. This design introduced a safer, faster, and visually seamless LED flooring solution purpose-built for global touring.
LD: How do you collaborate with the production designer and the artist’s creative team?
AS: TAIT has worked with Morgan Wallen’s production team for multiple tour cycles, enabling an ongoing and collaborative design relationship. Our team is typically involved during early creative discussions, allowing us to begin technical planning before the tour hits the road. This close collaboration ensures that creative vision and engineering functionality evolve together, resulting in refined, tour-ready staging solutions tailored to the artist’s performance style and production goals.
LD: What was the biggest challenge on this tour?
AS: The most significant challenge was the production build of the new MD6 video decks. TAIT had been working closely with Nighthawk throughout the development process, running multiple prototypes builds to validate design and performance before full-scale production. The decks are highly intricate, with many precise components required to achieve the specifications of a touring-ready video deck system.
Building the MD6 decks in large quantities for the first time required careful coordination between departments to maintain tolerances, meet deadlines, and ensure accuracy during assembly. During production, a few part discrepancies were identified and resolved in real time, allowing the build to remain on schedule and ready for integration into the tour package.
LD: Is there a specific problem/solution you can cite?
AS: Large-format LED floor systems can create challenges in touring environments due to their weight, servicing requirements, and transport complexity. For this production, TAIT created a new configuration of LED Mag Deck which integrated SACO’s MD6 Media Deck, creating a durable and transportable video surface for the thrust and runway. The design allowed the LED tiles to remain installed during transport, significantly reducing build time and truck space while maintaining a slip-resistant, high-brightness surface suitable for outdoor stadium conditions. This integration provided a seamless, efficient, and visually cohesive LED flooring solution tailored to large-scale touring.
LD: How many trucks are out on the tour for the TAIT gear?
AS: TAIT supplied seven trucks of equipment for Morgan Wallen’s I’m The Problem tour – including all staging, lifts, automation systems, and supporting structures, designed for efficient transport and quick assembly across the stadium tour schedule.
LD: What is the set-up and strike time at each tour stop?
AS: The full staging and automation package for this tour achieves an average load-in time of 8 hours and 30 minutes and an average load-out time of 3 hours and 45 minutes. The system’s modular deck design, integrated lift and automation systems, and standardized cart transport allow the crew to build and strike efficiently while maintaining precision and safety. These efficiencies support fast turnaround between cities and consistent performance delivery throughout the tour.