The Future of Airshow Production: Why Technical Producers Matter More Than Ever

The modern airshow isn’t just what happens in the sky — it’s the full production on the ground, in the speakers, and across the stream. Crowds in the stands expect a show. Fans at home expect a broadcast. Sponsors expect reach. And it all comes down to the people behind the mics and mixers. Here’s my take on where we are, and where we’re going.

AIRSHOW ANNOUNCER - As our industry moves toward highly produced shows that fuse live streaming and episodic production elements, sound contractors are poised to become the weavers who tie everything together. The most valuable contractors going forward won’t just know how to turn on a system—they’ll be technical producers with sharp situational awareness. The days of flipping a switch and napping in the chair are gone.

Quality gear matters, but people matter more. We need skilled professionals who can run playback, mix the show, support live streaming, handle episodic content, and manage all the spinning plates so the announcer can focus on their core job: entertaining and serving the audience.

Looking Back

Not long ago, airshow sound systems were crude at best. Many were cobbled together by engineers who loved airplanes and solder, often looking like circus-tent contraptions that had survived being trampled by an elephant. The truth is, some still do.

Today, phenomenal sound systems that meet or exceed military standards are widely available. But equipment alone doesn’t guarantee success—it comes down to the engineer running it.

Over the past decade, announcers began carrying more responsibility: first talking, then playing music, and eventually mixing the entire show. Why? Because many contractors couldn’t keep up with production demands. The side effect is that too many contractors now just flip the switch, monitor levels, and sit back. Some don’t even bring their own music anymore.

Why It Matters

Airshows are no longer serving only the crowd in front of them. Live streaming and episodic programming now mean serving fans at home too. This is an enormous, lucrative opportunity, but our production standards are stuck in the past. We’re just one generation removed from the guy on a hay wagon with a megaphone.

Twenty-five years ago, playing music at a show was new. Today, audiences expect a full-scale production—live, online, and increasingly as episodic content that can be replayed, shared, and monetized.

And the best proof of this? Look at CODE FOUR in Huntington Beach. With Pacific Airshow, they’ve invested millions in concert-grade sound systems and a top-quality team to run them. Beyond that, they’re producing world-class episodic content that generates billions of impressions, extending the reach of the event far beyond the beach. They’re not just putting on an airshow—they’re building a global entertainment brand powered by digital storytelling.

Who’s Doing It Right?

One of the very best on the technical side is In Concert Production’s Jay Rabbitt. Jay is a former ICAS board member, an Honorary Blue Angel, and an all-star in the airshow world. Nobody runs a show better.

Jay’s value isn’t just quick music cues—even for the jet teams. It’s his ability to manage the entire production seamlessly. Equipment failure? Playback issue? Jay solves it before anyone knows it’s happening. His digital systems have built-in backups to ensure uptime. If there’s a broadcast or episodic element, he’s already handling multiple mixes while staying ahead of the announcer.

These skills come from decades of experience in both broadcast and live events. The catch: Jay’s now CEO of ICP, and his talents are in demand across film and television. That means he can’t always leave the office—especially since those industries pay him what he’s worth.

The Path Forward

COVID sped up the demand for streaming. Now fans and sponsors expect it. But if Jay’s not available, who should you hire?

The truth is you probably need two people:

1. A quality sound contractor with airshow experience.

2. A technical producer who can play that system like a violin—someone fluent not just in live event audio, but also in broadcast and episodic workflows.
   

And here’s the key: pair them with the right announcer. An announcer who understands how to work in sync with technical producers, who can serve both the live audience and the streaming audience, and who knows what it takes to meet the standards set by the best in the business.

When vetting companies, pay attention:

• Long gaps of silence?

• Dead speakers?

• Clunky streams kids won’t watch?
  

If so, keep looking. Middle schoolers are a surprisingly reliable test audience. If they walk away from your live stream, you’ve lost.

The Hard Truth

Our industry needs more people who can step into Jay’s shoes. High-end talent is rare, and too often undervalued. We’ve grown comfortable with cellphone videos, stripped audio mixes, and social media being the only distribution channel. That’s like building your dream home in a grocery store parking lot—you don’t own the land, and one day the store will bulldoze your house.

CODE FOUR proves the opposite: invest in the platform, own the product, and the audience will follow. Their episodic digital storytelling is redefining what an airshow can be. That’s the model to emulate.

Takeaway

Hire sound contractors who are true technical producers—professionals who can sync seamlessly with the announcer, Air Boss, pilots, and streaming crews while also supporting episodic production needs. If you can’t find that in one person, hire both roles.

In the end, every channel runs through the sound contractor. They need to rise up, master this expanded skillset, and lead us into the future. And when you find someone capable—pay them what they’re worth. They are the rarest, most valuable asset in the industry. If you need proof, just look at CODE FOUR with Pacific Airshow or Jay Rabbitt at ICP. They’ve already set the bar: billions of impressions, world-class episodic content, and flawless concert-grade sound. That’s the model. And paired with the right announcer, it’s the future of our industry.

Closing

If you’re planning an event and want to deliver that next-level experience — the kind that connects with the live crowd and the global audience at home — I’d love to talk. I’ve seen firsthand how the right team of announcers and technical producers can elevate a show into something unforgettable.

Matt Jolley is an American airshow announcer and Edward R. Murrow award-winning aviation journalist. His voice is heard by millions of fans every year at the top aviation events across the USA, and on SHOW CENTER, The Airshow Podcast. Learn more at airshowannouncer.com