Interview
Tony Lehy
Co-founder of Convergence · Residual · Stage Design (Clone)
- 01
What pulled you into stage design in the first place?
I came from an animation and film background, working in studios on commercial projects. From there, I moved into set building and architectural visualization, creating detailed renders for interiors and structures. With an engineering mindset, I naturally leaned into technical layouts and drawings, especially for artists. That led me to working with a festival artist, helping translate hand-drawn concepts into technical plans. Over time, I began designing and building pieces myself, turning rough sketches into full 3D environments and physical structures. That's when it clicked. There was something powerful about combining technical precision with creative expression, and seeing people physically experience something I built. I realized I preferred creating real, tangible environments over virtual ones. It fits who I am better.
- 02
How would you describe your design style today?
My design style started with interpretation, taking other artists' ideas and translating them into real, buildable structures. As it's evolved, it's become more about translating ideas than drawings. Whether it's a feeling, a story, or an atmosphere, I try to turn that into something physical that people can step into and experience. A big part of my approach is working with real-world constraints like materials, structure, and environment, and using those limitations to shape the design. At its core, it's about taking something intangible and making it real in a way people can feel.
- 03
What makes a stage actually great in your opinion?
A great stage is something different, something people haven't seen before. It needs to feel intentional and be executed properly. What really sets it apart is connection. When people can engage with it, feel something from it, and walk away with a memory that sticks, it becomes more than just a structure. It becomes part of the experience.
- 04
When you design a stage, where do you start?
I always start with context. First, the person behind the idea. I try to understand who they are and what they're trying to express. That becomes the foundation. Then I look at the environment. I'll often scout the location and figure out how the stage can work with the space instead of against it. From there, the concept forms by combining those two elements. The goal is something cohesive that feels intentional, not random or disconnected.
- 05
What makes Universal Frequencies different from other events?
A big part of it comes down to the person behind it. Lili brings a very open, warm, and genuine energy, and that translates directly into the event. For me, that creates a clear creative direction. I'm not just building something that looks good, I'm trying to reflect that energy in a physical space so people can feel it the moment they arrive.
- 06
What's your role in Convergence, really?
With Convergence, I'm both a part owner and the lead on design, but my role goes beyond visuals. I focus on shaping the overall experience by bringing together elements from the underground techno and psychedelic scenes. Having experienced both, I've seen what each offers and where they fall short. It's about merging those worlds in a way that feels natural, introducing more freedom of movement and a more intentional approach to the experience without losing energy.
- 07
What are you trying to build with Convergence long-term?
Long-term, it's about creating a space where people from the psy community can feel at home without needing to travel far or compromise on the experience. A lot of venues don't support that kind of expression. They can feel restrictive or disconnected from the culture. We're building something more intentional, an environment where people can move freely, express themselves properly, and feel taken care of, while also bringing different communities together.
- 08
What are the hardest parts of stage design that people don't see?
The hardest part is everything that happens before anything is built. It's managing time, accurately estimating scope, and handling the logistics of something that can get very complex very quickly. You're working within budgets, dealing with material limitations, and constantly solving problems as they come up. You're dealing with massive builds, sometimes over 100 meters, while still needing to think about every millimeter. That balance between scale and precision can be overwhelming. Things go wrong. You have to adapt on the fly, make decisions under pressure, and find solutions without slowing everything down. And there's real weight behind it. If you don't get it right, hundreds or even thousands of people feel that. In the middle of all that, you still have to stay grounded and remember who you're building it for. That's what keeps you focused, doing the best you can, even when things get overwhelming.
- 09
What's your favourite moment during an event?
It's when the crowd fully connects with the experience. You can see it on people's faces, that sense of genuine awe. They look at their friends, checking if everyone else is feeling it too, and there's a shared moment happening. Seeing that reflection of joy in other people is surreal. That's when you know it's worked.
- 10
Where do you see stage design going in the next few years?
The stage is no longer something you look at, it's something you're inside of. From working with groups like elrow, it's clear the canvas has expanded beyond the front of the crowd. It's now around them, above them, and integrated into the entire space. Design is moving toward full immersion, using every available tool to create a complete environment. I also think the industry has leaned too minimal in recent years. When you reduce too much, engagement drops. People remember experiences that feel big, detailed, and intentional. The future is about building worlds, not just stages.
- 11
What would you tell someone trying to get into this space?
Focus on the crowd. Put yourself in their position and design around what they'll feel and remember. If you keep that at the center, your decisions become clearer.
- 12
What does 'creating change through music' actually mean to you?
It goes beyond entertainment. The underground scene is about connection, expression, and shared experience. It's a space where people can release emotion and connect with others on a deeper level. When you build that kind of community, you create the potential for real impact. Even small shifts in how people connect and experience something can lead to meaningful change.
