When Wisp took the stage for her 2025 Coachella debut, the performance felt like a lucid dream: a wash of fog, layered light, and phantom figures blooming and dissolving across massive screens. The immersive set design—equal parts mysticism and post-digital stagecraft—was the result of a collaboration between the California-native musician, architecture and design collective TOR Studio, and Kaiber Labs, with visuals built in Superstudio.
Create your own visuals with the Custom Models used in
Wisp’s 2025 Coachella set.
TOR created an eclipse-themed concept that pulled inspiration from mythic imagery, drapery and organic materials. Using a suite of references from their moodboard—which ranged from drapery studies, classical figures, and textures from found footage—Kaiber’s Head of Creative, kyt janae worked with Head of Research Jacky Lu to run some experiments in Superstudio. They tested out moody, distortion-rich visuals that could echo Wisp’s dreamy shoegaze sound, which eventually evolved into ethereal scenes. We trained a Custom Model in Superstudio specifically for Wisp, designed to render painterly textures, a rich atmosphere, and a gleaming protagonist.
The animations were tuned to pulse with the band’s more emotionally explosive moments, then fall back into haze and slow motion. The effect was like watching a memory unfold in real time—slippery and cinematic. The final performance spanned two weekends at Coachella, with massive crowds bathed in atmospheric video and sonic immersion.
We caught up with Wisp—aka Natalie—to talk about her inspirations, her favorite behind-the-scenes moments, and how she built a creative team to match her evolving sound.
When starting a new visual or creative project, where do you usually begin?
I start with metaphors that reflect the message of the song. A lot of those come from mythology or personal experiences. I also grew up loving creative writing, so I’ll write my ideas like I’m writing a story. Sometimes book titles become my jumping-off points for references.
“I start with metaphors that reflect the message of the song. A lot of those come from mythology or personal experiences…”
Your Coachella performance felt like a natural evolution of your aesthetic. How did you expand your visual world for a stage that size?
It felt a lot easier to creative direct something new now that my album is more developed. The music already paints a picture in my mind—I just scroll through Pinterest until I find things that match what I’m seeing in my head.
“The music already paints a picture in my mind—I just scroll until I find things that match what I’m seeing in my head.”
Who are some of your visual icons—artists or filmmakers who’ve shaped your image-making?
Definitely Belladonna of Sadness, Ghibli films—the mystical grassy fields, the color palettes—and Harry Potter, especially Half-Blood Prince and Goblet of Fire.
You’ve worked with Rudy Grazziani and TOR Studio, both of whom added a unique texture to your world. What guided those collaborations?
I worked with Rudy on my “Sword” music video and loved his creative take. I think it’s important to work with people who elevate your ideas and challenge you to go deeper.
“I think it’s important to work with people who elevate your ideas and challenge you to go deeper.”
Any favorite behind-the-scenes Coachella moments?
The nerves felt the same as any other festival, but I was so surprised by how many friends and team members showed up to support me. Oh—and meeting Tony Hawk backstage!
What advice would you give to a young creative just starting to shape their own vision?
Think into your past and what you envision in your future. Journal about what’s challenged you or shaped who you are. It makes your art feel more grounded. It can be as simple as a show you watched as a kid. I did Harry Potter marathons with my dad growing up, and now I draw so much inspiration from the movies and those memories.
“Think into your past and what you envision in your future. Journal about what’s challenged you or shaped who you are. It makes your art feel more grounded.”
