In anticipation of the 2024 UNTOLD Festival, we sat down with Marijn van Sasse van IJsselt, the show’s creative force and show director. With a unique blend of creativity and technical prowess, Marijn plays a pivotal role in orchestrating the spectacular experiences that define UNTOLD.
In this interview, Marijn shares insights into the dynamic world of show direction, highlighting the delicate balance between managing technical challenges and crafting extraordinary moments on stage.
He reveals how he collaborates with top-tier artists to ensure each performance is a memorable masterpiece. As we look forward to this year’s festival, Marijn gives us a glimpse of what to expect, promising bigger and more breathtaking shows that push the boundaries of imagination.
Check out the full interview below!
For those who don’t know, what do you do as a show director?
As a show director, I’m responsible for multiple aspects, but the most important one is running the show. I love working in the heat of the moment and juggling various elements.
My job is to ensure everything on stage goes smoothly and to address any issues that arise without the audience noticing. Additionally, I constantly monitor the stage and surroundings to see if there are any improvements to be made. You could call me a perfectionist.
I also work on the creative aspects of an event by producing timecode shows, from concept creation and show development to design and on-site programming. Think of special shows like the UNTOLD opening in 2023 with ALOK or the sponsor moments you see on stage during changeovers. I feel very privileged to work in such a position with these responsibilities.
What drew you to this field, and what do you find most exciting about working on the show aspects of a festival like UNTOLD?
Show direction is the perfect combination of creativity and technical expertise. On the one hand, I collaborate with amazing people to produce incredible experiences. On the other, I guide the team throughout the show, being precise with data and information for everyone involved.
You can prepare an event perfectly, which is why I also handle technical advancing with all the artists. However, there will always be unpredictable elements: an artist missing a flight, a technical mishap, or an artist enjoying the audience so much that they lose track of time.
This happens all the time; some artists are notorious for talking too much during their performances, resulting in them going over their allocated time and me having to adjust the schedule.
I’m always happy to create more space for a passionate artist who enjoys the show and the audience. But it’s also my job to ensure the teams have enough time to prepare for the next set and that the next artist has sufficient time for their performance.
The end goal is always to leave the audience amazed, the crew proud, and the artists and their teams relaxed and happy with their show.
Working closely with artists to complement their performances is key. Can you share some insights into how you collaborate with them from a show perspective?
Working with artists and their teams always creates a unique dynamic. On one hand, I’m there to help them make the best show possible. On the other hand, I’m the gatekeeper of UNTOLD brand and identity. It’s always fun to make those worlds collide and see what shows we can develop together.
For instance, we worked with ALOK and his team last year to create UNTOLD opening show by integrating the Rebirth of the Phoenix into one of his brand-new tracks. Fun fact: We created this entire show two weeks before the event because the opening show itself was a last-minute addition.
Looking back, I still find it amazing that we made it happen in such a concise time frame. The entire UNTOLD team came together with ALOK’s team, creating custom visuals reflecting the magic of the story, a unique light/laser show with the biggest fireworks display until that point. (Yes, this year will be even bigger.)
What was a difficult situation from a past show, and how did you manage it while maintaining the festival’s needs?
One year, an artist (who shall not be named) stated in their rider that if there was any illuminated branding in the venue, it should be turned off. Five minutes before their show, the tour manager demanded that the festival logo be shut off.
As the logo was part of the stage decoration, the team signing the rider did not think the logo was considered branding—a very subjective topic, depending on who you ask.
At that moment, after going back and forth, we decided to turn the logo off to be able to start the show. Sometimes, you have to make tough decisions considering the greater interest of the event as a whole, starting the show without a logo, even if we did not agree with it, or the artist not coming on stage.
As a funny upside, we later learned that the artist got upset with his team for switching off the logo screen, which also made his show recognizable for being at the UNTOLD festival. He was proud to play here, and from that point, the logo stayed on without exception. HINT: It’s the only set ever not to have the logo on. Enjoy your musical scavenger hunt.
As UNTOLD 2024 approaches, what are you most excited about regarding the performances, and are there any particular shows or elements you think will be a highlight this year?
It is always a pleasure to work with new teams, see how they use the space we provide, and make it their own with special productions and visuals. That’s also something I enjoy, as it’s never the same.
I’m constantly working with different teams, different artists, and different opinions. For this edition, Sam Smith is a highlight, and their team was incredible to work with in preparing for the event. I can’t wait to see how the performance will be.
Also, together with the pyro team, we have prepared a couple of new show elements this year: expect new fireworks effects, such as a peacock position behind the stage, incredible amounts of confetti, and new additions to the catwalk that will bring the special effects up close and personal. We will quite literally fill the stadium with confetti.
Sponsors were also very daring this year, allowing us more creative freedom and collaboration to create memorable moments. Keep a lookout for Kaufland; it’s something we haven’t done before, and I think it will work like magic with this year’s theme!
What is the most memorable or magical moment you have experienced at an UNTOLD show, and what made it so special?
There are so many moments that made UNTOLD genuinely magical for me. Somehow, each year, I end up on the catwalk at some point, just looking at the grandness of it all and wondering if it’s all really happening. So many things have to come together to make an event like this possible, and I feel very lucky to be standing, literally at that moment, in the middle of it all.
The experience as a whole each year is magical: the week before the event on-site, when the excitement starts to rise, and everything is in complete preparation. The crew is making the last push to finish everything—the nights of programming the lights, lasers, video, SFX, etc.
Everyone works tirelessly to create four days of magic for the audience. The long hours during the show, which run a lot longer than sunset to sunrise, are all so worth it in the end.
