The members of the dream-pop duo Beach House tend to spend their time onstage swathed in brilliant hues, or backlit by stars. When Victoria Legrand and Alex Scally take to their instruments (keyboards and guitar, respectively), they’re washed in shades of fuchsia and violet; the outlines of their bodies and the flourish of their movements are the only things that keep them from melting into the saturated field of color behind them. Their backdrop recalls the fluorescent lightscapes of James Turrell — gradual, simple spreads of brilliance that serve as a perfect foil to the ethereal music they’ve been crafting since they met and began to work together in 2004.

This was the scene Beach House set last week at Webster Hall, and these splashes of concentrated color are being reimagined for a new series of “installation shows” they’re performing on tour in addition to their typical gigs. 2015 was a prolific year for Legrand and Scally: They released two full-length albums, the critically adored “Depression Cherry” and “Thank Your Lucky Stars,” and toured in support of them both. Now, they’ve added a few dates to their itinerary that are solely dedicated to playing against the backdrop of a new immersive installation, with two performances taking place in New York tonight and tomorrow at a location that’s yet to be announced.

“When you go to a show, you are there to watch somebody perform for you,” says Scally of the installation’s execution and intent. “The stage is a dividing line. The goal is that people will kind of lose where they are, and go into a very internal place in their mind. When music is being created by us, we oftentimes reach kind of a trance-y state. It’s a very carefree but concentrated place that feels very, very beautiful, and there’s not a lot of pressure put on the moment. We’re trying to take people into a very stimulated but relaxed world and get out of the ‘I’m here and you’re there’ type of feeling.”

To achieve this goal during the “installation shows,” Beach House will perform without breaking in between songs, with fog and vibrant lights — indigo, magenta, deeper violets and pinks — once more cascading over Legrand and Scally. Projections of flowers are illuminated on a screen before them; the audience sits on the floor, and the installation is mapped out to take advantage of the confines of every gallery, community center and other unconventional performance space they’ve booked for this particular series.