It doesn’t take much more than charm, connection, backflips, and a mustache to captivate an audience. Demographics from all corners of the world have fallen in love with Benson Boone, 23-year-old pop music heartthrob, since his smashing virality from his 2024 single “Beautiful Things.” Despite his eclectic stage persona and style often inspired by that of Freddie Mercury, an appearance on Saturday Night Live earlier this year, and recent on-stage collaborations with Queen guitarist Brian May and modern jazz princess Laufey, Boone came from humble beginnings in small-town Washington—public school, a TikTok account, and a dream.

Now, having already kicked off his debut solo tour and first-ever North American and European arena run last month for his second studio album American Heart, the artist is cementing himself as not only a small-town success story, but a true force to be reckoned with across the music scene. With this tour marking a major milestone in his career, it was only fitting that Boone collaborated with the best-of-the-best to make it happen, most notably the creative masterminds at STUFISH Entertainment Architects, who spearheaded the gripping stage design.

With collaborative credits that remain unparalleled—Madonna, Elton John, Beyoncé, Sabrina Carpenter, Adele—there was no doubt that STUFISH could match the energy, and then some, that Boone was hoping to bring to this tour. Rooted in his fond connection with his audience and representative of his journey as an artist, STUFISH created a heart-shaped main stage, housing the band, and another heart-shaped stage further into the arena, connected by a long, ribbon-like catwalk. They helped craft a show that is the perfect blend of the intimacy and connection that a crowd yearns for with the electricity and physicality that we all know Benson Boone to bring.

In an exclusive conversation with STUFISH’s CEO and Design Director, Ray Winkler, as well as one of their Senior Designers, Zarya Vrabcheva, we got the details on what it meant to take on this project, what the process looked like, and why they were an undeniable fit for the job.

The heart stage design is a powerful visual symbol- what did it mean to Benson personally, and how did STUFISH translate that into a design that works both emotionally and architecturally?

The heart-shaped stage design reflects the name of the current tour, the American Heart Tour. It was very early on in the conversations with Benson that we thought it would be appropriate to have a heart. It was the very first sketch we created before discussing it back in February. When I first visited Benson in LA, I suggested we create something with a heart motif. We did, and he embraced the idea beautifully. As the show, the story, and the design evolved, we decided to make that heart a link between the two ends, which reflected part of his journey. It was a very emotional moment as he started at one end, staying close to his band, and gradually moved toward the other, drawing in a much larger audience. When he then reaches the heart stage, he is really addressing a section of the audience that usually does not get that up close and personal to the artist.

With fans seated inside the main stage, how did you balance intimacy with the need for large-scale production and spectacle in an arena setting?

It’s all to do with having a physical presence that is large enough to impress the audience looking at it visually, but also small enough for the audience to get close to the artists, and vice versa. When we created the main stage with an intimate mosh pit that can fit 50 to 100 people in, there were no barriers, allowing him to get close to them. He draws off the energy of the crowd just as much as they do from him, so that’s where the intimacy is generated. Moving to the far end of the arena floor and stepping onto the second heart stage, just 10 feet from people who would otherwise be 50 feet away, creates a sense of intimacy with a much wider audience. All the other tricks, such as the lighting levels, the tempo of the music, special effects, and video content contribute to creating an environment that feels very close to him and the people around him.

STUFISH has worked with artists ranging from Beyoncé to Lana Del Rey. What makes Benson Boone’s creative process distinct from those other collaborations?

Every collaboration starts with a fresh page. We always like to look at things from the bottom up, making them very specific to the artist. In the case of Benson, what was great about it is that he’s a new artist. There were numerous avenues we could explore that hadn’t been precluded, as they had either been done before. He was open to any idea, as long as it made sense with who he was and the music he was performing. For example, the chandelier idea came up early on. Because he’s such a physical performer, he wanted to move in a way that was different from his usual approach, and the chandelier carried him right up close to the people in the back of the arena. That was specific to him. There are artists who probably wouldn’t have taken to that quite the way he had.

The piano rising 18 feet on the B-stage is a striking image. Was it important to ground quieter, emotional moments in big staging gestures as well?

Yes, so any show will modulate and undulate between loud and quiet moments. RJ and Nick, who were the creative directors, understood that really well. We created these explosive moments where everything comes alive—music, dancing, lights, pyro, and the video screen all demanding attention at once. Then there are moments on the B stage where the entire band comes together for an unplugged performance around the piano, which is truly beautiful. At that point, the main stage recedes into darkness. The video screen is not the main attention. The attention is on the four musicians sitting around Benson. That’s when it moves into a very narrow space, an emotional space, and then after that it opens again. A good creative director will understand how to expand and contract to keep the energy in the show moving, so that you can offset the quieter moments with the louder moments. If it’s always too loud or always too quiet, there’s no reference point. The show is beautifully crafted to oscillate between those two poles.

Benson’s dramatic entrances and the chandelier lift create theatrical, almost cinematic moments. How do you decide which effects feel true to the artist rather than just impressive visuals?

The artist decides that. We make suggestions. Given his youth, athleticism, and lack of fear of heights, creating something that would allow him to fly through the audience was an instinct we had, which we then presented to him. He was completely up for it. We thought the chandelier idea was a good one, as it creates a beautiful moment when he comes down over the piano. He uses the chandelier as a means of transport and then shifts it into a way of enveloping the space, creating a refined and elegant scenic effect. It was a natural progression of what he saw himself travelling on and exploring how it could be used in different ways.

What do you hope fans walk away remembering most about the American Heart stage experience?

The extraordinary performance on that stage. You rarely have an artist who uses the stage as a playground like he does. Every ledge, step, lift, surface, and ramp is used in a fresh way because he’s very physical in the way he uses them. When he slides down, runs up or backflips, he does that instinctively. We designed the set precisely with that in mind. Audiences will always associate Benson with extraordinary musical talent and the athletic ability to truly engage with both the set and his audience.

Looking back at STUFISH’s history, where does this design sit in terms of innovation or risk-taking?

Everything we do at STUFISH is a form of innovation because we never repeat ourselves. Our expertise lies in turning risks into success. Working with an artist like Benson, who is willing to take both emotional and visual risks, is exactly what makes the collaboration so great. When a design demands significant physical commitment, it’s a risk worth taking if it’s measured and calculated, and with Benson, you know he can do it.