AJ TRACEY: LIVE & DIRECT

Celebrating a breakthrough year as the new poster boy of London’s independent urban music scene, AJ Tracey embarks on two consecutive sold-out shows at the Alexandra Palace. TPi’s Jacob Waite reports.

Nine miles separates Alexandra Palace from AJ Tracey’s home turf of Ladbroke Grove – a short tube journey, yet a huge career milestone for the fiercely independent artist. Embarking on two consecutive sold-out shows in November – which had guest appearances from the likes of Dave, Skepta, MoStack and Stormzy – the AJ Tracey production team saw ecstatic fans surround an ambitious in-the-round show, featuring a TAWBOX design as dazzling as the artist’s charisma.

‘ A CAREER HIGHLIGHT’

Production Manager, Joel Stanley was approached by TAWBOX to handle the production build and budgeting for the completely self-funded show. As an ambitious in-the-round show, the creative studio required a reliable face.

“I certainly felt this was a career highlight,” Stanley began. “Creative Director, Bronski and I had a long chat. I was informed that the show would be streamed live, so we knew it had to be the best quality. Time was of the essence, so we hit the ground running.” Stanley detailed a tense pre-production period absent of production rehearsals with only 24 hours to build the daunting show. “There was simply no margin for error,” he recalled. “We had two production meetings with all the suppliers, which were invaluable.”

Following the meetings, Video Design was chosen to supply a stunning four-sided LED display above stage that TAWBOX conceived to contextualise the energy of AJ Tracey’s live performance. “TAWBOX’s creative side knows no bounds,” continued Stanley. “They confound us with ever more amazing platforms for performers.”

Neg Earth Lights supplied lighting and rigging, while SSE Audio provided the audio set up. “Choosing vendors we have worked with before, like Neg Earth Lights and Video Design, proved pivotal,” Stanley explained. “Most of the crew chiefs knew each other from jobs they had done with me previously. When planning time is short, such relationships are crucial.”

Stanley also put together a raft of familiar faces from the ground up. “I can’t function without my production co-ordinators, stage managers, riggers, runners, head carp, crew chiefs and chefs,” he explained graciously. “I’m so honoured to have a loyal team that say yes when I call them, and they keep coming back after all the crazy builds and long hours.”

His main issues involved the weight of the rig, a short time window and, as always, the budget. “Our approach was formulaic based on a series of challenges,” Stanley recounted. The Production Manager recalled how the budget gradually spiralled out of control. “The winter loading was in effect, as well as factoring an additional day to pre rig and load in before show day. On top of that, Ally Pally required rigging to take place with cherry pickers. It’s a very tricky venue, but we like a challenge!”

‘THE CHERRY ON TOP’

TAWBOX – made up of Creative Director and Choreographer, Amber Rimell, and Creative Director, Bronski – began working with AJ Tracey in summer 2018. “He had seen some of our work and was keen to bring us in to help him design his most ambitious tour to date,” Bronski said. “The AJ Tracey tour was a big success, so that naturally lead to the two dates at Alexandra Palace.”

Rimell echoed: “AJ wanted to bring us in to expand and elaborate on his live shows, so audiences engage on a bigger platform.” TAWBOX worked with Musical Director, Kojo Samuel to align musicality with creative. “Show flow was important to keep the audience engaged during transitions into sections,” Rimell explained.

For the Ally Pally shows, the creative design team took a step away from the album theme. While Ladbroke Grove had been such a huge success in the charts all summer, “AJ Tracey focussed on giving his live shows their own persona”.

TAWBOX then discussed with him how Alexandra Palace had such an important role in the history of broadcast, being the home of the first BBC television broadcast in 1936. “We were all into the idea of using the shows to celebrate the venue, it’s heritage, and what AJ could be within that context,” commented Rimell. The artist was also very much involved in the creative collaboration. “AJ shares ideas as well as us, so we’re able to work together to achieve his vision,” the designers said.

AJ Tracey wanted the show to be an experience for the audience. “We discussed smells and interactive ideas to create not just a visual and audio experience.” For example, a section of the show was based on sports, where TAWBOX used a ‘fresh cut grass’ smell supplied by Pyrojunkies as AJ Tracey performed Thiago Silva with guest artist Dave. “It was as if they were on a football pitch with a sensory experience for the audience. Our video screens became score boards and a Sky Sports newsfeed with live IMAG.”

Once the rig was designed, it was up to Bronski and Rimell to ensure AJ Tracey worked “harder than he ever before” on a stage to create a real spectacle. Rimell noted: “AJ and I worked together to make sure that he interacted with all areas of the stage.”

The video cage comprised wall-to-wall ROE Visual Vanish-8 panels which, utilising their transparency, allowed the team to shoot pyrotechnics inside. Bronski explained: “It was an important part of the design process. The screen looks great turned on; the transparency is perfect and it’s aesthetically menacing when lit right – we love it!”

Bronski shared: “The strength of the design was how it kept moving. Even though we had one theme in broadcasting, it didn’t get close to becoming boring.” Rimell enjoyed all the interactive moments – particularly when the team made Alexandra Palace rain custom AJ Tracey money. “That was cherry on top for me!”

