“If your ideas are bigger than what is actually possible, they’re not great ideas.” “They always push the envelope and make very brave decisions and take their shows in new directions.” “The most rewarding thing has been seeing the progression of a very brave artist, band and management group, 10 years after our first show together,” he shares. Despite the logistical hardships, Rylander and the team fought hard to design a more environmentally friendly and sustainable touring concept and elevate the modern-day rock show to a true spectacle. He notes that the 25% to 50% inflation on materials and the scarcity of gear has created a significant difference in what can and can’t be done these days, as the markets, budgets and expectations have all failed to adapt. Just a few years after his first tour work, he established himself as a reliable and refreshing show designer, going on to work with artists such as fka twigs, Of Monsters and Men and The 1975, along with designing runway shows for Calvin Klein and Balenciaga.Ĭurrently, Rylander is working as the show designer of The 1975’s current “At Their Very Best” world tour, which he says is unlike any other engagement he’s worked on in this post-pandemic world. In 2007, he branched out to design the European tours of Lykke Li, Fever Ray and Miike Snow, and his innovative, cinematic and exquisite approach was quickly noticed. Things have evolved for the Swedish creative over his two decades in the business, as he’s had opportunities to soak up experience and technical knowledge from his time with local lighting companies and the Swedish Royal Opera alike.
“Controlling light and shadow was like magic to me,” he recalls.Īlthough he’s normally introduced as the creative director of a show, Rylander prefers the term “Show Designer” or “Conceptual Designer” and never fails to reiterate that he is, first and foremost, a lighting designer.
#Rylander cascadea professional
Out of amusement, that friend once tasked Rylander to handle the light board at a show due to the absence of a professional lightworker, and the not-so-serious assignment piqued his interest rather quickly.
As a young graduate who moved to Stockholm at 19 years old, Rylander studied classical trumpet in high school, played in rock bands and performed on the guitar and harmonica, and began hanging out at local clubs before befriending a sound engineer.
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