Bad Bunny’s Debí Tirar Más Fotos World Tour is a 57-show, all-stadium run across around 20 countries from November 2025 to August 2026 in support of his latest album. 

Visiting venues across Latin America and Europe, including London’s Tottenham Hotspur Stadium, the tour saw Bad Bunny become the first Latin artist to surpass $1 billion gross ticket sales. The show’s main upstage wall was driven by four 4K Tessera SX40 LED processors, each connected to four Tessera XD 10G data distribution units. Two smaller delay screens, positioned stage right and left, were powered by a further SX40 with four XD units.

According to Brompton Technology, “the LED setup comprised 462 INFiLED Black Widow AMT series panels, personally selected by the artist during a 31-show arena residency in Puerto Rico, where a shootout between different LED products took place. The panels were sourced for the tour by Production Video Group.” 

At 10,752 pixels wide (42m) and 2,816 pixels high (11m), the main screen presented a significant mapping challenge: how to feed a vast canvas that framed the performance for stadium crowds across the globe. Rather than working with custom resolutions, the team used four UHD feeds, sent from a bank of Disguise GX 3+ media servers. This kept the system compatible with the production’s existing playback infrastructure, an approach made possible by the straightforward mapping across multiple SX40 units and a full 10-bit workflow, a combination that provided a fast, reliable pipeline for a production of such scale.

Pieter Laleman, Video Technician and Head of LED on the tour, explains that Bad Bunny became increasingly involved in shaping the visual identity of the Debí Tirar Más Fotos album era, pushing the show toward a distinctly cinematic look and feel. With over 90% of the show built around cinematic camera imagery, captured on 4K Sony cinema cameras and ranging from clean shots to footage treated with Notch effects, image fidelity was a critical factor behind the choice of processing platform. 

“We worked hard during rehearsals to get the maximum quality out of the cameras, using a 10-bit workflow and custom LUTs for colour consistency across different songs,” says Laleman. “Running everything in 10-bit gave us so much extra detail in the camera images, and with all the different capabilities Brompton offers, we were able to provide the audience with the visual experience the artist had in mind.” 

Reliability was equally essential across a touring schedule of this scale. Being able to monitor the topology and online state of every LED panel gave the team early warning of potential issues, allowing them to resolve problems before they became visible to the audience. The production also relied on Brompton’s closed-loop cable redundancy system, running across two XD units per screen, which delivered near-seamless failover and ensured no black panels even if cables were lost, all without the need for processing redundancy. 

“Bad Bunny’s Debí Tirar Más Fotos World Tour is exactly the kind of project that shows what our processing was built for,” concludes Laurent Theurin, Technical Sales Manager (France) at Brompton Technology. “Supporting a production of this scale, with such a strong creative vision and genuinely cinematic ambition, while maintaining the reliability required across a full stadium tour, is a fantastic achievement for the entire team. Seeing INFiLED’s panels and Brompton processing work together night after night to deliver that vision is a real testament to what this combination of technologies can deliver.”