Alec Maassen and Ricardo Rojas recently formed a new design firm AllofUs. They recently spoke with PLSN Contributing Writer, Adrienne Gurman about the new company and their initial major project-designing 2hollis’ "minimal yet dynamic" performance at Coachella. Hollis Frazier-Herndon, known professionally as hollis, is an American singer, rapper, and producer. The two designers shared some insights about their approach to festival design and their creative process. They explain how they utilize lighting, visuals, and storytelling to craft a cohesive and impactful show while emphasizing the importance of balancing creativity and logistical constraints.

ALG: Please tell me about yourselves.

Alec Maassen: I've always had a passion for music and design. My career initially consisted of various types of visual projects, then I got into music and toured with several DJs, primarily handling the visual aspects of their shows. I worked with a diverse range of artists, including The Weeknd, Bonobo, Lizzo, DJ Snake, and even collaborated with Keith Urban and ventured into the country music scene. It was at a gig for SG Lewis that I met Ricardo, and we immediately clicked. Since then, we've been working together consistently. After a year and a half of collaboration, we decided it was time to start our own company.

Ricardo Rojas: When I started, I didn't know many people in the music touring industry, so l had to learn how to get involved on my own. I didn't know exactly how to get there, but I was determined to be part of the world that live music creates, a world that continues to bring me immense happiness. My goal as a designer is to share the joy and energy of live music with others, and I am excited to be on this journey with Alec. We complement each other with our diverse skill sets.

When did you officially start the company?

AM: It became official in January of this year. Last year served as our main test run. As creative directors, we have a unique opportunity to explore what makes a great show.

How did you get to working with 2hollis?

AM: I was introduced to hollis through a college friend who works for the label. Once we met the team, our ideas and theirs naturally came together, resulting in a seamless collaboration. They were looking for something for Coachella, and we were the ideal choice-starting from the basics and early stages. One of the most remarkable aspects of what Ricardo and I do is our ability to take a concept and develop it into a fully realized production, building an entire show from beginning to end.

Tell us about the creative concept.

AM: At the beginning, there weren't any concrete ideas yet. It was simply a matter of them saying, Hey everyone, we're performing at Coachella. We need a show. This was a significant moment for him (hollis), as it was the biggest performance he had ever done. It was the perfect opportunity for him to invest in the new show and create something fresh. It was the right time to elevate his performance.

Have you done festivals before?

AM: This is our first show, and festival, as a company. However, between the two of us, I think we can confidently say that through our individual careers and touring experiences, we've participated in major festivals around the world.

Describe the difference between doing a festival and going on tour.

RR: The main difference lies in the execution, particularly within the limitations that festivals impose. When you're on tour, you have the entire morning and early afternoon to set up your stage and ensure that everything is working properly. Therefore, festival design must be carefully considered, not only from a creative perspective but also logistically. It needs to be capable of being deployed in 15 minutes or less. You have to wear both your creative hat and your production designer hat because, ultimately, no matter how great the idea is, if it can't be executed effectively, it will fail.

AM: For hollis, the design we created for Coachella is fundamentally cubic and emphasizes simplicity. While it can be deployed quickly, the cubic design is its strongest feature, resembling a grid.

RR: We used artwork from the cover of 2hollis's last album Star, which is inspired by Metatron's Cube-a symbol in sacred geometry consisting of all elementary shapes-and we focused on how to represent the story. The artist's insights into the album's meaning guided us in developing a minimal yet dynamic design. We created a grid layout that forms a perfect square with towers at each corner. This design allows for remarkable positioning and movement effects, translating the album's themes of complexity and diversity into an architectural framework. Our objective is always to connect our design to the music, avoiding generic solutions in favor of something that resonates with the art at its core.

Did the set-up time constraints influence your design and gear choices?

RR: It's not solely about the gear or the setup time; it's about having a team that can effectively execute the design. That's what truly makes the difference. Many people are involved in the process, and each one plays a vital role. It's easy to overlook details when you're in a rush, but when everyone is aligned-including the lighting vendor who understands the creative vision-you can avoid compromises. The vendor we chose was Volt Lites from Burbank. They are excellent, and I knew they could meet our needs because they had the gear we wanted. The festival does not provide additional support, but they do set up the stage. There is lighting on the stage already, but you must supply any additional lighting yourself.

Tell us about your preparations leading up to Coachella.

RR: Al the pre-visualization work is completed in the weeks and months leading up to the event to ensure everything is ready as possible when you arrive. The goal is to make it as seamless as possible.

AM: When comparing a tour performance to a festival show, there are a few key differences. For instance, the songs may be shorter during a festival, or you might perform fewer songs because you have only a 45-minute slot instead of the usual hour and a half. That said, even in a 45-minute time frame, we managed to include 1 or 12 tracks for this show. Most of our performance was pre-programmed and timecoded, which helped us stay organized.

