March 31, 2026
JID's Paradise Tour - A Visual World Built to Pull You In
FutureTech Feturing Live Events and Raw Cereal
The hosts break down how JID’s GOD DOES LIKE PARADISE Tour uses a Notch-driven visual system, custom 2D/3D content, and a tightly aligned creative team to build an immersive, emotionally charged world. They also dig into the bunker-like stage design, the apocalyptic Atlanta-inspired palette, and how moving the LED forward turns the show from a window into a portal.
1
00:00:19,480 --> 00:00:22,000
Welcome to geezers of gear
Future Tech.
2
00:00:22,480 --> 00:00:25,240
I'm Chris, and this one is
catnip for people who love a
3
00:00:25,240 --> 00:00:27,960
smart visual build.
We're talking JIDS.
4
00:00:27,960 --> 00:00:31,840
God does like Paradise Tour and
honestly the big headline for me
5
00:00:31,840 --> 00:00:34,600
is the partnership.
You can feel when a show is not
6
00:00:34,600 --> 00:00:37,840
one department dragging
everybody else behind it, right?
7
00:00:38,280 --> 00:00:42,560
This felt like David Salazar,
Michael Kelly, Live events, and
8
00:00:42,560 --> 00:00:45,560
the Raw Serial team all pulling
in the same direction.
9
00:00:46,400 --> 00:00:48,520
Yeah, totally.
And that's the part I appreciate
10
00:00:48,520 --> 00:00:49,960
most.
Because sometimes you can see a
11
00:00:49,960 --> 00:00:53,880
show and go, OK, cool graphics,
cool lighting, whatever.
12
00:00:54,240 --> 00:00:57,840
But this sounds more like an
actual world got built, not just
13
00:00:57,880 --> 00:01:00,720
assets dumped on screens.
A world.
14
00:01:01,440 --> 00:01:03,200
Exactly.
And in live events, that's the
15
00:01:03,200 --> 00:01:05,480
difference.
A pile of good ideas is not a
16
00:01:05,480 --> 00:01:07,440
show.
A shared visual language is a
17
00:01:07,440 --> 00:01:10,080
show.
From what we've got here, the
18
00:01:10,080 --> 00:01:13,200
engine for that was a notch
powered visual system paired
19
00:01:13,200 --> 00:01:16,960
with custom 2D and 3D content,
which is a very strong combo
20
00:01:16,960 --> 00:01:20,160
when the creative team wants
flexibility and depth without
21
00:01:20,160 --> 00:01:23,120
losing the plot.
Right, and I like that you said
22
00:01:23,120 --> 00:01:27,040
without losing the plot because
this one seems very plot driven
23
00:01:27,040 --> 00:01:29,520
visually.
The tone starts with Atlanta,
24
00:01:29,520 --> 00:01:33,120
but not literal postcard.
Hey look, a skyline Atlanta.
25
00:01:33,600 --> 00:01:36,760
It's reimagined through this
apocalyptic art forward lens,
26
00:01:36,760 --> 00:01:39,640
which is such a cool framing
device for an artist like JD.
27
00:01:40,400 --> 00:01:43,240
Yeah, it's not realism for
realism's sake.
28
00:01:43,520 --> 00:01:47,840
It's a version of place filtered
through emotion and tension that
29
00:01:47,840 --> 00:01:50,680
matters.
I spent years looking at concert
30
00:01:50,680 --> 00:01:54,040
visuals that were technically
solid but kind of emotionally
31
00:01:54,040 --> 00:01:56,840
empty.
Here, the custom content sounds
32
00:01:56,840 --> 00:01:58,520
like it was there to support
storytelling.
33
00:01:58,520 --> 00:02:02,400
First the notch side gives you
that live dimensional feeling,
34
00:02:02,800 --> 00:02:06,440
and then the 2D and 3D material
let's the visual identity
35
00:02:06,720 --> 00:02:09,840
breathe in different ways
depending on the song, the
36
00:02:09,840 --> 00:02:14,000
moment, the mood.
And raw serials, such a good fit
37
00:02:14,000 --> 00:02:16,040
for that kind of thing.
Because when a team can live in
38
00:02:16,040 --> 00:02:18,880
the space between design and
atmosphere, you get something
39
00:02:18,880 --> 00:02:21,880
richer.
