Concept Design
Concept Design in Lighting & Set Design: Where Ideas Really Begin
“Concept design is crucial” — a phrase we hear constantly across creative industries. The reality is, most ideas don’t arrive at the perfect time. More often than not, they come at the worst possible moments.
Driving to work. Watching TV. Trying to sleep.
I can’t control when ideas appear, but when they do, I act on them. It’s not the first time I’ve pulled over mid-drive to sketch a lighting concept or left myself a voice note just to make sure the idea isn’t lost. When concepts flow, they demand attention. Concepts allow us to design without limits. Before physics, budgets, or logistics come into play, there’s a space where creativity exists freely and that’s where strong lighting design begins.
Aligning Lighting Design With the Artist
In lighting design, set design, and even initial sketches, alignment with the artist is everything. What’s the point of spending hours designing something you love if it doesn’t reflect what the artist wants? Creative differences are normal. We all think differently. The key is recognising that early and shaping ideas together. At BETL, conversation is the foundation of our process. Whether it starts with a Pinterest board, reference imagery, or a simple voice note, every idea can be interpreted in multiple ways. Establishing that shared vision at the beginning of a project is critical to delivering a successful design.
Starting a Lighting Concept
Every concept usually begins with a single element. Sometimes it’s a word. Sometimes it’s a sign, a shape, or a feeling. From that single point, the idea grows. In the example below, the house becomes the main focal point. It’s subtle and plain, but surrounded by atmosphere, it blends naturally into the environment rather than overpowering it. The inspiration for this concept came from the album itself jazzy, soft, yet bold and original. The music video hinted at a 1970s television aesthetic, which led us toward architecture of the time: large windows, flowing curtains, and curved forms. These ideas translate seamlessly into lighting design. Leading curves accented with LED naturally draw the eye toward the centre of the house, creating focus without aggression.
Isn’t This Too Harsh?
It can be but it doesn’t have to be. By introducing a backlit white drape, the atmosphere instantly softens, creating intimacy within the space. This can be adjusted live during the show expanding for larger moments or pulling back for quieter, more personal sections. For intimate parts of the set, the design can be reduced to a single spotlight moment.
The Importance of Being Bold in Lighting Design
Lighting design and set design exist to enhance emotion. Every song, every moment, and every transition affects an audience differently and the lighting should reflect that. I love a heavy strobe section as much as anyone, but it isn’t always the most effective way to highlight a big moment. Sometimes a simple colour change or a drastic shift in fixture position can be far more powerful than intensity alone.
Experimentation is key. Understanding restraint is just as important as knowing when to go all in. That balance is what leads to truly successful lighting design whether in concert lighting or film lighting.
Take La La Land as an example. The lighting shifts throughout the film are far from coincidental. The film is a masterclass in how colour influences emotion. Warm ambers, yellows, and magentas are used to represent romance and hope. In many scenes where Mia and Sebastian are emotionally aligned, these tones become more prominent.
As their relationship begins to fracture, the palette shifts. Cool blues and greens dominate moments of loneliness and doubt—particularly in scenes set within their apartments or on empty streets. The use of complementary versus contrasting colours helps visually communicate when the characters are in harmony and when they are drifting apart.
This is exactly how lighting allows us to control the narrative of a live show. Colour, contrast, and restraint guide emotion long before the audience consciously realises it.
