By Simon Asare, GNA
Accra, Aug. 19, GNA – Ghanaian production expert Nana Kwame Adu-Gyamfi played a leading role in delivering Stonebwoy’s BHIM Festival London at the OVO Arena Wembley, highlighting the growing contribution of Ghanaian technical professionals to major international entertainment events.
Adu-Gyamfi, founder and chief operating officer of Gigkits Limited and founder of LiveX Africa, led the production team that travelled from Ghana and served as lighting designer and lighting (LX) programmer for the concert.
The event brought together production personnel from Ghana and the United Kingdom, with the Ghanaian team collaborating with UK production partner Hera Touring and local technical suppliers to stage the London edition of Stonebwoy’s flagship festival.
For Adu-Gyamfi, the Wembley production marked the latest chapter in his work on Stonebwoy’s large-scale live events.
He previously led production for three consecutive editions of the BHIM Festival in Ghana from 2023 to 2025, as well as the Torcher Experience in Ho.
Preparations for the London concert began about four months before the event, according to Adu-Gyamfi, with the Ghana-based team helping to shape the technical design long before arriving in Britain.
“We had already spent months working through the stage, lighting, screens, public address and backline requirements,” he said. “Those ideas were shared with the UK team, and the design continued to evolve through discussions between both sides until we arrived at the production we eventually delivered.”
Adu-Gyamfi said the production process involved extensive coordination between the Ghanaian and British teams to ensure the final design met venue requirements, equipment availability and technical specifications at Wembley.
The lighting design was programmed in advance in Ghana using the Avolites Titan platform, providing a framework that could later be adapted to the equipment installed at the arena.
Before moving into the venue, Adu-Gyamfi visited the lighting supplier to inspect equipment and test portions of the programmed show file.
“There will almost always be differences between what is planned and what is eventually installed,” he said. “The important thing is being able to adapt quickly and work with the local teams to make the system function as one production.”
At Wembley, the Ghanaian crew joined the wider UK technical team for construction, testing and rehearsals ahead of the show.
The production featured multiple performance areas beyond a traditional main stage setup, requiring coordinated lighting, sound and video coverage throughout the arena. A stage element inspired by Ghana’s Independence Arch was also incorporated into the design, bringing a distinct Ghanaian visual identity to the concert.
Adu-Gyamfi said his approach to lighting focused on supporting the performance rather than drawing attention to the technology itself.
“For me, the lighting has to serve what is happening on stage,” he said. “If the audience is fully inside the moment, then the technology is doing its job without necessarily demanding attention for itself.”
Beyond its technical ambitions, BHIM Festival London also showcased Ghanaian music and culture to international audiences, with performances complemented by Ghanaian visual themes and artistic influences.
“When we take a production like BHIM Festival outside Ghana, we are not only taking the music with us,” Adu-Gyamfi said. “We are also presenting parts of who we are, our history, culture, visual identity and creative ability to people who may experience Ghana through the show.”
He said such productions could contribute to Ghana’s cultural diplomacy by strengthening ties with diaspora communities while exposing broader audiences to the country’s creative industries.
“A concert alone will not define how the world sees Ghana, but every strong cultural experience can contribute to that perception,” he said.
Adu-Gyamfi also highlighted the importance of creating opportunities for African production professionals to work alongside international teams as Ghanaian and African artistes continue expanding their global reach.
“As our artistes and music travel, there should also be opportunities for the professionals who help build those productions to travel with them. That is important for the growth of the wider African live entertainment industry,” he said.
GNA
Edited by Kenneth Odeng Adade
Reporter: Simon Asare
[email protected]