Not just big LED wow, but
40
00:02:21,880 --> 00:02:24,560
something with texture.
That's probably the best word
41
00:02:24,560 --> 00:02:25,720
here.
Texture.
42
00:02:26,480 --> 00:02:30,320
Texture's the word.
David Salazar, Michael Kelly,
43
00:02:30,960 --> 00:02:33,320
Raw serial.
This feels like a stand out
44
00:02:33,320 --> 00:02:35,840
production partnership because
nobody's trying to win the show
45
00:02:35,840 --> 00:02:38,120
by themselves.
They're building an environment
46
00:02:38,120 --> 00:02:41,400
for JID and that apocalyptic
Atlanta idea.
47
00:02:41,800 --> 00:02:45,280
Art forward instead of literal
gives the whole thing a spine.
48
00:02:45,760 --> 00:02:48,400
You know where you are
emotionally, even if the visuals
49
00:02:48,400 --> 00:02:51,000
are abstracting the city instead
of documenting it.
50
00:02:51,520 --> 00:02:54,280
Which honestly, is usually way
more interesting.
51
00:02:55,000 --> 00:02:58,640
Give me a strong interpretation
over a literal backdrop any day,
52
00:02:59,160 --> 00:03:01,520
especially when the artist's
whole presence can carry that
53
00:03:01,520 --> 00:03:05,280
kind of world building.
Yeah, it's ambitious, but it
54
00:03:05,280 --> 00:03:07,480
sounds disciplined.
That's why it works for me.
55
00:03:08,280 --> 00:03:11,160
And then the stage design itself
really locks that in because the
56
00:03:11,160 --> 00:03:15,320
show lived inside a bunker, not
in a cheesy like End of Days
57
00:03:15,320 --> 00:03:18,320
movie set.
Way more tonal walls, subtle
58
00:03:18,320 --> 00:03:21,160
detail and this palette that
seems driven by the album.
59
00:03:21,800 --> 00:03:25,400
That's a very different thing.
Very different subtle details
60
00:03:25,400 --> 00:03:28,120
doing a lot of work there in
production design.
61
00:03:28,360 --> 00:03:31,400
When people hear bunker they
might picture heavy-handed
62
00:03:31,400 --> 00:03:36,960
texture, obvious ruin all that.
But a tonal approach tells me
63
00:03:36,960 --> 00:03:40,640
the team trusted restraint.
Let the surfaces hold mood.
64
00:03:40,880 --> 00:03:44,000
Let the palette carry psychology
that's smarter than over
65
00:03:44,000 --> 00:03:47,480
decorating the idea.
And it gives the content
66
00:03:47,480 --> 00:03:50,240
somewhere to land.
That's what I kept thinking.
67
00:03:50,480 --> 00:03:53,640
If your scenic world is too loud
on its own, then the media
68
00:03:53,640 --> 00:03:56,120
fights it.
But if the walls are controlled
69
00:03:56,120 --> 00:03:59,680
and intentional, then every
color shift, every graphic move,
70
00:03:59,720 --> 00:04:03,400
every little cue can hit harder.
Yep, and the really sharp move
71
00:04:03,400 --> 00:04:06,640
here was bringing the LED closer
to the downstage edge.
72
00:04:07,040 --> 00:04:09,280
That changes the room, full
stop.
73
00:04:10,000 --> 00:04:12,880
If the screen sits back, the
audience reads it like a picture
74
00:04:12,880 --> 00:04:17,560
plane, like a window.
Useful, sure, but when you move
75
00:04:17,560 --> 00:04:20,200
it forward, suddenly it's not
something you're looking at from
76
00:04:20,200 --> 00:04:22,720
afar.
It becomes an active threshold,
77
00:04:23,080 --> 00:04:25,400
a portal.
That's such a great distinction,
78
00:04:25,680 --> 00:04:29,400
window versus portal.
A window says there's something
79
00:04:29,400 --> 00:04:32,360
over there.
A portal says you're in this
80
00:04:32,360 --> 00:04:35,040
now.
And for a show that starts with
81
00:04:35,040 --> 00:04:38,840
this outside world collapse
vibe, that physical shift makes
82
00:04:38,840 --> 00:04:41,520
the audience feel pulled inward
instead of just observing
83
00:04:41,520 --> 00:04:44,600
disaster from a safe distance.
Exactly.
