Directing Moods with The Unlimited Dream Company

The Unlimited Dream Company (UDC), co-founded in 2021 by Harrison Smith and George Thomson, has rapidly become a leading force in the creative industry, transforming live performance spaces into immersive experiences. The innovative studio artfully combines architectural expertise with visual storytelling, crafting environments that captivate and leave a lasting impact. UDC doesn’t just set the stage — they redefine it.

This year, the studio partnered with acclaimed artist Jorja Smith for her highly anticipated tour, amplifying the visual elements of her evocative album Falling or Flying. Entrusted with translating the album’s emotional depth into a compelling visual narrative, the tour launched with a spellbinding performance at Reading Festival, where UDC’s stage design flawlessly captured the dualities of Jorja’s music — balancing the soaring highs and plunging lows conveyed throughout the album.

Building on their ethos of creativity and innovation, UDC’s design approach centers on a deep commitment to collaboration and conversation, reflecting their genuine dedication to creating impactful designs. Smith’s Falling or Flying album, which explores themes of emotional fluctuation, provided a rich tapestry for the design. Through extensive discussions with Jorja, George and Harrison were able to delve deeply into the album’s core themes, seeking ways to represent them spatially and visually. This dialogue-driven process allowed the team to create a stage design that not only supported the music but also enhanced the emotional experience for the audience.

The resulting performance space is a testament to George and Harrison’s ability to direct moods and create spatial narratives that resonate on a profound level. The studio crafted an environment that mirrored the album’s emotional extremes by employing cloud simulations via diffused fabrics and dynamic visual elements. The overall design featured fluid, undulating forms that symbolized the album’s fluctuating moods, while the careful use of lighting by Matt Kemp, and video projections further amplified the emotional impact of each performance.

UDC’s design for the Falling or Flying tour exemplifies their philosophy of creating more than just a visual spectacle. Their work bridges the gap between different art forms, transforming live performances into personalized, immersive journeys. By focusing on the small details that resonate with the artist’s vision, UDC ensures that every element of the stage design contributes to the overall narrative, providing each performance with a cohesive and emotionally charged experience.

As The Unlimited Dream Company continues to redefine the boundaries of live performance design, their work stands as a testament to the profound impact that thoughtful and innovative stagecraft can have. Whether in the intimate setting of a small venue or the expansive scale of a major festival stage, George Thomson and Harrison Smith consistently infuse their interdisciplinary expertise with artistry and ingenuity. Their collaboration with Jorja Smith on the Falling or Flying Tour not only underscores the emotional depth of Smith’s album but also showcases the studio’s commitment to creating transformative experiences. Together, the duo ensures that every performance is not just seen but felt, resonating long after the final note has faded. Through their visionary approach, UDC proves that thoughtful design has the power to turn fleeting moments into lasting memories.

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TD: Can you elaborate on the creative vision behind Jorja Smith’s Falling or Flying performance at Reading Festival, and what inspired the themes of being suspended between two contrasting emotions?

UDC: I suppose our work began from conversations with the artist. In our industry, design needs to be highly flexible, especially for touring, as it often involves a kit of parts. However, we like to start by having extensive discussions with the artist, going back and forth to understand what’s important to them. This process is often part of a broader campaign tied to an album. For Jorja, we delved deeply into what the album was really about, trying to identify an aspect that could be spatial and time-based, something which we could craft a show around.

Jorja spoke about her thinking behind the album, and why it was called Falling or Flying. It explores two polar opposite extremes, with the songs reflecting her movement between these emotions, never quite finding consistency. Interestingly, Jorja mentioned that when she performs, she achieves a kind of emotional equilibrium—it’s a moment where everything feels balanced. We found this concept fascinating and thought it would be interesting to design a stage that embodied two opposing forces in competition and contrast, with a sense of stillness where Jorja’s performance could reside.

Early on, we found an image that was initially meant to be a placeholder for the concept before we fully developed it. It depicted cloudy skies and waves. We noticed that these elements appeared as two versions of each other—the clouds were fluffy and gently moving, while the turbulent sea had a frothy texture that resembled clouds. The misty horizon, where these two forces meet, creates a sense of stillness. As we developed different spatial concepts to match the narrative arc of the show, this image kept resurfacing. It eventually became the most immediate way for us to translate the concept spatially.

We then looked at developing this idea into different forms. That’s why the stage features a fluid, undulating riser system alongside more angular drapes. The curves and angles work with each other but are made in two very different ways—one rectilinear and the other curved—creating both a balance and a contrast between these two forms. This all originated from that initial image, which itself was inspired by Jorja’s vision.

 

TD: How did you transform these abstract concepts into tangible stage elements, particularly the wooden structure that became the focal point of the stage?

UDC: We ended up calling them the fins, almost like small sails, and they represented what Jorja was describing—an undulating force of waves to create that movement and flow on the ground. For Jorja, it articulated her emotions on stage. It was about marrying the concept with the logistics, considering factors like the size of the stage and how much we could incorporate.

