Wincent Weiss Sommer Tour 2026

One of the defining conditions of the summer tour was that the show began in broad daylight. For much of the first act, we couldn’t rely on darkness to give the stage contrast or make the screens appear brighter than their surroundings.

We approached this by drawing on the visual language of contemporary big-room and techno productions: bold colour fields, high exposure, strong contrasts and images that could work at scale. I was interested in bringing some of that energy into a pop show, while giving it a dramaturgical structure that followed Wincent’s music.

Rather than treating daylight as something to work around, we made it part of the show’s development. The visual language would change as the evening progressed, gradually moving from open, bright compositions towards more concentrated imagery, deeper contrasts and greater intensity after dark.

Wincent brings an enormous amount of physical energy to the stage, and I wanted the visual world to respond to that.

For the first act, we developed a language of colour blocking, gradients, exposure shifts and textures drawn from natural materials, including stone and water. White became an important starting point: a colour that could expand into energy fields, break into prismatic effects or dissolve into fragments.

Working with video artists Balkan Karışman and Antonia Melzer, we explored how these images could follow the music through changes in scale, rhythm and intensity. Scanner strobes and shifting colour states gave the visuals a more immediate, performance-driven quality.

The stage itself added another dimension. A physical lenticular surface across the front-facing LED panels created optical depth and allowed Tom Groß’s lighting design to interact with the screens in different ways.

The second half of the show brought a different visual approach.

As the LED towers came together into a continuous wall, we could work with larger images and more immersive environments. Anamorphic spaces and nature-inspired forms gradually gave way to generative content, particularly in the more energetic parts of the set.

The content approach also reflected the scale of the production. Rather than developing a large number of individually designed visual environments, we built much of the show’s language around generative systems that could be adapted across different songs. This allowed us to work with a broad range of visual states while concentrating bespoke development on selected moments. It was a deliberate creative and production decision that suited both the music and the resources available.

Together with the video team, we developed a parameterised visual system in TouchDesigner. It allowed us to explore variations in saturation, displacement and movement, with visual changes designed around musical accents, C-parts and EDM breakdowns. The resulting looks were rendered into video and assembled for playback in Resolume.

Liquid-glass textures, 3D simulations and more abstract natural forms became part of the visual language. Once darkness fell, the LED wall and its transparent surfaces could finally operate at their full potential. Bespoke Notch looks added another layer to the final part of the show.

One of the ideas running through the production was the relationship between digital imagery and physical effects.

I wanted the energy created on screen to continue into the actual stage space. A visual build could be picked up by the lighting, extended through atmospheric effects or released through fire. At other moments, the physical stage provided the starting point for what happened on screen.

This became particularly important in the second half, where the more abstract and generative content could connect directly with the show’s physical spectacle.

The aim was to develop these elements together, so that a musical moment could move naturally between video, lighting and physical effects, with Wincent’s performance determining the timing and focus.

Clouds, water and atmospheric effects became recurring elements throughout the show.

In the first act, horizontal eCO₂ effects created a low, standing cloud across the stage, gathering around Wincent and changing the appearance of the performance space.

That image returned later in FLIEG, one of the show’s most elaborate sequences. This time, the cloud was combined with real fire, developed and executed by H4Stage, while Wincent performed from the top of the LED wall. The sequence brought together the visual content, lighting, atmospheric effects and staging in one continuous build.

With Wincent elevated above the LED wall, the entire stage became part of the composition around him. The visual content and physical effects were developed to build towards that image, allowing the scale of the spectacle to grow while keeping his performance at its centre.

I liked the idea of allowing a familiar element to return in a different context. The cloud began as something atmospheric and eventually became part of a much more powerful stage image. It gave us a way to connect moments across the show without repeating the same visual treatment.

For Spring, we developed a new EDM breakdown that extended the show into the audience and onto the B-stage. Green comets rose approximately sixty metres into the sky, taking the visual energy beyond the stage itself.

The final aerial fireworks sequence followed a rapid-fire approach inspired by large American stadium productions. Working with H4Stage, we coordinated the fireworks with the stage lighting and screen colours, creating a tightly timed finale across the entire performance space.

Throughout the development, one of my priorities was keeping Wincent visible.

With so much happening across the stage, the live camera image needed to remain clear and immediately readable. We worked with a clean camera feed and an American-style framing approach, allowing the live image to move between the side IMAG screens and the LED content on stage.

I wanted the camera treatment to belong to the same visual world as the lighting and video, without compromising the audience’s connection to Wincent. That meant keeping the image relatively clean and avoiding excessive distortion or heavy glitch effects.

For Uhhh / Alle so, we took a different approach. Using Resolume and Notch, the live image multiplied Wincent across the on-stage screens during the chorus. The effect was designed around the song’s rhythm, allowing the camera image to become part of the visual composition while keeping his face clearly recognisable.

This approach allowed us to use live imagery as another element of the show’s visual design, while preserving its primary purpose: bringing the artist closer to the audience.

The final stage of development was bringing everything together in rehearsals. After months of creative work, we could finally see how the stage architecture, video, lighting and physical effects behaved alongside Wincent’s performance.

A significant part of my work was developing the show’s flow: the transitions between songs, the timing of visual changes, and the relationship between Wincent’s movements and what happened around him. We worked through the show cue by cue, adjusting sequences and finding the right balance between the planned spectacle and the spontaneity of a live performance.

Some moments needed precise coordination between departments. Others worked better with more room for Wincent and the band to lead. The aim was to create a show that could run consistently across the tour while remaining responsive to the performance on stage.

The summer tour brought together a large team of specialists, each contributing their own expertise to the production. My role was to connect those contributions through the show’s dramaturgy and direction, working closely with the artist, creative departments and production team.

What began as an idea for a modular stage developed into a complete two-hour show, with its own visual language and a clear progression from daylight into darkness.

Seeing that concept take shape through rehearsals and eventually travel across more than thirty shows was particularly rewarding. The production continued to develop along the way, with small adjustments to timing, transitions and visual details as we learned more about how it worked in front of an audience.