84
00:04:44,600 --> 00:04:47,400
That's the storytelling
evolution I love in this design.
85
00:04:47,840 --> 00:04:49,640
It doesn't stay on external
collapse.
86
00:04:49,920 --> 00:04:52,960
It moves towards psychological
depth as the show unfolds.
87
00:04:53,360 --> 00:04:57,000
So the imagery and the staging
aren't just saying the world's
88
00:04:57,000 --> 00:05:00,280
broken, they're saying let's go
deeper into the interior
89
00:05:00,280 --> 00:05:03,640
experience of that.
That's a more mature visual arc.
90
00:05:04,040 --> 00:05:06,520
And honestly, it feels
respectful to the music when a
91
00:05:06,520 --> 00:05:09,040
design does that.
It's not trapped in one headline
92
00:05:09,040 --> 00:05:12,200
idea all night.
It starts with a place, a
93
00:05:12,200 --> 00:05:16,440
condition, a mood, and then it
keeps opening up or maybe
94
00:05:16,440 --> 00:05:21,280
descending one of those.
Yeah, maybe both, But that's why
95
00:05:21,280 --> 00:05:25,080
this partnership stands out.
Scenic content, system design.
96
00:05:25,440 --> 00:05:28,000
It all seems aligned around
visual storytelling instead of
97
00:05:28,000 --> 00:05:31,880
spectacle for spectacle's sake.
Still ambitious, still polished,
98
00:05:32,120 --> 00:05:34,960
still plenty of scale, but with
intention.
99
00:05:36,040 --> 00:05:39,240
That's the sweet spot.
Big ideas, controlled execution,
100
00:05:39,480 --> 00:05:41,640
and a world that actually
supports the artist.
101
00:05:41,960 --> 00:05:44,600
Hard to beat that.
Absolutely.
102
00:05:44,600 --> 00:05:47,680
That's a quick hit on GI DS.
God does like Paradise Tour.
103
00:05:48,080 --> 00:05:51,320
Lacey Goodhang as always.
Always a pleasure Chris, see you
104
00:05:51,320 --> 00:05:53,480
next one.
See ya.
105
00:06:09,760 --> 00:06:13,040
Music to your ears.
Hey, hey, hey.
106
00:06:13,800 --> 00:06:18,640
Let's go.
New gear vibes, new tech jive
107
00:06:19,720 --> 00:06:24,120
gearheads unite.
We keep it live.
00:00:19,480 --> 00:00:22,000
Welcome to geezers of gear
Future Tech.
2
00:00:22,480 --> 00:00:25,240
I'm Chris, and this one is
catnip for people who love a
3
00:00:25,240 --> 00:00:27,960
smart visual build.
We're talking JIDS.
4
00:00:27,960 --> 00:00:31,840
God does like Paradise Tour and
honestly the big headline for me
5
00:00:31,840 --> 00:00:34,600
is the partnership.
You can feel when a show is not
6
00:00:34,600 --> 00:00:37,840
one department dragging
everybody else behind it, right?
7
00:00:38,280 --> 00:00:42,560
This felt like David Salazar,
Michael Kelly, Live events, and
8
00:00:42,560 --> 00:00:45,560
the Raw Serial team all pulling
in the same direction.
9
00:00:46,400 --> 00:00:48,520
Yeah, totally.
And that's the part I appreciate
10
00:00:48,520 --> 00:00:49,960
most.
Because sometimes you can see a
11
00:00:49,960 --> 00:00:53,880
show and go, OK, cool graphics,
cool lighting, whatever.
12
00:00:54,240 --> 00:00:57,840
But this sounds more like an
actual world got built, not just
13
00:00:57,880 --> 00:01:00,720
assets dumped on screens.
A world.
14
00:01:01,440 --> 00:01:03,200
Exactly.
And in live events, that's the
15
00:01:03,200 --> 00:01:05,480
difference.
A pile of good ideas is not a
16
00:01:05,480 --> 00:01:07,440
show.
A shared visual language is a
17
00:01:07,440 --> 00:01:10,080
show.
From what we've got here, the
18
00:01:10,080 --> 00:01:13,200
engine for that was a notch
powered visual system paired
19
00:01:13,200 --> 00:01:16,960
with custom 2D and 3D content,
which is a very strong combo
20
00:01:16,960 --> 00:01:20,160
when the creative team wants
flexibility and depth without
21
00:01:20,160 --> 00:01:23,120
losing the plot.