Interestingly, at Reading, we were able to include everything we’d originally designed on stage, whereas at some other venues, there were fewer drapes and soft fabrics. The core element was anchoring Jorja at the center, holding her in a moment of stillness to articulate her story. Her singing still resonated throughout, with the set acting as a spatial diagram for the concept, but the emotions were really driven by the lighting and video.

Jorja’s early references led to a lot of back-and-forth, sharing things that resonated with us and with her, exchanging mood boards. Projection kept coming up as a key element for Jorja, so we explored using it. Projection, being light-based, is softer and diffused by fabric, unlike most videos. Implementing video allowed us to have something more tangible to orientate the emotions throughout each track. The lighting also played a crucial role—those fins essentially became a light piece, while the screens and projection drapes were another. We used lighting to coat the set in different moods and emotions, reflecting different sides of the album.

 

TD: What was it like collaborating with Jorja Smith during the creative process? How did her openness and communication style influence the final design?

UDC: Our collaboration was very conversational and enjoyable, especially in a creative process where you’re technically delivering a service. There’s an investment from both parties.

Too often, design can feel like a monologue, where you’re essentially pitching your ideas to someone. We try to encourage design as a dialogue as much as possible, but it only works if the client is open to that kind of conversation. Jorja was incredibly open and collaborative throughout the creative process. She would casually share something on WhatsApp, saying, ‘I saw this today, and it really reflected the mood of this song for me,’ or ‘I found this sculpture in a magazine, and it resonates with what we’re trying to achieve.’ It was about finding the visual version of her audio landscape through conversation, and she was super collaborative with that.

 

TD: AJ Tracey’s surprise appearance brought a dynamic element to the performance. How did the inclusion of another live performer influence your design choices, and how do you prepare for spontaneous moments?

UDC: There are variations in show lengths, so we need to consider the flow of the set. We work directly with the musical director, who collaborates closely with Jorja. Throughout rehearsals and in the planning stages, we discuss the set lists and how they transition from the calm opening track to a more energetic finish. When the decision to include AJ Tracey was made, we planned how his track would fit into the set and coordinated his entrance. On the day of the performance, he came out and absolutely smashed it.

 

TD: You could feel the strong emotional connection Jorja has with her audience, particularly in the intimacy of the tent, where the adoration and emotion were palpable, especially during her performance of Blue Lights. How did you design the show to enhance this level of audience engagement and emotional response?

UDC: It’s easy to overdo things with unnecessary embellishments. George and I come from a film background, so we focus on telling the story effectively. If Jorja were on stage with just a mic and a torch, people would still be captivated by her presence.

Our approach starts by ensuring she is beautifully lit, visible, and audible. From there we build out the layers beyond her. It’s like a recipe to create the perfect experience—focusing on the small details. We aim for a balance where everything supports the performance, rather than overwhelming it with too many lights, videos, or dancers.

For Blue Lights, we designed a stripped-back, atmospheric, and moody environment that suited the song. Our design style is about creating mood and atmosphere and telling the story through light, rather than being too literal. We prefer a more abstract approach, avoiding overly literal representations.

 

TD: Amidst the festival’s high-energy acts like The Prodigy and Blink-182, Jorja created a sense of tranquillity, offering a striking contrast to the surrounding chaos. How does the lighting design enhance the emotional impact of Jorja’s songs? Additionally, what role does color play in conveying the mood of her music?

UDC: Color theory underpins much of what we do, influencing people’s emotional responses to both color and light and shade. Essentially, you’re directing the mood. We carefully consider how much light to use and, more importantly, how much shadow to cast. For other acts with a bigger sound, a lot of light is used to capture and hold attention. In contrast, for Jorja’s performance, we placed and positioned light carefully to highlight and focus.

The first step is working with color, as all the different teams—from video to lighting and various other departments—need a starting point while developing the concept. We typically set up a color flow for the show, which visually translates sound into the visual world. This process evolves over time. Initially, the show may start with more intense tracks, using reds and warmer colors to match that intensity. As the show progresses, we move to cooler colors, and then, as we approach the end, we return to warmer colors but in more electric, neon tones.

The idea is to process emotional intensity through calmer moments, so when the more vibrant colors reappear, they are modified and leveled by the experience. This makes them more radiant and celebratory, which energizes the audience. This approach provides a solid foundation for the narrative structure of the show. While the spatial concept acts as a canvas, color plays a crucial role in layering and enhancing the overall experience.

 

TD: How did you develop the modular design for the fins, and how does this adaptability support the varying sizes and configurations of different stages?

UDC: The modular design of the fins was developed to address the varying sizes and configurations of different stages. Our experience with different live venues, which range widely in scale across the country and Europe, highlighted the need for a flexible design.

Each venue has its own unique characteristics, and our goal was to create a design that could adapt to these differences while maintaining the integrity of the show’s core message.

