When we redesigned Monegros after the comeback, we knew the mainstage couldn’t just be “a bit bigger” than before, it had to embody what R.A.V.E. means for us now: Radical Audio Visual Experience, not just a line on a poster.

That ambition became Sound System Temple a structure more than 70–80 metres wide and around 20 metres high, with a Mega Media Luna roof framing a sci‑fi façade, 30,000 people in front of it and enough sound and light power to make the desert literally shake. We worked with Homs Rentals and our own production to engineer a stage that’s part spaceship, part cathedral: a main deck the size of a small house, side and rear platforms for backline and pyrotechnics, FOH towers and dedicated truss for projection and mapping, all built to survive 22 hours of heat, dust and non‑stop music.

Surrounding that, six 50K‑lumen projectors, teams like TAS Visuals, Deltaprocess and Impact Vision and our own creative direction turned the metal skeleton into a living sci‑fi organism, a 360º stage concept where, as we like to say, the crowd feels like a dystopian colony stranded on another planet, with the DJ booth as its core reactor.

Business‑wise, Sound System Temple is our single biggest bet each edition. It concentrates a huge slice of the festival’s production budget into one place:

• Structure rental and engineering

• Sound and light design

• Projection mapping

• Pyrotechnics

• Extra modules for artists and crew

• The logistics of feeding 30,000 people’s expectations for the “big moments” of the weekend.

But that concentration is strategic. In a festival that can host 55,000 people from 80+ countries over 22 hours, you need a heart, a stage that can host everything from techno to drum’n’bass and urban acts, and that delivers enough impact and content to carry the story of Monegros out into the world through aftermovies and live sets (like Andy C’s 2024 performance from this stage).