Right, and I like that you said
22
00:01:23,120 --> 00:01:27,040
without losing the plot because
this one seems very plot driven
23
00:01:27,040 --> 00:01:29,520
visually.
The tone starts with Atlanta,
24
00:01:29,520 --> 00:01:33,120
but not literal postcard.
Hey look, a skyline Atlanta.
25
00:01:33,600 --> 00:01:36,760
It's reimagined through this
apocalyptic art forward lens,
26
00:01:36,760 --> 00:01:39,640
which is such a cool framing
device for an artist like JD.
27
00:01:40,400 --> 00:01:43,240
Yeah, it's not realism for
realism's sake.
28
00:01:43,520 --> 00:01:47,840
It's a version of place filtered
through emotion and tension that
29
00:01:47,840 --> 00:01:50,680
matters.
I spent years looking at concert
30
00:01:50,680 --> 00:01:54,040
visuals that were technically
solid but kind of emotionally
31
00:01:54,040 --> 00:01:56,840
empty.
Here, the custom content sounds
32
00:01:56,840 --> 00:01:58,520
like it was there to support
storytelling.
33
00:01:58,520 --> 00:02:02,400
First the notch side gives you
that live dimensional feeling,
34
00:02:02,800 --> 00:02:06,440
and then the 2D and 3D material
let's the visual identity
35
00:02:06,720 --> 00:02:09,840
breathe in different ways
depending on the song, the
36
00:02:09,840 --> 00:02:14,000
moment, the mood.
And raw serials, such a good fit
37
00:02:14,000 --> 00:02:16,040
for that kind of thing.
Because when a team can live in
38
00:02:16,040 --> 00:02:18,880
the space between design and
atmosphere, you get something
39
00:02:18,880 --> 00:02:21,880
richer.
Not just big LED wow, but
40
00:02:21,880 --> 00:02:24,560
something with texture.
That's probably the best word
41
00:02:24,560 --> 00:02:25,720
here.
Texture.
42
00:02:26,480 --> 00:02:30,320
Texture's the word.
David Salazar, Michael Kelly,
43
00:02:30,960 --> 00:02:33,320
Raw serial.
This feels like a stand out
44
00:02:33,320 --> 00:02:35,840
production partnership because
nobody's trying to win the show
45
00:02:35,840 --> 00:02:38,120
by themselves.
They're building an environment
46
00:02:38,120 --> 00:02:41,400
for JID and that apocalyptic
Atlanta idea.
47
00:02:41,800 --> 00:02:45,280
Art forward instead of literal
gives the whole thing a spine.
48
00:02:45,760 --> 00:02:48,400
You know where you are
emotionally, even if the visuals
49
00:02:48,400 --> 00:02:51,000
are abstracting the city instead
of documenting it.
50
00:02:51,520 --> 00:02:54,280
Which honestly, is usually way
more interesting.
51
00:02:55,000 --> 00:02:58,640
Give me a strong interpretation
over a literal backdrop any day,
52
00:02:59,160 --> 00:03:01,520
especially when the artist's
whole presence can carry that
53
00:03:01,520 --> 00:03:05,280
kind of world building.
Yeah, it's ambitious, but it
54
00:03:05,280 --> 00:03:07,480
sounds disciplined.
That's why it works for me.
55
00:03:08,280 --> 00:03:11,160
And then the stage design itself
really locks that in because the
56
00:03:11,160 --> 00:03:15,320
show lived inside a bunker, not
in a cheesy like End of Days
57
00:03:15,320 --> 00:03:18,320
movie set.
Way more tonal walls, subtle
58
00:03:18,320 --> 00:03:21,160
detail and this palette that
seems driven by the album.
59
00:03:21,800 --> 00:03:25,400
That's a very different thing.
Very different subtle details
60
00:03:25,400 --> 00:03:28,120
doing a lot of work there in
production design.
61
00:03:28,360 --> 00:03:31,400
When people hear bunker they
might picture heavy-handed
62
00:03:31,400 --> 00:03:36,960
texture, obvious ruin all that.
But a tonal approach tells me
63
00:03:36,960 --> 00:03:40,640
the team trusted restraint.
Let the surfaces hold mood.
