Expro Launches Remote Clamp Installation System, Delivering Time and Safety Gains on First Deployment

ABERDEEN, Scotland--(BUSINESS WIRE)--Sep 29, 2025--

Expro (NYSE: XPRO), a leading provider of energy services has successfully completed the first full deployment of its Remote Clamp Installation System (RCIS), marking a significant step forward in improving offshore safety and efficiency.

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Developed by Expro’s Frank’s Tubular Running Services (TRS), the RCIS offers a unique industry solution for smart well completions requiring real-time monitoring and control of downhole tools from the surface via control lines. This capability allows operators to optimize production, manage downhole safety devices essential to well integrity, and extend well life, thereby minimizing costly interventions. The RCIS eliminates significant manual intervention traditionally needed to install control line clamps on tubing during completion operations. By fully automating this process, the Expro RCIS enhances the efficiency of completion installation and reduces risk by minimizing personnel exposure on the rig floor.

The initial deployment of the RCIS was in the UK’s North Sea during the fourth quarter of 2024 as part of a test trial. The project was delivered in collaboration with BP, which also partially sponsored the development of the RCIS technology.

Building on that success, the RCIS was deployed again in the second quarter of 2025, by another operator in the North Sea, where Expro successfully ran a complete hands-free Upper Completion at up to 15 joints per hour with zero non-productive time (NPT) or damage to any of the control lines, increasing running efficiency by 25%. The control line clamps were installed remotely, reducing installation time by approximately two minutes, or 50% per clamp.

Jeremy Angelle, VP of Well Construction said: “This is a breakthrough in clamp installation. By automating a previously manual and high-risk process, we’ve not only increased efficiency but also advanced safety in a meaningful way.”

“The RCIS is designed to offer a practical solution for reducing exposure in hazardous zones, improving crew safety, and streamlining completion activities. As the industry continues to seek ways to minimize manual intervention and improve efficiency, the RCIS represents a scalable, forward-looking solution for offshore operations worldwide.”

Mr Angelle added: “This is a new era of safer, smarter completions.”

Notes to Editors

Working for clients across the well life cycle, Expro is a leading provider of energy services, offering cost-effective, innovative solutions and what the Company considers to be best-in-class safety and service quality. The Company’s extensive portfolio of capabilities spans well construction, well flow management, subsea well access, and well intervention and integrity solutions.

With roots dating to 1938, Expro has approximately 8,500 employees and provides services and solutions to leading exploration and production companies in both onshore and offshore environments in more than 50 countries.

For more information, please visit and connect with Expro on Twitter @ExproGroup and LinkedIn @Expro.

SPECIAL NOTE REGARDING FORWARD-LOOKING STATEMENTS

This press release, and oral statements made from time to time by representatives of the Company, may contain certain "forward-looking statements" within the meaning of the Private Securities Litigation Reform Act of 1995. Forward-looking statements include statements regarding, among other things, the success, safety and efficiency of the Company’s tubular running services technologies, the Company’s environmental, social and governance goals, targets and initiatives, and future growth, and are indicated by words or phrases such as "anticipate," "outlook," "estimate," "expect," "project," "believe," "envision," "goal," "target," "can," "will," and similar words or phrases. These forward-looking statements involve known and unknown risks, uncertainties and other factors which may cause actual results, performance or achievements to be materially different from the future results, performance or achievements expressed in or implied by such forward-looking statements. Forward-looking statements are based largely on the Company's expectations and judgments and are subject to certain risks and uncertainties, many of which are unforeseeable and beyond our control. The factors that could cause actual results, performance or achievements to materially differ include, among others the risk factors identified in the Company’s Annual Report on Form 10-K, Form 10-Q and Form 8-K reports filed with the Securities and Exchange Commission. The Company undertakes no obligation to publicly update or revise any forward-looking statements, whether as a result of new information, future events, historical practice, or otherwise.

Expro's Remote Clamp Installation System (RCIS)

NEW YORK (AP) — Ten years ago, Kim Gordon — a revolutionary force in the alternative rock band Sonic Youth, the ’80s New York no wave scene and the space between art and noise — debuted solo music. At the time, she was already decades into a celebrated, mixed-medium creative career.

