For Tyler and Jordan McJunkins, the duo behind the custom fabricator Rise Fabrication (founded in 2021), creating stage elements for major artists is nothing new. After all, their first project was a custom DJ table for Duke Dumont, With over 15 years of building an impressive portfolio that spans from NBA player Kevin Durant’s shoe room (not joking) to major brands like Hulu, they have become known for bringing large-scale, immersive experiences to life (with a “capabilities” list longer than your last Instacart order).
“Who wouldn’t want to be a part of such awesome builds. It’s what any beginning fabricator would strive for…it is truly larger-than-life, seen worldwide. Excitement comes from building something different and unique every time. That’s why we love what we do, often we’re building something that’s never been done before,” they said.
Via Rise Fabrication.
However, the amount of ambition and creative collaboration required for Travis Scott’s CIRCUS MAXIMUS Tour (which started in October 2023) was on a whole other level.
From humongous automated dystopian heads to massive, rage-ready boulders, Rise Fabrication’s work on Travis Scott’s tour became one of their most impressive feats yet. As they teamed up with Scott and various creative teams, including the design studio See You Later, they turned a high-concept idea into a jaw-dropping reality — one that would bring his third studio album, 2023’s UTOPIA, to life.
We sat down with Tyler and Jordan to learn more about bringing La Flame’s vision to life, the creative process and collaboration across industries, and the challenges they overcame along the way.
What was it like working with Travis Scott?
Rise Fabrications had previously created stage elements for tours, but this marked the first time they had to complete a project this massive. The creative design studio See You Later (who are also behind Doechii’s 2025 Grammys performance and Big Sean’s Better You Than Me listening experience) developed the initial vision for the tour’s stage.
The idea stemmed from “having a stage that could span across the arena, giving Travis multiple performance areas while staying as close to the crowd as possible. Niklas and the Sub Global team had the direction for all the sculpture shapes and textures that they worked on with Travis. Most of the input from Rise Fabrication came in the way of certain compromises and alterations in overall build execution to maintain the highest level of safety for all involved,” they said.
With the concept in place, Rise Fabrications was able to move forward, crafting the specific elements that made Scott’s Utopia tour so special.
What was the creative process behind the stage?
One of the most notable elements for concertgoers were the flying dystopian heads (complete with lasers) that looked straight out of a futuristic horror movie and giant boulders for Scott to rage from.
“The head designs came from Niklas and the Sub Global team who worked with Travis on the sculptures and incorporated them into all the album branding and incorporated the design into the stage … [The stage was made to resemble] a large fissure in the earth that splits the arena in half, allowing Travis to perform around the entire arena while being as close to the audience as possible,” they said.
According to their website, the head sizes ranged from six to fourteen feet wide.
At first, the heads were designed to sit on the ground and be supported by the stage. However, plans changed at the last minute to make the dystopian props (“larger than a pickup truck”) automated and available to ride, and the team had to pivot quickly.
“The call was made with two weeks left to redesign, add steel armature inside finished heads in order to rig safely and fly sculptures larger than a pickup truck (not to mention, at times with Travis himself riding and occasional guests),” they said.
Despite the intense time crunch, the special effects elevated the tour to an entirely new level.
Via Rise Fabrication.
“The flying heads were constructed of EPS foam, which offers very little in the way of structural support. Since the call was made after they were finished, our amazing team jumped right in, surgically dissected, embedded a steel framework with rated lift points, and stitched everything back together. Special thanks to Tour Director Clark Coss, Project Manager Ian Kinnersly, and Stage Manager Larry Barcello,” they said.
Other special effects included intricate lighting and, of course, plenty of pyro — because it isn’t a Travis Scott concert without flames. This made collaboration with teams like Special Effects crucial to successfully execute the enormous (and eventually international) spectacle, especially from the POV of tour manager Clark Coss.
Via Rise Fabrication.
“As for any tour; show direction and balance is everything. All elements of the show need to flow cohesively with one another. The trick is finding that balance so you’re not overstepping. That being said, putting together the right team is everything—success or failure. None of this could have been possible without the dedication, experience and trust we have with our operators, vendors and creatives. It truly takes a village to run this machine. Special thanks to: Fuse (Lighting/Video/Rigging), Clair Global (Audio), Strictly FX (Lasers/Pyro), CyberMotion (Automation & Rigging), Accurate Staging (Staging & Lifts),” he said.
How did it feel to see your work in action with Scott?
Rise Fabrication has worked with a diverse range of clients, from rappers, including Russ, to luxury brands like Louis Vuitton. Regardless, creating the stage for Scott was by far their biggest and most ambitious project to date — and witnessing it come to life each night felt truly surreal.
When thinking back on their most rewarding moments, one of the first that comes to mind is “first seeing the 22 full semi-truck loads leaving our dock on time for the Lititz (A city in Pennsylvania that also has a complex for artists running tour rehearsals). But another astonishing moment was catching up with the Arena tour when it came back to Los Angeles at SoFi Stadium. We pulled our company truck down onto the floor mid-build and were awe-struck with the sheer scale of the whole project,” they said.
What advice do you have for other designers — and what’s next?
While their upcoming projects remain under wraps for now, they’re always “working on BIG SHIT” and have valuable advice for those looking to break into the design and fabrication industry.
“Never think you’re above any job—stay humble. Keep a positive mental attitude and never turn down a challenge. Just say yes, then figure it out,” they shared.
