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A Livingetc report examines why many podcast studios have relied on generic, dark or book-lined interiors and how designers are developing more distinctive sets. Designers working on shows including Jake Shane’s Therapuss and Jay Shetty’s On Purpose say video clips have increased the importance of how a studio looks, though the shift is not universal.
Designers behind studios for podcasts including Jake Shane’s Therapuss and Jay Shetty’s On Purpose are moving away from the familiar dark walls, neon signs and book-lined backgrounds used across many shows, according to a report by Livingetc. The shift reflects podcasts’ growing visual presence: video clips can introduce a show to viewers before they ever hear a full episode.
Livingetc describes a recurring look across podcast sets: dark or charcoal walls, acoustic foam, neon branding, bookshelves and decorative objects that offer little sense of a show’s individual identity. Interior designer Emily Cunnane characterizes the familiar options as either a traditional arrangement of timber, books and branded coffee cups or a gaming-inspired setup with dark walls and a neon logo. The report says the look spans genres, rather than belonging only to one category of show.
Designers interviewed by the publication say the template has practical origins. Podcasts were initially made primarily for listening, so studios were built around sound rather than the appearance of a filmed set. As video and short clips have become part of how audiences encounter programs, designers are paying more attention to the setting. Harrison Sheinberg, co-founder of Interwoven Studios, says the first encounter with a show may now be a brief clip, making the studio part of its visual identity.
The projects cited offer different approaches. Interwoven Studios has worked on sets for Therapuss and Alix Earle’s Get Real With Me. Hema Persad of Sagrada Studio designed a previous studio for On Purpose with guest comfort in mind, using dark walls and warm furnishings, the report says. The article also includes a rendering for Shane’s studio, but does not provide a completed-project date or measure how viewers respond to the designs.
Video Is Changing Podcast Sets
The design shift matters because podcast studios increasingly appear in more than full-length video episodes. Short excerpts circulate as standalone clips, where the set can help viewers identify a show and establish its tone. That makes the room part of the on-screen presentation, not only a functional place to record audio.
Distinctive interiors may also help a program avoid looking interchangeable with other shows. The report presents that as a design rationale, not as evidence that a particular studio improves audience numbers or listening habits. It offers no comparative data on whether a redesigned set increases views, engagement or revenue. The confirmed development is a change in the priorities described by designers, as video exposure becomes a more visible part of podcast production.
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From Audio Rooms to Sets
The report places the design debate against the growth of podcasts as a cultural and commercial format. It cites an estimate of at least 15.5 million podcast listeners in the UK and a global industry value above £29 billion. Those figures are presented in the original article; it does not provide the underlying research methods or a date for either estimate.
As more programs are filmed and distributed on video platforms, studios have had to serve both recording and viewing. The older conventions—bookshelves, brick walls, wood tones and visible branding—could signal a comfortable recording space, but designers interviewed by Livingetc argue that repeated use has made them predictable. The article documents an emerging design response, rather than a settled industry-wide change.
“Podcasts started as an audio format, so the visual side often came later.”
— Harrison Sheinberg, co-founder of Interwoven Studios
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How Broad Is the Design Shift?
The report does not establish how many podcast studios are changing their interiors, how quickly the shift is happening or whether audiences prefer the newer designs. It also does not provide performance results for the projects it discusses, such as changes in views or listener growth. The source says the familiar template has not disappeared, so the extent of the change remains unclear and uneven.
Some details about the projects are also limited. The article refers to a previous On Purpose studio and shows a rendering for Shane’s studio, but does not set out a full project timeline or confirm when every pictured design was completed or put into use.
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More Studios Face the Camera
Livingetc’s report points to continued attention to set design as podcasting expands further into video, but it names no industry deadline, upcoming launch or formal next step for the studios discussed. The next developments to watch are whether more programs commission individualized spaces and whether creators or designers publish results showing how those choices affect the viewing experience.
For now, designers’ comments and the cited projects show an active response to a changing format, not proof that the standard podcast set has been replaced. The practical test will be whether distinctive studios become more common as video remains part of podcast distribution.
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Key Questions
What design trend is the report describing?
It describes designers moving away from recurring podcast-set features such as dark walls, neon signs, acoustic foam and generic bookshelves in favor of spaces with a clearer identity.
Why are podcast studios paying more attention to interiors?
Designers interviewed by Livingetc say podcasts increasingly reach audiences through video and short clips. The set can be visible in those clips, so it forms part of a show’s visual presentation.
Which podcast projects are mentioned?
The report cites work connected to Jake Shane’s Therapuss, Alix Earle’s Get Real With Me and a previous studio for Jay Shetty’s On Purpose.
Does the report show that redesigned studios attract more viewers?
No. It describes designers’ reasoning and examples of studio design, but gives no audience data linking a redesigned set to higher views, engagement or listening figures.
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