We started by focusing on how to create a modular system that could easily adjust to different stage sizes. Utilizing modular fins—of which there were 96 in total! These fins were designed to be reconfigured by removing two modular units, allowing the design to fit smaller stages while preserving its intended flow and aesthetic.

Our designer, with a background at Zaha Hadid, crafted these fins with parabolic curves that slot together seamlessly. This modular approach ensures that the design remains adaptable, allowing us to present a consistent visual experience across various venues.

The adaptability of the modular fins supported our goal of delivering a high-quality version of the show at every venue. Rather than making significant alterations or cutting details, we ensure that each audience experiences the core elements of the show, regardless of the stage size.

 

TD: In terms of depth perception in your set design, how do you use screens and spatial elements to enhance the storytelling? How does this approach influence the audience’s perception of the space and performance?

UD: We’re very mindful of how screens are often used as a sort of television, and our approach is to ensure that, while they add depth, they don’t become the focal point. It’s Jorja’s show, and she is the key focus. Screens are an additive element, not the main feature.

When designing, we consider everything from the overall show and its flow down to the specific tracks and their beats. For instance, with the track “Addicted,” we initially planned to use fireworks throughout the whole piece. However, we decided it was too overwhelming and only kept them in the choruses. This approach helps to manage the intensity and create a journey within the track, highlighting the climax of her voice and then bringing it back down.

We aim to treat screens more like a light source rather than a giant TV. They should complement rather than dominate. This aligns with our goal of creating a narrative within the track rather than just adding visual spectacle.

Interestingly, Jorja mentioned that one of her favorite visual moments was from a music video she shot during lockdown. She had a lot of fun with the fireworks effect, and it was a personal, creative experience for her. This moment became a foundational reference for us. We decided to use airbrushed fireworks in the show to replicate that personal experience, integrating them in a way that aligns with the feel of the music rather than just as a visual effect.

 

TD: It’s fascinating how Jorja Smith’s work, which began as a personal project during lockdown, evolved into a public experience. In an era where live performances are recorded and shared from every angle on social media, how does this influence your design process? Do you consider how a performance will look in a square format on Instagram and other platforms?

UDC: Yes, we do consider it, but we try not to let it dictate our decisions. Because we come from a film background, we naturally aim to light her beautifully. The added bonus is that this approach also works well for film and photography. It’s all about balance, so we approach it in a way that benefits everyone. It might be slightly darker for the live audience, but that actually enhances the mood and atmosphere.

A lot of it comes down to softness and diffusion. As I mentioned, coming from film, we use diffusion techniques common in film lighting. Many live lights, particularly LED sources, are very vivid and harsh. We prefer to use fabrics to diffuse the light, creating a soft fall-off on faces, which looks good on camera. While there’s the live audience in the room, the global audience on social media is also important to the artist. We don’t let social media dictate our concept, but ensuring the performance looks good on camera is crucial because those fans are as important to Jorja as the people in the venue.

 

TD: The performance was incredibly memorable, with the crowd’s adulation and the heart symbols suspended in the air creating a powerful moment during Jorja’s set. How does it feel to design a show that makes such a lasting impression on the audience?

UDC: It’s really why we do the job. There’s so much teamwork involved — the band on stage, Musical Director Amani Suganami, the lighting team Matt Kemp, Quantum Creative, the production team Chris Tyler, Mike Exell, everyone backstage, and of course, our collaboration with Jorja. When you see these magical moments unfolding, whether at Reading or at festivals in Denmark or Belfast, you start to see the bigger picture. You’re part of something where people are sharing joyful experiences. It’s a wonderful feeling to be in a job where you’re engaging an audience and knowing that people are walking away having had a great time. Ultimately, it’s down to Jorja, but we’ve helped facilitate that in a beautiful way.

 

TD: You’re creating core memories and experiences that’ll stay with fans for decades. We all remember our first festival as teenagers and young adults, the entire mise en scène becomes ingrained in our minds. It’s truly beautiful to be part of something that leaves such a lasting impact.

UDC: When I started out in film, I was really focused on how things looked—costumes, sets, lighting, and so on. But it took me a while to realize that what you’re really doing is directing moods. It’s not about the specific details like clouds and waves; what matters is how people feel and their emotional response. That’s the essence of our job. In film, often people watch online and you don’t get to see their reactions, but with live performances, you get immediate feedback. It’s rewarding to see people moved by the experience.

 

TD: I think that’s a beautiful way to describe directing moods. It really captures what you’ve been talking about.

UDC: We always strive to use an analog process in everything we do. Even though everything is consumed digitally, there’s something special about an analog approach. We want to capture that human touch and avoid overly sanitized, digital, or robotic elements. Just as Jorja’s vocals are human and textured, our design aims to reflect that authenticity. In a world increasingly dominated by digital, maintaining that tangibility of creativity is important. It’s why live experiences are so valuable—they offer something memorable that can’t be replicated online.

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Stay up-to-date with Unlimited Dream Company’s cinematic storytelling with various artists through their website and Instagram.