Gritty and digitally distressed stage visuals were created for the song Cupid’s Bow by Olly Alexander, designed to amplify the emotional intensity and theatrical edge of the performance. The creative direction leaned into a raw, fractured aesthetic — blending glitch textures, degraded typography, and abrasive light treatments to contrast the romantic connotations of the title with something far more chaotic and exposed.
YEAR
2024
CLIENT
Shiny Dot
SERVICES
LIVE VISUALS
The visual language drew on corrupted signal interference, smeared pixels, and overdriven colour channels to evoke a sense of emotional distortion. Layers of digital noise pulsed in time with the track, while fragmented heart motifs and arrow-like graphic shards cut sharply across the LED canvas. The intention was to present love not as soft-focus fantasy, but as something volatile, obsessive, and slightly unhinged — aligning with the darker tonal undercurrents of the song.
Lighting and screen content worked in tandem, with flashes of strobe, blown-out whites, and deep crimson washes heightening the sense of urgency. Visual transitions were intentionally abrupt, mimicking system crashes and signal breakdowns, creating tension that built alongside the music. The stage became an unstable digital landscape — part nightclub, part corrupted broadcast feed — placing Olly at the centre of a world that felt both seductive and confrontational.
The stage visuals were featured on ITV’s New Year’s Big Bash, broadcast nationally to ring in the new year. Within that celebratory context, the piece stood out for its bold, textural intensity — delivering a performance that felt less polished spectacle and more controlled chaos, capturing attention through grit, disruption, and unapologetic visual noise.
Get in touch for more information.
Gritty and digitally distressed stage visuals were created for the song Cupid’s Bow by Olly Alexander, designed to amplify the emotional intensity and theatrical edge of the performance. The creative direction leaned into a raw, fractured aesthetic — blending glitch textures, degraded typography, and abrasive light treatments to contrast the romantic connotations of the title with something far more chaotic and exposed.
YEAR
2024
CLIENT
Shiny Dot
SERVICES
LIVE VISUALS
The visual language drew on corrupted signal interference, smeared pixels, and overdriven colour channels to evoke a sense of emotional distortion. Layers of digital noise pulsed in time with the track, while fragmented heart motifs and arrow-like graphic shards cut sharply across the LED canvas. The intention was to present love not as soft-focus fantasy, but as something volatile, obsessive, and slightly unhinged — aligning with the darker tonal undercurrents of the song.
Lighting and screen content worked in tandem, with flashes of strobe, blown-out whites, and deep crimson washes heightening the sense of urgency. Visual transitions were intentionally abrupt, mimicking system crashes and signal breakdowns, creating tension that built alongside the music. The stage became an unstable digital landscape — part nightclub, part corrupted broadcast feed — placing Olly at the centre of a world that felt both seductive and confrontational.
The stage visuals were featured on ITV’s New Year’s Big Bash, broadcast nationally to ring in the new year. Within that celebratory context, the piece stood out for its bold, textural intensity — delivering a performance that felt less polished spectacle and more controlled chaos, capturing attention through grit, disruption, and unapologetic visual noise.
Get in touch for more information.
Gritty and digitally distressed stage visuals were created for the song Cupid’s Bow by Olly Alexander, designed to amplify the emotional intensity and theatrical edge of the performance. The creative direction leaned into a raw, fractured aesthetic — blending glitch textures, degraded typography, and abrasive light treatments to contrast the romantic connotations of the title with something far more chaotic and exposed.
YEAR
2024
CLIENT
Shiny Dot
SERVICES
LIVE VISUALS
The visual language drew on corrupted signal interference, smeared pixels, and overdriven colour channels to evoke a sense of emotional distortion. Layers of digital noise pulsed in time with the track, while fragmented heart motifs and arrow-like graphic shards cut sharply across the LED canvas. The intention was to present love not as soft-focus fantasy, but as something volatile, obsessive, and slightly unhinged — aligning with the darker tonal undercurrents of the song.
Lighting and screen content worked in tandem, with flashes of strobe, blown-out whites, and deep crimson washes heightening the sense of urgency. Visual transitions were intentionally abrupt, mimicking system crashes and signal breakdowns, creating tension that built alongside the music. The stage became an unstable digital landscape — part nightclub, part corrupted broadcast feed — placing Olly at the centre of a world that felt both seductive and confrontational.
The stage visuals were featured on ITV’s New Year’s Big Bash, broadcast nationally to ring in the new year. Within that celebratory context, the piece stood out for its bold, textural intensity — delivering a performance that felt less polished spectacle and more controlled chaos, capturing attention through grit, disruption, and unapologetic visual noise.
Get in touch for more information.