For her Underdressed at the Symphony tour, indie-rock singer songwriter Faye Webster envisioned a unique and intriguing theme: the inside of a laundromat, a sharp departure from her prior concert settings. This unconventional concept was conceived with the intention of delivering her fans a fresh, inspirational and immersive experience. John Foresman and Sam Krause are the intrepid designers who brought the idea to the stage through their exhilarating collaborative journey working together for the first time.

Foresman, owner of John Foresman Lighting, who served as the lighting designer, programmer, and visual content creator for Webster's previous North American tour, described the new laundromat theme as a significant departure from their last collaboration. Noting that during that first tour, "Faye wanted her show to evoke a magical, fantasy landscape inspired by Dungeons & Dragons and Warhammer games," said Foresman. "We portrayed Faye as a fantasy character. It was extremely different than the inside of a laundromat." Sam Krause, owner of the global design and production collective, Kowboy, saw that show, "I was truly impressed by the fantasy theme and dreamlike visuals. His lighting and projections completely captivated me as a fellow designer. As designers, we analyze shows while also enjoying them, and what John created with Faye was exceptional. I couldn't stop thinking about it. So, when I received the call from Faye's team about working on the Underdressed at the Symphony tour, I was incredibly honored and thrilled."

On this tour, Foresman and Krause both credit designer and illustrator, Luke Webster, (Faye's brother), for the innovative artwork and distinct style which became the visual foundation for the Underdressed at the Symphony artwork which became the overall creative vision. Foresman and Krause built on Luke's bold imagination with the laundromat theme. They felt that their combined creative efforts brought out the best in each other, as they transformed Luke's designs to a wildly immersive experience on stage for Faye's fans. 

Lighting with a Spin 

Combining their lighting and scenic design skills, Foresman and Krause incorporated rows of custom-built, illuminated laundry machines and a large projection screen shaped as a large T-shirt on a hanger into the show. "I was really into it when Luke showed us his designs and concepts for the 'public space laundromat: His clear vision was the creative backbone of what Faye and her team were trying to accomplish with the tour. I loved the laundromat idea, it's so recognizable and relatable, yet so different for concert touring, and then taking it to the next level with authentic feeling laundry machines on stage was so powerful," described Krause.

"My collaboration with John was truly remarkable" Krause continued. "His brilliant idea to transform the interior of the washing machines into stunning displays by installing aesthetically beautiful lighting fixtures exemplified the power of our teamwork. We decided to mount sleek bars inside the machines, allowing John to hang the fixtures in just the right position. The lights we chose were the Robe PATT 2017 RGB models, perfectly sized to fit the contours of the washing machine doors. The design of the fixtures enabled a mesmerizing spinning dimmer chase effect, reminiscent of the rhythmic whirl of a washing machine during its spin cycle-an idea that I found particularly captivating.* Foresman concurred by adding, "the Robe PATT's cool retro-style luminaires were perfect for their size and they're easy to modify. The fact that they look just like a washing machine door and can also be programmed to mimic a washer spin cycle really showcases their technical innovation.

Additional lighting included 16 ACME PIXEL LINE IP strip lights. The compact fixtures lined the fronts of the washing machines to light the fascia, and some strips were hidden behind the washers to light the racks of shirts hanging above. Foresman comments, "The ACME PIXEL LINES are exceptionally bright compared to the Robe PATTs, but we used them for indirect lighting. Our goal was to shine light on the front of the washers and on the racks of T-shirts above them. We wanted the lighting to be bright enough and to reflect well, and those fixtures did the job. He continues, "The lights themselves cast a soft glow, ideal for the production we were working on, where a large T-shirt screen served as our canvas for projection mapping. Sam and his team fabricated the impressive projection screen, transforming it into a centerpiece for our visuals."

For the tour, Foresman and Krause worked with PRG for equipment and support. “PRG did the lighting for the whole run. It's always a pleasure working with them,” said Krause. "Budget was a factor for this tour, and PRG was instrumental in ensuring a smooth collaboration. They were very helpful when it came to working within our parameters, helping us come up with the best pricing so John was sure to get all the gear he needed that fit in our budget.

