Liam Griffiths, Vision Factory, Accent Arthur Hill's World at Wembley with Chauvet Professional

	"The elevated garden platform and singular architectural elements like the door created a sense of isolation, allowing the performance to feel personal and grounded despite the scale," says Griffiths.

Creative director Liam Griffiths and the team at the UK-based design firm Vision Factory celebrated Arthur Hill's creative world this March when the 26-year-old phenom appeared before a sold-out house at OVO Arena Wembley. Hill has risen from music-comedy podcaster to acclaimed singer-songwriter in a notably short time.

Working with scenic designer Flora Harvey, content creator Midnight Movement Studio, and tour/production director Joseph Carter, the Vision Factory team created a transformative environment onstage that, thanks to scenic flourishes like a verdant garden and an isolated red door, had a dreamlike quality.

"Rather than leaning into the size of the venue, the design pulled focus inward, centered around a surreal landscape," Griffiths says. "The elevated garden platform and singular architectural elements like the door created a sense of isolation, allowing the performance to feel personal and grounded despite the scale. It was all about framing Arthur within his own world, with the audience looking in rather than being overwhelmed by spectacle."

Accentuating this scenery was dynamic lighting -- managed by LD Desk Job, lighting/video programmer Louis Choisy, and the lighting crew (James Hind, Ben Beverly, Rob Kovacs, and Ellis Canwel) -- that featured 86 CHAUVET Professional fixtures supplied by Colour Sound Experiment.

Included in this collection were 37 Maverick Storm 4 Profiles and 49 Color STRIKE M motorized strobe-washes. "We flew the Mavericks upstage above the video screen, and had them mirrored on the floor, and also extended downstage left and right," Griffiths says. "They worked as both a key and effects source, providing key light when needed, adding scenic texture, and delivering strong, punchy moments that carried into the audience."

As for the Color STRIKE M units, they were arranged on the diamond truss that mirrored the design's primary platform. At different points in the show, they were used as scenic eye candy and to frame the space.

"Lighting was the key to creating the intimate atmosphere," says Griffiths. "We employed contrast, direction, and negative space to define the stage. A strong backlight and low sidelight silhouetted performers, isolating moments, while diffused washes added a cinematic quality. The balance between exposure and shadow was crucial, never fully revealing everything but guiding the audience's focus."

"Using deep monochromatic washes, we could strip away the environment," Griffiths explains. "Those moments were about intimacy and clarity, especially in a large venue. Everything else fell away, and the audience connected directly with the performance. This also created a contrast within the show, so when the space opened back up into larger, more dynamic looks, it felt more impactful."

Griffiths acknowledges front-of-house engineer Simeon Clark, monitor engineer Nat Hopking, rigger James Box, systems techs Mark Pantlin and Matt Benton, camera director Jonathan Chard, and video crew chief lan Lidstone, as well as the video crew/camera ops Sam Osbourne, Ashley Harris, Pete Wilms, and Paul Barry.