David Guetta’s Monolith Show takes live visuals from Ibiza clubs to Stade de France with Disguise

When superstar DJ David Guetta and creative studio High Scream set out to create “The Monolith Show,” they envisioned an iconic visual statement capable of dominating any environment. A concept that started in 2023 as a sleek club setup at Ushuaïa Ibiza was designed to evolve, eventually transforming into a huge, shape-shifting production touring locations across the world - from the deserts of Saudi Arabia to the snow-covered Red Rocks venue in Colorado and its biggest shows yet at the Stade de France. One thing that remained constant was the towering LED monolith at centre stage.

Powered by Disguise’s flexible ecosystem, with shows running on everything from a laptop and X range right up to fleets of VX and GX media servers, the production adapted seamlessly to different venues across the world, while allowing Guetta to build his setlists live on show day.

The challenge

High Scream’s first challenge was how to effectively scale the show across venues of vastly different sizes. The LED monolith on stage needed to be able to expand from a modest six meters tall in club settings to a colossal 32 meters at Paris’s Stade de France, where Guetta played a sold-out three-day show in June 2026. The complex visuals needed to land their impact no matter what size the display was.

“We ended up scaling to venues we never imagined, going from 10,000 to 100,000 people, with a screen six times the size of the original Monolith performance,” reveals Pol Fernandez Losada, Content Director at High Scream. “It’s a single evolving show file that’s toured all around the world.”

This evolving show file raised a separate challenge. As a DJ, David Guetta doesn’t perform to a rigid, pre-baked timecode. Instead, he reads the crowd’s energy in real time, pulling from a carefully programmed library of over 400 tracks and building his setlist entirely on the fly. 

“David’s music is always changing, so the visuals have to keep up, match the style, and develop with the music so it feels like it’s alive. You never get two of the same show,” explains Pol. The team needed a platform that could keep pace with these last minute changes and also allow them to stay flexible without compromising creativity.

The solution

To build a show that felt truly responsive, High Scream leaned heavily on Disguise’s Designer software, making use of the timeline functionality to help construct tracks in a modular way. This meant that when Guetta swapped an underground track for a more commercial anthem on the fly, the video and creative concepts could instantly follow his lead.

This helped the team do much more than simply play a background video on the LEDs. Instead, they developed visuals that cycled through distinct phases, at times mimicking fluid silk draped over hidden sculptures, and at others, simulating particle storms that pulled the crowd into fields of motion. By manipulating angles and scale, High Scream also used forced perspective to warp the physical LED stage structure, playing optical tricks that altered the audience's perception of depth and space. Disguise’s DMX mapping helped the team add to this illusion by creating moments in which the video could control the venue’s lighting, making the screen’s visual energy spill directly into the crowd.

Being able to previsualise these perspective tricks in Designer was crucial to Pol’s workflow, saving the team an estimated 2,400 hours across the run of shows. 

From starting out at Ushuaia Ibiza in 2023 running on Disguise GX 2C servers, the Monolith Show has travelled to the stunning backdrop of the AlUla desert where it ran on GX 3, Red Rocks amphitheater in Colorado where it ran on GX 3+, and the Brooklyn Mirage which saw the biggest server fleet of 7x GX 3s, as well as a string of other venues in Europe and the US using VX and GX servers.

The show recently returned to its home in Ibiza to run on a PC with Disguise’s software-only X range solution. “In a club it’s difficult to find space to put servers so having this much smaller and portable platform has been really useful. It allows us to keep the same show, but scale and keep consistency between shows” explains Pol. “Once you’ve built this show in Disguise, it’s very hard to go to a different system. It’s been great to have the X range to allow us to bring all the Disguise features that we love to shows that wouldn’t have been possible before.” 

As High Scream began scaling up for Guetta’s string of sold-out Stade de France shows, the sheer volume of data skyrocketed. To handle this increase, the team decided to use a fleet of six Disguise GX 3+ servers supplied by PRG to drive the 16K visuals on the massive 32-meter-high LED centrepiece, as well as the 60-meter-wide TITAN-X back screen.

“For Stade de France, the resolution is so much greater than what we previously worked with, and scaling up content requires terabytes of data,” Pol details. “We knew that the Disguise GX 3+ was the only solution that could handle the scale of a show that size.”

The results

With 300 shows across almost every continent, played to millions of fans, the Ultimate Monolith Show has cemented itself as a masterclass in adaptive live entertainment. The production’s incredible flexibility has helped demonstrate the true power of a scalable, unified media server ecosystem, adapting effortlessly to everything from intimate club spaces to massive open-air environments.

“To see the show evolve from a single club screen to a massive stadium layout in Paris is a proud moment for the entire team,” Pol concludes. “Given how unpredictably David changes his music and how drastically our environments shifted, we truly couldn’t imagine powering this tour with anything other than Disguise.”