SOLARIS TOUR 2026

An architecture of portals, light and moving images transforms Joji’s Solaris 2026 Tour stage into an immersive universe, where the physical and digital merge into a single spatial experience.

For Joji’s Solaris 2026 Tour, Cassius Creative and FRAY Studio imagined something more than a stage: a world to step into. 

The concept was born from a desire to move away from the conventions of concert staging — traditional LED backdrops and standard lighting positions — and instead create a three-dimensional environment. The result is a large-scale architecture made of layered and offset portals, video surfaces, concealed lighting elements and automated scenic systems. 

The stage becomes a kind of window through which the audience can observe different worlds. Video is no longer simply positioned behind the artist; instead, it surrounds and interacts with him, connecting live performers, light and architecture within a constantly evolving environment. 

One of the most distinctive aspects of the project is the way video is conceived. Rather than functioning as a two-dimensional surface, it becomes a spatial element that extends into depth. 

Three large portals, designed using forced perspective, create the illusion of a stage that is far deeper than it actually is. Visual effects can move through this space, travelling along the Z-axis and transforming the stage into an environment that is constantly shifting. 

This approach is particularly important in an arena setting, where audiences experience the show from hundreds of different viewpoints. The stage was therefore designed to work not only from the front, but to maintain its visual impact from multiple angles. 

Using TouchDesigner and Unreal Engine, more than 40 distinct visual environments were developed and organised into individual chapters, with the visual narrative closely connected to the music and to Joji’s performance. The movement of the platform on which he performs becomes one of the key elements of this transformation: the space changes with the artist. 

At the centre of the design is a custom trapezoidal performance platform, shaped to follow the perspective of the portals. An automated system allows it to change height and angle, continuously creating new spatial configurations. 

The combination of physical movement and digital content multiplies the possibilities of the stage. A seemingly simple action — raising or tilting the platform — can alter the perception of the entire environment and transform the relationship between Joji, the visuals and the audience. The stage therefore becomes a dynamic, almost architectural structure, capable of changing its identity throughout the performance. 

The lighting design follows the same philosophy. Rather than exposing a large number of fixtures, the system was deliberately designed to conceal as much of the technology as possible. 

Light sources, beams and lighting surfaces are integrated into the architecture and become visible only when required. The intention is to keep the technology in the background, allowing the effects themselves to take centre stage. 

A backlight source can emerge from an automated lift before disappearing completely from view. Sleek strobe battens remain almost invisible until the music calls for a sudden burst of energy. 

Light is therefore not simply an element used to illuminate the stage. It extends the imagery, enhances its sense of depth and helps dissolve the boundary between the physical and digital worlds. 

One of the defining features of the project is the integration between video and lighting. Through pixel mapping and different programming techniques, video content can directly control lighting, while lighting can appear to trigger visual reactions within the video itself. 

The result is an environment without clear boundaries, where it is not always immediately apparent where the screen ends and the light begins. 

Lasers contribute further to this spatial construction. Some are positioned on the floor, while others are mounted on automated systems. When concealed behind the floating performance platform, they can create a kind of four-walled room of light around Joji, terminating at the most downstage portal and further transforming the architecture of the stage. 

Smoke, haze, low fog, atmospheric effects, large-scale fans and stadium-sized confetti blowers complete the design. Rather than functioning as isolated effects, these elements become part of a single visual language. 

The result is a spectacle of truly monumental scale, designed for the arena environment while still retaining a sense of intimacy. 

Perhaps this is the most compelling aspect of the Solaris 2026 Tour: its sense of scale comes not only from the physical dimensions of the stage, but from its ability to transform the space around the artist. 

Architecture, movement, video, light and special effects cease to be separate elements and become a single stage environment — a world in constant transformation, with Joji at its centre. 

Credits:

Joji - Solaris Tour - 2026 - @sushitrash 

Creative Direction & Show Design - Cassius Creative and FRAY Studio 

Production & Lighting Design - Cassius Creative @CassiusCreative 

Video Design - FRAY Studio @fray_studio 

Video Design & Creative Producer - Adam Young @mradamyoung 

Animation & Video Design - Matt Brown, Norvydas Genys, Letty Fox, Kira O’Brien & Laura Perrett @m.b.rown @norvydasg @foxletty @kiramay_obrien @lauraperrettdesign 

Real-time Touch Design - Kira O’Brien & Nicklas Mathews @decayingsun 

Skin Walker Design - Nicole Chufi @chufi404 

Artwork Concepting - Grace Arnott- Hayes @garnotthayes 

Video Programmer - Ed White @edwhite.live 

Camera Director - Evan Smith 

Studio Producer - Georgia Young @georgiaaaa 

Touring Operator and Server tech - Owen Evans 

Lighting Programmer - Alex Noel @alexnoel.co 

Lighting Director - Justus Bradshaw @hanielcreative 

Laser Programming - Andrew Turner @andrewturnerlasers 

Laser and SFX Operation - Evan Thomas 

Artist Management - Gut Works - Anders Borge, Jared Blashinsky & Ollie Zhang 

Tour Management & Direction - Matthias Cobbaut | Lobby Call @lobby.call  

Production Manager - George Baker | Noctura Productions @NocturaProductions 

Stage Manager - Matthew Roberts 

Production Coordinator - Maya Dottin 

Production Assistant - Dalal Rajhi 

Musical Director - Robbie Brett 

Lighting Vendor - Christie Lights 

Lighting Crew Chief - Evan McElhiney 

Video Vendor - Fuse 

Video Crew Chief - Ed Lawlor 

Lasers and SFX - ER Productions 

Scenic Construction & Staging - All Access Staging 

Automation - Cyber Motion