FATBOY SLIM

DXBEACH PRESENTS FATBOY SLIM

DUBAI’S ZERO GRAVITY HOSTS AN EPIC PRE-SUMMER BLOWOUT STARRING LEGENDARY DJ, FATBOY SLIM, WHO MAKES HIS LONG-AWAITED RETURN TO THE UAE.

With a packed touring schedule that takes the legendary DJ all over the world, the Fatboy Slim crew is well versed at rolling into unfamiliar venues around the globe and delivering his inimitable brand of high-energy performance. As part of that adaptability, Jake Vernum, Production Manager, has become accustomed to dealing with whatever is thrown his way – something which stood him in good stead when it came to Fatboy Slim’s long-awaited Dubai return at Zero Gravity on 20 May.

Like many shows over the past couple of years, Fatboy Slim’s return to Dubai for the first time since he headlined Party in the Park in 2019 had been on the cards for quite some time, only to experience numerous postponements due to COVID-19. With the performance set to place on the beach and the UAE’s blisteringly hot summer season fast approaching, everyone was keen for the event to take place as planned. However, just a week before show day, the entire country was rocked by the news that its President, Sheikh Khalifa Bin Zayed Al Nahyan, had passed away. All events in the region were immediately put on hold, with Vernum and the rest of the team in the dark as to whether the show could go on. “At one point, we weren’t sure if it was going to go ahead,” the PM recalled, speaking to TPMEA on a rare day off in the middle of campaigns with both Fatboy Slim and George Ezra.

While an initial four days of mourning was declared, followed by a further 40-day mourning period, it was eventually decided that the show would be allowed to go ahead. Of course, the uncertainty in the week before show day meant that stage building and load-in times were pushed to the limit, which provided an extra challenge for all concerned.

Creative Noise – the agency behind several popular Dubai festivals including Sandance, Party in the Park and DXBeach – engaged Encore to provide a complete technical solution for the event, including audio, lighting, and video. Snap supplied and operated lasers; AES built the stage and roof; and Prime Vision handled cameras.

Riaan ‘Jozi’ Gomes, Project Manager at Encore, recalled the challenge of pulling back the lost time in the lead-up to the show. “We held everything until the Monday before the show, when we eventually got the green light; from then onwards, it was all engines go,” he revealed. “Unfortunately, by that time we were already behind the build schedule, and with the event taking place at a beach club, we were only allowed to work at certain times to avoid disturbing the paying guests.”

The team worked through the night, not only to claw back lost time but also to shelter from the searing heat, which was already cranking up ahead of summertime in Dubai. Yet, while nighttime working avoided the highest temperatures, according to Jozi, the humidity in the evenings was just as challenging. “Our humidity monitors were reading anywhere from 90% to 99% in the build-up and throughout the show,” he recalled, adding that the only solution to keep equipment dry was good old-fashioned fans and towels.

“Thankfully, we were at the beach club, so there was no shortage of towels!” he laughed. “The team was incredibly professional; they knew what needed to be done and battled through the conditions to make sure that everything hit the

“As much as I love the pre-production, design and creative phase of the project, there is nothing as exhilarating and exciting as seeing everything come together on show day.”

Riaan ‘Jozi’ Gomes, Encore.

mark. For me, it was just about helping to keep them motivated to get through all the work in the reduced timeframe.”

BRINGING THE RIG TO LIFE Jozi explained how he used the Fatboy Slim technical rider as a base for the stage design. “We received the artist’s technical requirements well in advance and we built on that,” he began. “As with most concerts or festivals, there was a tight budget to follow. However, I’ve always found that the best way to get over any challenge is through creativity, so I proposed a variety of stage design ideas, incorporating different lighting options and LED screen sizes.”

According to Jozi, there was never any risk of the technical supply falling below expectations. “We have a great selection of equipment at our disposal from a wide range of world-class brands,” he stated. “We know that all the equipment we have works well in the conditions because everything is so well maintained by our excellent service team.”

Vernum explained that the Fatboy Slim international touring party is very stripped back by design. “We like to roll into international shows like this with as little equipment as possible,” he shared. “We compromised on a couple of the fixtures, but that is not uncommon for us because we tour in so many different territories and it makes much more sense to work with what is available locally than to tour or freight vast amounts of equipment. Encore did a great job,” he added.

The final design featured a single 11m by 6m 4.8mm Dicolor outdoor LED screen, which was used as a backdrop to the stage and displayed various graphics created by touring Video Director, Bob Jaroc, blended with IMAG content. “We also used our Analog Way Ascender 48 4K switcher to send content to all the screens inside Zero Gravity and the venue’s existing LED,” Jozi revealed. Screen management was handled by Tom Evans and Simon Depypere, while Sydney Fernandes and Imran Akthar looked after the LED.

Fatboy Slim’s long-time Lighting Designer, Stephen Abbiss used an Avolites Tiger Touch II to control the lighting rig, which comprised Claypaky Stormy, Sharpy and B-EYE K10s, Martin by Harman MAC Auras, Robe BMFL Blades, CHAUVET Professional LED Battens and Showtec Sunstrips. Supporting Abbiss was Encore’s Jonathan Shaw and Japie De Klerk.

“Stephen Abbiss was phenomenal,” Jozi beamed. “My lighting team was watching what this guy was doing on a Tiger Touch II, operating the show. They had never seen a desk set up like

that before. He really brought the rig to life, and it was a pleasure to watch and work with him.”

The audio setup was made up of d&b audiotechnik J-SUBs and J-INFRAs, with Y-Series for front fill and out fills, as well as V-SUBs and M2 for stage monitors. Encore’s Vid Baleisa controlled the FOH mix with a DiGiCo SD9, while Justin ‘Ginger’ Wilson and Jay Violetta handled monitors and stage duties with a DiGiCo SD11.

According to Jozi, the fact that Encore is already familiar with Zero Gravity due to its work at the venue on the install side of the business meant that he already had answers to many of the questions he would ordinarily have to ask. “Having that connection was very helpful,” he said. “It meant we already knew all about the venue – from where everything is located to the power situation – it made it a lot easier to put the show together.

The show’s laser requirements were handled by Snap, which provided 30W mixed diode lasers as well as Cobra smoke machines. According to Rupert Morse, Creative Lead and Laser Programmer, the biggest consideration was ensuring that the laser show would be approved by the Dubai Civil Aviation Authority. “There was initially a suggestion to have the lasers firing upwards over the DJ’s head. However, we advised that they needed to remain flat to avoid the flight path,” he revealed, adding that due to the atmospheric state and the distribution of smoke during the show, “the lasers looked bright and made a big impact in the space”.

For Jozi, the most pleasing aspect was seeing the final product come together. “As much as I love the pre-production, design and creative phase of the project, there is nothing as exhilarating and exciting as seeing everything come together on show day,” he summarised, adding that the experience of working with the Fatboy Slim touring crew was one he cherished. “It hasn’t just been a couple of years that they have been doing this,” he laughed. “They are incredibly experienced and talented, and you can see that when you work with them. Everything was smooth and easy; they knew exactly what they wanted and delivered an amazing show.”

Vernum meanwhile – who has worked in the Middle East on many occasions, including for UAE National Day and the inaugural MDLBEAST Soundstorm – was also extremely pleased with the overall outcome.

“After so many cancellations, it was great to finally get the opportunity to put the show on,” he concluded. “The venue was wicked, everything was done well, the promoter looked after us, Norman had a great gig and the crowd were in good form, too.” Photos: Nathan Gonzales – Encore, Greg Dufton – Creative Noise, Tim Derry – Think Events www.fatboyslim.net www.encore-emea.com www.snap.ae