It was surrounded by a catering and attraction area named Adele World, which included additional stages for opening acts, Late Night Karaoke, and a display of personal memorabilia.

Adele in Munich set a world record for the largest temporary outdoor LED video screen, which measured 220 metres long and cost 40 million euros.

[15] She gave her first concert in years, performing in an intimate setting at the Griffith Observatory in Los Angeles for the CBS prime-time special Adele One Night Only.

[23] It originated when Leutgeb, driven by an idea but without an execution strategy, approached Lucy Dickins,[24] Adele's agent and global head of contemporary music and touring at William Morris Endeavor (WME).

The Oktoberfest held in Munich was decisive, as was her evaluation of the urban infrastructure system supporting this event in a city geographically located in the heart of Central Europe.

[23] Meanwhile, Clemens Baumgärtner, head of Munich's council Department of Labour and Economy and director of Oktoberfest,[36] had to conduct "countless conversations" and carry out "enormous" trust-building work at the exhibition centre for a year and a half in advance because the concerts of Andreas Gabalier, Helene Fischer, and Robbie Williams, which Leutgeb organised on the fairgrounds, received "negative feedback" during the summer of 2022.

[39] The security environment was complicated at the German edition of Rolling Loud 2023, which also took place at Munich Messe and was organised by Live Nation GmbH and Leutgeb Entertainment Group, as aggressive individuals used these stones as projectiles.

[41] The Adele project was formally adopted, and members of the Christian Social Union in Bavaria (CSU), a party on the Munich City Council, jubilantly praised their colleague Baumgärtner.

Niemczyk commented that this political reaction denoted a "trend in the global live business", as Adele is part of the slogan "1% artists", comprising those who are capable of generating "mega-sales" during their tours and having a considerable economic impact on the cities that host them, through concert series in the same place.

Another element that made using the Olympiastadion unlikely was the exclusive contract of Leutgeb's Global Event and Entertainment GmbH, which gave it priority for organising concerts on the Munich Messe fairgrounds.

When discussing the screen's design, the Stufish team anchored the concept of a "big scroll", and Winkler insisted that it should embody the idea of "the embrace", applied both "metaphorically" and "practically".

[70] Brompton Technology, a manufacturer of LED processors,[71] worked in close collaboration with Solotech on the video screen project from origination to planned on-site installation.

[60] Deborah Cole of The Guardian later described the video screen as resembling "a very long roll of analogue film",[63] with its wavy design ensuring optimal visibility for people in the stadium's back rows.

[39] Cohesion between several industry companies involved was necessary, firstly with Solotech, to engineer a hanging bracket capable of supporting 250 tons of video panels, lighting units, and rigging.

The audio team and Britannia Row [Productions] collaborated to "custom-engineer and manufacture wind bracing solutions" to limit wind-induced stress on each "PA hang" in the venue.

[41] Sebastian Pichel, the Adele Arena production manager, said two electrical transformer booths in this outdoor area of the exhibition centre caused problems due to their placement and could not be technically dismantled.

[86] Malcolm Birkett, technical designer and Weekends with Adele team member, commented that the vast hole dug was intended for "the lifts", where the B-stage would be situated.

[50] Callaway said Brompton Technology partnered with Solotech on-site for three days to ensure trouble-free implementation of the task sequences required for the 4K Tessera SX40 LED processors.

[49][63] Adele expressed her enthusiasm when she visited the stadium construction in mid-July, stating on her Instagram account, "It's all a bit bloody exciting",[89] as significant progress was made in assembling the stage and part of the stands.

The lighting team approached the overall look of the entire stage composition by seeking "to connect with the same type of audience intimacy" as in Las Vegas despite a different context regarding the extent and number of participants.

[94] To achieve the desired sound quality, Keirle requested more audio delay towers at Munich, as they are typically deployed in fewer quantities in a setup the size of Adele Arena.

[49] The outdoor environment included an I Drink Wine bar, a Ferris wheel, a swing carousel, a beer garden, and multiple food and beverage options.

Adele's management commissioned Henning to work after noticing an empty storage container wall and decided to spruce it up during the final inspection before the start of the first concert.

The essential elements of the theme to be painted on the wall were predetermined: a portrait of Adele smiling on a black background, with planets and the phrase "Guten Tag, Babes!"

[118] GQ Germany's Daniel Bilinski thought that this venue's presence "reached a whole new sphere" in the "obsession with stars" and offered an "experience" distinct from concerts limited to conventional passive listening only.

He was initially sceptical about the limited view from the Adele Arena's upper tiers; still, he stated that for this reason, it was a common occurrence to look at screens at concerts and added that the "Munich production just made a virtue of it".

[g][130] The Messestadt Ost station had to be closed several times for a few minutes due to the overcrowding on the U2 line immediately after the concert on 2 August, despite Adele World's late opening.

[134] Lufthansa passengers who had to change flights from Munich to Chicago and Los Angeles were left to their own devices and confronted with the unavailability of accommodation in the city when a "technical irregularity" and "operational reasons" prevented the takeoff of two A380-type aircraft.

[122] Munich Messe chief executive Stefan Rummel emphasised the international attention to the exhibition centre, which helped contribute to the visibility of its events on a global stage.

Julian Vogels, a German sustainability expert, believed that audience attendance is the primary source of concerts' carbon footprint and thought the effect could decline if Adele performed live in people's regions rather than having them converge by plane from all over the world to one location.