Los Angeles, CA (March 24, 2026)—Last week saw Nine Inch Nails wrap up its Peel It Back Tour with a bang at the Golden 1 Center in Sacramento, CA. Throughout the three-leg, 10-month, 60-plus-date run, the veteran industrial act served up familiar favorites through a sizable audio system provided by Britannia Row Productions, a Clair Global brand.
The show, a spectacle of lights and video projected onto floor-to-ceiling scrims, started with Trent Reznor at a B stage piano in the audience before switching to the A stage with the full band, consisting of Reznor, Atticus Ross, and three touring band members. The focus then returned to the B stage for performances with Boys Noize before again returning to the main stage for NIN’s final set. Bringing all of it to the audience was FOH engineer Jamie Pollock, overseeing a Yamaha Rivage console bringing audio for the tour’s L-Acoustics K1/K2 rig with KS28 subs
The tour’s final leg carried main hangs of 16 K1 over four K2 per side, side arrays of 12 K1 over eight K2 per side, and 16 K2 per side for the rear 270-degree arrays. Eight KS28 subs were flown per side with another 24 K28 end-stacked in pairs across the stage face. Four A10 Focus spread out atop the ground subs provided front-fill, with an additional four horizontally arrayed A15 Wide per side for near out-fill. Thirty LA12X amplified controllers per side were flown in custom Brit Row flying carts alongside the arrays, with another six per side on the ground under the stage. Processing included three L-Acoustics P1 at FOH using dual-redundant Milan-AVB signal distribution with analog XLR backup.
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“We also carried four X8 with pole-mount brackets as auxiliary front-fill,” said systems engineer Terence Hulkes, whose credits include multiple tours with Depeche Mode and David Gilmour, as well as stints with Beck, Swedish House Mafia, Dua Lipa, BTS and Mumford + Sons—all using L-Acoustics PA systems. “We used them when necessary for hard-to-cover odd spots around the stage.”
The enclosure count on the tour was slightly higher than typical, he said, not only for extended headroom but also to accommodate greater vertical dispersion in higher-roofed arenas and, where necessary, 270-degree coverage. “I like to use the angles to fine-tune SPL target coverage and frequency response without the restriction of simply not having the box count for it to be an option.”
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Thirty LA12X amplified controllers per side were flown in custom Brit Row flying carts alongside the arrays, with another six per side on the ground under the stage. Processing included three L-Acoustics P1 at FOH using dual-redundant Milan-AVB signal distribution with analog XLR backup.