Off the back of the success of his Pyramids of Giza show, Anyma has told IQ what it took to deliver the historic one-off at the ancient wonder.
The Italian-American DJ and producer, real name Matteo Milleri, sold out a two-part, ten-hour performance on the edge of the ancient Egyptian complex earlier this month (10 October), bringing around 15,000 fans from around the world for the unique concert. The one-off event was supported by local property developer MODAD, electronic music brand P+US, and Venture Lifestyle.
With reportedly the biggest electronic show at the site, he etched his name onto a growing list of performers who’ve played the last surviving monument of the Seven Wonders of the Ancient World alongside the likes of Metro Boomin (2024), DJ Carl Cox (2023), Maroon 5 (2022), and the Black Eyed Peas (2021).
“I’d always wanted to perform in Egypt, and especially at the Pyramids of Giza,” Anyma tells IQ. “It’s a deep connection to history, culture, and the allure of an ancient civilisation. They’re probably the most timeless, monumental symbols of human creativity and mystery.
“The Anyma project has always been inspired by so much of what the ancient Egyptians created, and there’s no symbol more associated with them than the pyramids. I hope by merging ancient history and my tech-inspired show, we could create a truly unique moment.”
The plan for the show began to take form roughly six months ago, around the conclusion of Anyma’s 12-show stint as the Sphere’s first-ever electronic headliner. During the process, the team had to adhere to various production safeguards to protect the 4,600-year-old heritage site.
“We had to create the best possible show with the equipment that was available, while also navigating strict regulations and permissions, which really pushed our creativity and teamwork,” production director Christopher Lundie explains to IQ.
“Ultimately, it made the show more meaningful, knowing that the music and the space were intertwined in a respectful way”
“The logistics involved careful planning to ensure nothing disturbed the site’s integrity, from equipment to transport to crowd management. Balancing the immersive experience we wanted to deliver with the responsibility of preserving such an important place pushed us to innovate creatively within tight constraints.
“Ultimately, it made the show more meaningful, knowing that the music and the space were intertwined in a respectful way.”
Inspired to deliver something monumental, Anyma and his team dreamt up a two-part event, bridging the gap between the antiquated landmark and the immersive innovation the multi-disciplinary artist is revered for.
“The two-part show was about pushing my own limits and what a worthwhile fan experience could be. It really came down to delivering for a one-time experience… while being respectful and humble as to what the pyramids and Egypt mean for humanity. It simply felt necessary to do both,” Anyma says.
“First came my Quantum concept, which focused on lighting and atmosphere to create an intimate connection between the audience and the Pyramids, alongside my musical narrative that I felt best captured their spirit. We designed the lighting to blend an illusion and shift the crowd’s perception – basically a balance between presence and absence, nature and technology.
“Visually, the Pyramids became kind of a canvas for light, not just a backdrop, but an active part of the storytelling and show. The off-on nature of our lighting was almost a reminder of just how incredible they are. After, we transitioned into my The End Of Genesys audio-visual show, maintaining reverence for the site with some Egyptian-specific visual adjustments.
“The whole show was about harmony and duality,” he says.
“We needed to minimise our impact far above anywhere else we’ve built a show before”
Anyma initially premiered The End of Genesys concept during his residency at the $2.3 billion, 20,000-capacity Las Vegas venue. But delivering that show in a vulnerable, open-air space was much different, constrained by technical aspects to “minimise our impact far above anywhere else we’ve built a show before,” Anyma explains.
Lundie says guidance and collaboration with local partners helped them construct a production suitable for the space, while elevating what could be achieved.
“The stage featured a massive 94-metre-wide by 15-metre-tall LED wall (1,410m²), for the audiovisual show. On top of the local resources, we shipped and flew in equipment and staff from all over Europe and Dubai. More than 2,400 lighting fixtures were used to highlight the stage, artist, and pyramids, and customised LED cables and speakers were flown in to provide the best audiovisual experience for fans. To pull off this performance, we flew in an additional 40 crew members.”
Events at the Pyramids are increasing. Later this year, Tiësto and Fideles will stage shows at the site, and EXIT Festival plans to hold the first multi-day, multi-stage festival at the venue. But while popular, concerts there are facing increasing scrutiny.
Local leaders are vying to suspend large-scale shows at the site, citing concerns with the impacts of audio and SFX elements on the site’s integrity, while a 2023 show from Travis Scott was cancelled at the last minute after a state-affiliated entity reportedly revoked the permit because it “contradicts the identity of the Egyptian culture”.
However, striking a balance between the site and the show was integral for organisers.
“The Pyramids themselves were the real star”
“I’ve always believed that technology and nature don’t have to be in opposition. They can coexist in a complementary way,” says Anyma.
“From the beginning, the goal was never to overpower the space, more to be in a dialogue with it. Emphasise what is already there and use it to our advantage. We studied the architecture, the textures, and the atmosphere and built the experience around those characteristics. The audio-visual design became very site-specific.
“Visually, we leaned into the surroundings and we used spatial sound design to respect the acoustics to deliver something unique for Egypt. The Pyramids themselves were the real star.”
And for the team, pulling it off was a dream come true.
“Starting this project as an idea in my mind and then seeing it come to life – while thousands of people were surprised and delighted by the experience – was an incredibly special and fulfilling feeling of happiness. One of those moments that will never happen again,” Lundie says.
The achievement is another notch under Anyma’s belt, as he’s gone from strength to strength in Las Vegas, Egypt, and onto Coachella headliner status in 2026.
“For me, these moments are stepping stones towards my larger goal of live experiences that go beyond the ‘standard’,” he says. “I hope with every experience we’re pushing boundaries of what’s possible and challenging what a performance can be, regardless of crowd size or what country the show may be in. That’s very important to me and the world of Anyma. I can’t wait to show what I’ve been working on for this next chapter.”
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The post Ancient history: How Anyma lit up the Pyramids of Giza appeared first on IQ Magazine.