Light, stage and conceptual designer Tobias Rylander shares the story of "creative romance" behind the unforgettable set design for Loreen's recent Eurovision win
Just as important as the costumes, the flag-waving crowds, and the European camaraderie, is the distinctive and immersive stage design that brings each Eurovision song to life. And for Loreen’s history-making performance, with the singer rising on a platform from underneath a largescale screen, surrounded by flames and smoke, it was Swedish light, stage and conceptual designer Tobias Rylander who was responsible.
Rylander, who has recently returned home to Sweden after spending 10 years in the United States, was introduced to Loreen through mutual connections, describing their artistic connection as "an instant match." "I have always admired her creativity and integrity both as an artist and a person," Rylander says. "We both have very strong gut feelings and it felt like we understood and trusted each other from the start," he goes on.
Tobias Rylander backstage with Loreen. Photo: Charli Ljung
For the progression of the 'Tattoo' performance, from Melodifestivalen through to the Eurovision Song Content heats, Rylander reflects that Loreen "had a vision, direction and aesthetic in mind, which always makes my work easier. It felt very clear and direct and almost like a creative romance," he says.
We knew from the start that we wanted to create a room or a world of her own on stage
Tobias Rylander
As Loreen explained in an exclusive chat with Vogue Scandinavia, the performance was very much inspired by nature and her Moroccan heritage. "There’s the sand, there’s the mist, there’s the smoke, there’s the wind, the sky, my nails are made out of stone." Rylander elaborates on this, touching on Loreen's nomadic character. "We knew from the start that we wanted to create a room or a world of her own on stage, to take people's minds off the bling and eye candy that is a Eurovision stage. We knew that we wanted a horizon and an eternal void, while also telling the story of Loreen's nomadic heritage."
"A plane desert and a sandstorm started to feel very natural around Loreen," he says. "a storm of sand and smoke that could tell the story of her history, background, and journey. I like to say that Loreen is still a Nomad even if it, in her case. is culturally and musically."
Photo: Getty
While being creatively, visually powerful, the staging was also a feat of engineering as well, that took – in Rylander's words – some "brave design decisions" to pull off. And he acknowledges that it was brave of Loreen to crawl into the constrictive space between the platform and screen, but reassures that it was no more dangerous than another other staging. "The whole lighting rig and all the gear hanging over these stages are all very heavy. It's just when it comes down that low that people start to get uncomfortable, but any artist on the stage would have had the same weight above them," he confirms.
Ultimately, the biggest challenge was getting Eurovision's local production team in Liverpool on board and in agreeance with the size of the props. "They cannot favour anyone in any way – if every country wanted the same LED platform it would be a struggle." As a compromise, the set was downsized from the scale it was for Melodifestivalen in Sweden. "But we all knew Loreen could have sung in the dark and still won that competition," Rylander adds, humbly.
Ryland's admiration for Loreen extends to a personal level, too. "I really enjoy her company always, while travelling, getting ready for a show or at the after party. A perfect companion," he describes. And backstage at Eurovision, he shares that it was actually Loreen who was calming the nerves of others. "Loreen is always such a calm and zen energy. I don't know how she does it. But it feels like she is in full control and in tune with the energy and vibrations of the moment."
Rylander's words about Loreen come with gravitas, given he has worked in the very close periphery of some of the world's biggest stars, working on staging for the current world tours of both The 1975 and Beyoncé. With Beyoncé's tour premier at Stockholm's Friends Arena and Loreen's win in Liverpool happening within days of each other, Rylander describes that week as being "a big of a 'pinch-me' moment! Having great success with Queen B AND Queen L in the same week! I'm very lucky with the ladies it seems!" he laughs.