‘AN UNFORGETTABLE SHOW’

AJ’s big reveal featured a pre-recorded opening VT, an automated video cage was operated via Kinesys and the lone artist appeared in the middle of the video box, illuminated by negative space content. Stanley praised the influence of TAWBOX’s Bronski and Rimell. “Both of their backgrounds are different, and they play to their strengths as a dynamic design duo,” he said. “The show involved lot of content, building set lists, choreography, strong bold looks. AJ Tracey barely sound checked or questioned any of their work, which is a testament to their expertise.”

Stanley also praised the work of Video Design in delivering the video kit required. “Video Design invested heavily for this show,” continued Stanley. “Bronski and I agreed they would give more care and attention to the job. That’s what made this work so well.”

Stanley recalled their load-in where Video Design’s Alex Leinster was on site to roll up his sleeves. “I’m not sure I could say that about other video company CEOs!” On a central stage, with all departments working in close confines to a restrictive timeline, Stanley acknowledged the importance of boosting team morale.

“We had a couple of small hiccups in our plan, but I never heard anyone shouting – everyone worked harmoniously,” he commented proudly. “I won’t forget this show for a while. I’m very grateful to Alex and the other suppliers for helping us pull this off. It was a terrific show for an equally terrific performer.”

‘VISUALLY IMPACTFUL’

Suluko’s James Scott was drafted in by TAWBOX to put together a small tour package for AJ Tracey’s academy campaign in early 2019, which was subsequently operated and toured by Lighting Director, Jake Whittingham. St anley believed bringing Scott onboard as the lighting designer was a “perfect move”.

He commented: “Not only have we all worked together before, but he was able to adapt the rig around the building, so we never encountered any issues. He put together a beautiful design.”

Asked about his creative vision, Scott shared: “The initial concept was to cover the entire audience with lights to create a much more intimate environment for fans, creating a club-like environment with lighting fixtures spanning the audience trusses to replicate one big, immersive show.”

The production livestreamed the second of the two nights, which relieved some pressure on the opening show. “Ally Pally is historically a broadcast venue, so the initial creative by TAWBOX was a radio tower in the middle of Ally Pally with radio waves branching out into the audience on trusses.” However, after careful consideration, the AJ Tracey camp and production decided against a big structure in the middle of the stage, taking into consideration the sightlines of the audience.

“The new design allowed the audience to see AJ the entire show, regardless of their position,” Scott acknowledged. Utilising ROE Visual Vanish V8 to replicate a four-sided cage, Scott designed a matrix of lights backing all four sides of the blown through screen, housing four grids of 64 Robe Spiiders.

While budget was definitely a factor, the overall impact was equally important. “It’s a constant battle between delivering something visually impactful but also within the budget,” Scott added. Both the floor and flown lighting package comprised 72 Claypaky Mythos 2s and 168 Martin by Harman VDO Sceptrons. “The great thing about Neg Earth Lights was, given their vast inventory, every fixture I specified was available.”

Scott explained that the show was broken up into sections. “There was a conscious decision to hold back from using the strobes until halfway through the show,” he revealed. During the start of the show’s seventh section, AJ started off his verse walking through the crowd in a single spotlight. “At the climax of his verse just before the drop to the chorus, that’s when we unleashed the power of 96 TMB Solaris Flares. The collective gasp from the audience was audible.”

Scott specified an MA Lighting grandMA2 system to control four Robe BMFL WashBeam Robo Spots. Meanwhile, the show was fixed to timecode, barring an acoustic number. “With three moving artists on the stage, as well as an in-the-round set up, I had to ensure the spots were carefully positioned,” he shared. “When you introduce multiple people on stage, it can become quite tricky, but thankfully everyone was lit constantly.”

A total of 96 GLP X4 Bar 20s spanned the perimeter of the stage, mirroring the video box below to create a continuous line of light. “This allowed me to use the floor fixtures as footlights, while 24 shuttered Martin by Harman Viper Performances delivered a wash output,” Scott explained. “We didn’t want to blast the stage with light, instead keeping it in line with the moody aesthetic.”

Adding to the intensity of 36 hours of rolling crew, Scott received the rig during daylight and, in the Ally Pally, “you don’t get darkness, other than at night,” he said. “Having a two-night, one-off show makes it a spectacle, rather than it being a touring production.”

With one-off sold-out shows becoming commonplace in 2019, Scott believed the show of this calibre helps “create a culture of concertgoers” flocking to see their favourite artists for one-night only – transforming the experience from show to spectacle – an event rather than a tour. For Stanley, the tour was a success, “other than gaining a few more grey hairs,” he joked. The PM described the show as “genuinely one of the best” he has ever had a hand in producing.

“I was so happy with the outcome and proud of the team, especially as it was put together in such a short time frame.”

TPi

Photos: Scott Garfitt – www.scottgarfitt.co.uk

www.ajtracey.co.uk

www.video-design.co.uk

www.tawbox.com

www.suluko.com

www.negearth.com