The midtempo “Murdered Out” was her first single, where clangorous, overdubbed guitars met the unmistakable rasp of her deadpan intonations. It was a surprise from an experimentalist well-versed in the unexpected: The song took inspiration from Los Angeles car culture, and its main collaborator was the producer Justin Raisen, then best known for his pop work with Sky Ferreira and Charli XCX. Their partnership has continued in the decade since, and on March 13, Gordon will drop her third solo album, “Play Me,” announced Wednesday alongside the release of a hazy, transcendent single, “Not Today.”

“It was a happy accident,” she says of her continued work with Raisen. “In the beginning, I was somewhat skeptical of working with a producer and collaborator, really. But it’s turned out to be incredibly freeing.”

“Play Me” follows Gordon's critically lauded, beat-heavy 2024 album “The Collective,” a noisy body of work that featured oddball trap blasts. It earned her two Grammy nominations — a career first — for alternative music album and alternative music performance. Those were for the song “Bye Bye,” with its eerie, dissonant beat originally written for rapper Playboi Carti. For “Play Me,” Gordon reimagined the track for the closer, “Bye Bye 25!” She says it was the result of her thinking about the rap world, where revisiting and remixing is commonplace.

“I came up with the idea of using these words that Trump had sort of ‘banned’ in his mind,” she says of the new song's lyrics. (An example: “Injustice / Opportunity / Dietary guidelines / Housing for the future.” President Donald Trump’s administration associates the terms with diversity, equity and inclusion initiatives, which it has vowed to root out across the government.) For Gordon, because it became “more conceptual … the remake doesn’t seem as anxiety-provoking as the original.”

There is a connective spirit between “The Collective” and “Play Me” — a shared confrontation, propulsive production and songs that possess a keen ability to process and reflect the world around Gordon. “It does feel kind of like an evolution,” she says of this album next to her last. “It’s sort of a more focused record, and immediate.” The songs are shorter and attentive.

Or, to put it more simply: “I like beats and that inspires me more than melodies,” she says. “Beats and space.”

That palette drives “Play Me,” a foundation in which staccato lyricism transforms and offers astute criticism. Consider the title track, which challenges passive listening and the devaluation of music in the age of streaming. She names Spotify playlist titles, imagined genres defined by mood rather than music. “Rich popular girl / Villain mode” she speak-sings, “Jazz and background / Chillin' after work.”

“It's just representative of, you know, this era we're in, this culture of convenience,” she says. “Music always represented a certain amount of freedom to me, and it feels like that’s kind of been blanketed over.”

Sonically, it is a message delivered atop a '70s groove, placing it in conversation with an era unshackled from these digital technologies.

The title, too, “is playing off the sort of passive nature of listening to music,” she says, “But also it could be seen as defiant. Like, I dare you to play me.”

There's also the blown-out “Subcon,” which examines the world's growing billionaire class and their fascination with space colonialization in a period of economic insecurity. In the song, Gordon's lyrical abstractions highlight the absurdity, taking aim at technocrats.

“I find reality inspirational, no matter how bad it is,” she says. Where some artists might veer away from the news, Gordon tackles truth. “I’m not sure what music is supposed to be. So, I’m just doing my version of it.”

In the end, she hopes listeners are “somewhat thrilled by” the album.

“'This is the music that I’ve wanted to hear,’ kind of feeling. Does that sound egotistical? I don’t know,” she laughs. If it is, it is earned.

1. “Play Me”

2. “Girl with a Look”

3. “No Hands”

4. “Black Out”

5. “Dirty Tech”

6. “Not Today”

7. “Busy Bee”

8. “Square Jaw”

9. “Subcon”

10. “Post Empire”

11. “Nail Bitter”

12. “Bye Bye 25!”

Kim Gordon poses for a portrait in New York on Tuesday, Dec. 9, 2025. (Photo by Taylor Jewell/Invision/AP)

Kim Gordon poses for a portrait in New York on Tuesday, Dec. 9, 2025. (Photo by Taylor Jewell/Invision/AP)

Kim Gordon poses for a portrait on Tuesday, Dec. 9, 2025, in New York (Photo by Taylor Jewell/Invision/AP)