RR: During the first weekend of Coachella, we had a sunset slot, which generated a lot of excitement for our performance. However, for the second weekend, they offered us a nighttime slot. This was thrilling for us, especially the lighting team, as it provided an opportunity we were al eager to experience. This was the show we had really prepared for. Performing at night allows for more dynamic lighting. During the day, there is no hiding; the artists are fully visible on stage. But at night, the lighting can create a more theatrical and dramatic atmosphere. Lighting always appears more striking in a dark setting, making the performance more visually

Did you use fog and haze during your sets?

RR: Yes, we used it a lot! There was a significant amount of haze that was intentional. I wanted the visual treatment to feel mysterious and visceral. We planned silhouette moments with striking video content in the background, so having haze was essential to the show. At Coachella, the wind can be unpredictable, but sometimes, it creates these magical haze patterns on stage that you could never replicate. It looks impressive because you might see a little smoke tornado on stage.

What gear did you use for lighting and special effects?

RR: The key to making the lighting the 'hero element was using lights made by ACME, called Tornadoes. They're cool because they consist of five individual heads on a single light, allowing us to achieve beautiful beam effects. We positioned these on towers. Our lighting design was not just about creating a scenic element. It was about versatility. We established planes of depth for the towers with two lights positioned downstage and two upstage. This setup sometimes built a wall of light that stretched across the stage. It also enabled intricate fan movements that connect back to Metatron's Cube theme, which uses simple shapes to create complex and beautiful patterns.

Our approach varied; sometimes, we would simply turn the lights on straight, while other times, we would focus on crafting these intricate patterns. This adaptability was a key feature of our design. We hung the lights vertically and had them tilt and pan, allowing movement in different directions. Occasionally, we used them to create striking, quick movement effects, while at other times, they served as scenic elements that enhanced our stage design. We aimed to establish an architectural presence on stage so that each song would have a distinct look.

Referring to the cube concept, we sought to create different shapes within the same plot, cycling from minimalistic to highly complex arrangements and everything in between. This dynamic approach allowed us to explore various visual effects. Additionally, we used Elation Smarty Hybrids as spot/hybrid lights on the floor, which helped create a square design that encircled the stage. We also incorporated four hazers and two foggers, resulting in a significant amount of smoke. This intentional choice was made to add to the dramatic feel of the performance, enhancing the audience's experience and intensifying the visual impact.

Did hollis have specific colors he wanted?

RR: Yes, he chose to use white exclusively because most of his art, especially the visual elements, is based on black and white.

AM: In fact, his entire brand is essentially white. In a few instances, he occasionally incorporates a hint of red. However, for his show, he simplified his palette to white only. The stark contrast of white and black, as seen in the show, is truly captivating and powerful.

How did you differentiate one song from the next using only white?

RR: This is where the stage positions and the various shapes we built, along with the programming, came into play. Everything was designed around the music. The rhythm of each song drove both the video and the lighting. We used different positions to create visual variety; for instance, we had simple cubes, pyramids, and intricate fan light cages. Each song had its own distinct look.

Additionally, we differentiated the songs through different content. We employed special camera effects for specific songs, while most of our content remained simple. Sometimes, hollis's brand is represented by a plus sign, and we would use that during particular songs. He also has a symbol that resembles a less-than-2-sign (<2). Certain songs were differentiated by the symbols displayed on stage and the camera effects. The camera effects were never raw video; they were always in black and white or occasionally inverted. We also used slight blurs and other subtleties to make each song feel separate.

What did you want the audience to feel while experiencing the set?

AM: We wanted the audience to feel a sense of excitement and hype. 2hollis attracts a wild crowd; normally, the kids are moshing and jumping for every song, even during the slow ones. It's funny because Coachella is known for having a sleepier crowd these days, but the kids were anything but sleepy during his set. We aimed for the audience to feel they could let loose, have fun, and release some energy. We also wanted them to feel his presence. Visually, having his brand and symbolism on display was all about emphasizing who he is.

RR: We aimed to visually build his world, driven by the eccentric story that 2hollis' music tells. We wanted to create an experience that felt different from anything else people would see at the festival. Our goal was for the audience to feel transported into the layered and unique world his music creates. I love that he's carving out his own niche musically-he produces all his music, performs it solo, and even designs most of his brand.

That was the focus. We also wanted to ensure that everything felt cohesive and intentional. Storytelling is at the core of our creative process, and it always drives our decisions. We asked ourselves how we could tell his story visually without making it too literal. Our aim was for the audience to feel engaged and connected to the narrative we were creating.

What is ahead?

RR: With 2hollis, we just did Bonnaroo, then we'll do Lollapalooza and hopefully, there's more to come after that. It's going to be a 360° show performed in the round. Alec and I are comfortable working in any genre. I’ve done rock shows, pop shows, hip-hop shows, and everything in between. We love working on different types of music because it challenges us creatively and prevents us from getting stuck in a routine of relying on what you already know. I think a designer should be able to work across various genres.

You can learn more about the new design firm. AllofUs at www.allofuscreative.com

Photo courtesy of PLSN.