64
00:03:40,880 --> 00:03:44,000
Let the palette carry psychology
that's smarter than over
65
00:03:44,000 --> 00:03:47,480
decorating the idea.
And it gives the content
66
00:03:47,480 --> 00:03:50,240
somewhere to land.
That's what I kept thinking.
67
00:03:50,480 --> 00:03:53,640
If your scenic world is too loud
on its own, then the media
68
00:03:53,640 --> 00:03:56,120
fights it.
But if the walls are controlled
69
00:03:56,120 --> 00:03:59,680
and intentional, then every
color shift, every graphic move,
70
00:03:59,720 --> 00:04:03,400
every little cue can hit harder.
Yep, and the really sharp move
71
00:04:03,400 --> 00:04:06,640
here was bringing the LED closer
to the downstage edge.
72
00:04:07,040 --> 00:04:09,280
That changes the room, full
stop.
73
00:04:10,000 --> 00:04:12,880
If the screen sits back, the
audience reads it like a picture
74
00:04:12,880 --> 00:04:17,560
plane, like a window.
Useful, sure, but when you move
75
00:04:17,560 --> 00:04:20,200
it forward, suddenly it's not
something you're looking at from
76
00:04:20,200 --> 00:04:22,720
afar.
It becomes an active threshold,
77
00:04:23,080 --> 00:04:25,400
a portal.
That's such a great distinction,
78
00:04:25,680 --> 00:04:29,400
window versus portal.
A window says there's something
79
00:04:29,400 --> 00:04:32,360
over there.
A portal says you're in this
80
00:04:32,360 --> 00:04:35,040
now.
And for a show that starts with
81
00:04:35,040 --> 00:04:38,840
this outside world collapse
vibe, that physical shift makes
82
00:04:38,840 --> 00:04:41,520
the audience feel pulled inward
instead of just observing
83
00:04:41,520 --> 00:04:44,600
disaster from a safe distance.
Exactly.
84
00:04:44,600 --> 00:04:47,400
That's the storytelling
evolution I love in this design.
85
00:04:47,840 --> 00:04:49,640
It doesn't stay on external
collapse.
86
00:04:49,920 --> 00:04:52,960
It moves towards psychological
depth as the show unfolds.
87
00:04:53,360 --> 00:04:57,000
So the imagery and the staging
aren't just saying the world's
88
00:04:57,000 --> 00:05:00,280
broken, they're saying let's go
deeper into the interior
89
00:05:00,280 --> 00:05:03,640
experience of that.
That's a more mature visual arc.
90
00:05:04,040 --> 00:05:06,520
And honestly, it feels
respectful to the music when a
91
00:05:06,520 --> 00:05:09,040
design does that.
It's not trapped in one headline
92
00:05:09,040 --> 00:05:12,200
idea all night.
It starts with a place, a
93
00:05:12,200 --> 00:05:16,440
condition, a mood, and then it
keeps opening up or maybe
94
00:05:16,440 --> 00:05:21,280
descending one of those.
Yeah, maybe both, But that's why
95
00:05:21,280 --> 00:05:25,080
this partnership stands out.
Scenic content, system design.
96
00:05:25,440 --> 00:05:28,000
It all seems aligned around
visual storytelling instead of
97
00:05:28,000 --> 00:05:31,880
spectacle for spectacle's sake.
Still ambitious, still polished,
98
00:05:32,120 --> 00:05:34,960
still plenty of scale, but with
intention.
99
00:05:36,040 --> 00:05:39,240
That's the sweet spot.
Big ideas, controlled execution,
100
00:05:39,480 --> 00:05:41,640
and a world that actually
supports the artist.
101
00:05:41,960 --> 00:05:44,600
Hard to beat that.
Absolutely.
102
00:05:44,600 --> 00:05:47,680
That's a quick hit on GI DS.
God does like Paradise Tour.
103
00:05:48,080 --> 00:05:51,320
Lacey Goodhang as always.
Always a pleasure Chris, see you
104
00:05:51,320 --> 00:05:53,480
next one.
See ya.
105
00:06:09,760 --> 00:06:13,040
Music to your ears.
Hey, hey, hey.
106
00:06:13,800 --> 00:06:18,640
Let's go.
New gear vibes, new tech jive
107
00:06:19,720 --> 00:06:24,120
gearheads unite.
We keep it live.