Hang Up Your Video 

As for the T-shirt 'screen, the designers called upon scenic design company, Raven out of New Orleans. The shirt was custom sewn from meticulously selected fabrics, designed to be two-sided. One side gleamed a tranquil blue for daytime scenes when projection was not in use, while the other side featured a crisp white that became a vibrant backdrop for Foreman's projected content. To add to the visual spectacle, they chose a custom-sized gigantic clothes hanger on stage, which gave the T-shirt the illusion of being gracefully suspended from the ceiling. For the projected content Foresman tailored the visuals to fit the needs of each song. The projected visuals depicted themes of laundry, water, soap, and bubbles in many different forms.

“When you're combining scenic elements with lighting, there are always nuances to address, explains Krause. "For instance, we continuously brainstormed ways to prevent light from leaking out of the washing machines sides. We cleverly installed doors on the upstage side because the machines were angled. Without those doors, the uplights that John had used to illuminate the clothing above would inadvertently wash out the T-shirt projections. Together, we found solutions, allowing us to block the light effectively and maintain the integrity of the T-shirt's display. Each detail was an evolving conversation, and together we refined the show into something tighter and more polished.”

When we asked Foresman and Krause about specific moments in the show that they felt especially connected to, they each shared their own unique insights. Foresman responded, "The song Jonny' really captivates the audience. It's one of my favorite songs, too. The lighting during this performance is moody and dark, with an overall blue hue. However, there's a red-orange backlight illuminating Faye's silhouette, which creates a striking effect. Someone mentioned it looked cinematic, and I agree-it's a very dynamic song. It begins softly and then builds to a powerful summit. Faye added a fun twist, having everyone play different notes, which creates a chaotic buildup that is really exciting. We even have strobe lights during that section. Generally, Faye's music is so chill and relaxed that you wouldn't expect strobe lights to be part of the show, but there are a few moments where they enhance the experience. It all builds up beautifully." Krause has a strong connection with the song "Thinking About You." He appreciates how it is visually enhanced with bluish tones and dynamic movement in the background, stating, "The look that John creates really complements the song's mood. The silhouette of the artist is beautifully showcased, which contributes to a cool, darker atmosphere. It's straight-forward and allows the music to speak for itself-it's really dialed in.

Folding It Al Together

We also wanted to know what both designers hoped the audience would take away from the show. "For me, I want the design and programming to enhance the overall experience," Foresman said. "I want it to feel like a seamless part of the music. The lights should act as another instrument in the band, creating a cohesive experience. The audience should walk away feeling immersed in both the visuals and the audio as one unit." Krause added, "With every show, whether we are talking to a client or an artist, it's fascinating how different creatives approach the ethos of their live performance. Our usual goal is to ask why we are doing something and what the purpose behind it is. We aim to achieve a final product that reflects the essence of the album-whether it's the artwork, the mood, or the creative process. Touring often mirrors an album cycle, so our design stems from that. We serve as a bridge, extending the creative process from when the artists write the album and design the artwork to the live show itself. We want the audience to feel a connection between the initial creation of the music and the live performance. The translation should be seamless, creating a moment of connection rather than feeling like a separate entity. Fans often have a particular idea about an artist and the mood of their music when they listen to an album. We aim to bring that to life in a way that enhances the experience. We want the audience to leave thinking about the music and reflecting on what they just experienced, rather than simply walking out and moving on. Our goal is for them to think, evolve their feelings about the artist, and engage in discussions about their journey with the music. Ultimately, we want to provoke thought and inspire conversation." 

Foresman and Krause also emphasize that designers are always in search of inspiration and are keenly observing the work of others. They hope that their insights will encourage designers to challenge the boundaries of their craft and think more creatively. "This experience changed my perspective on production design,” concludes Krause. 

Photo courtesy of PLSN.