Spanning over 40 stops in arenas, amphitheatres and outdoor festivals across the United States, Dierks Bentley’s 2025 Broken Branches Tour featured the musician’s full repertoire. Delivering high-quality sound across such varied venues demanded innovative solutions, and ACT Entertainment, provided the audio backbone necessary for such a high-calibre production.
The tour’s audio workflow was designed by Front of House and Systems Engineer James “Pugsley” McDermott, who worked with ACT Entertainment to leverage Avid VENUE S6L-24C Consoles and a PK Sound Trinity Black Line Source System for a flexible, fast-deploying setup that was a sonic success. The Avid consoles played a central role in the workflow. The system’s tight integration with Pro Tools and networked audio allowed for seamless virtual soundchecks, real-time adjustments and precise control over dynamics and EQ.
“Traditional system deployment would require waiting for predictions before hanging the PA,” Pugsley explained. “In our situation, we can hang the boxes, connect them to the network, and know immediately when they’re ready to continue via the LCD color codes. This efficiency allowed crews to manage the extensive signal and drive snakes with minimal downtime, saving critical hours in fast-paced tour schedules.”
Pugsley made the jump to Avid’s digital system a few years back. “The production manager told me that we had to support three separate acts for that tour, all from one console, and that it was time for me to go digital,” said Pugsley. “I adopted the Avid system because our monitor engineer, Scott Tatter, was already using the brand. I’ve been using the 24C for the last few years, but I only just started using Waves plugins with this tour, now that integration is available. I feel like the workflow has become so much easier than with some of the other manufacturers, because it’s all onboard.”
Avid’s capabilities were particularly beneficial for this tour, where consistent sound quality was essential for both the artist and audience experience as they moved between stops. “The Avid system is bulletproof once it’s running,” Pugsley noted. “I can recall show files, manage multiple networks and adjust coverage on the fly without losing time or focus on front-of-house mixing. We add different supporting acts at the various stops, and I might not always get a sound check with them, so the first night I just throw it at the wall and see what sticks. I’ll record that, play with it the next day and really start to fine-tune the sound.”
The PK Sound system played an equally critical role in the tour’s audio success. The robotically controlled Trinity Black line source elements delivered powerful, consistent output with precise horizontal and vertical coverage control. Complemented by PK’s subs and side arrays, the rig produced a deep, punchy low end that filled each venue without overwhelming the mix. The modular design allowed for rapid deployment and easy adaptation to different room sizes and configurations, supported by careful IP address management, DHCP integration and networked control to ensure consistent performance from stop to stop.
“The flexibility is massive,” said Pugsley. “Every module can do whatever I need. If I have space concerns, I can shrink it down. If I have height or weight concerns, I can scale accordingly. The horizontal coverage control lets me fix reflections from stage video walls and tailor the sound to each venue layout — it makes a huge difference.”
The system’s real-time adjustability also gave Pugsley the ability to fine-tune coverage on the fly. “If my deployment isn’t perfect and my verticals are off, I can make those adjustments while I’m listening,” he explained. “Typically, if there are issues with deployment, other solutions need to be taken down, re-predicted and re-deployed, or compromises need to be made that will impact the end result. With PK Sound’s Trinity Black, I can fix it immediately and move every element in the array remotely.”
Ease of setup was another major advantage. “From a staffing standpoint, this system is so easy to put together,” Pugsley added. “One person and two stagehands can do an entire side of the PA without any issues. Other tours will use two to five more people to hang the same amount of gear, and they still take longer. Tear down is just as fast and simple.”
The “Broken Branches” Tour highlighted not only Bentley’s musical talent but also the capabilities of modern live sound technologies. With Pugsley’s innovative workflow, combined with the seamless integration of Avid and PK Sound systems that were supplied by ACT Entertainment, audiences experienced immersive, crystal-clear audio night after night — no matter the venue size or layout.
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