The working relationship between Patchwork London and Burna Boy has incredibly humble beginnings – starting with a direct message on social media. “They originally reached out to us on Instagram, then came to visit our office,” revealed Patchwork Founder, Steve White, reflecting on the working relationship with the artist’s team alongside Patchwork Touring Director, Calum Mordue.
Following this initial meeting, the company went on to support the team during the artist’s album launch at PRYZM Kingston and underplay at Roundhouse, London in August 2023. With the Roundhouse and PRYZM shows done, Burna headed out on a stadium and arena tour of the US. This was their full show, which included two DiGiCo SD5 consoles in ‘monitor world’ and a DiGiCo 338 for FOH duties.
When the production flew to the US, they enlisted the support of Patchwork’s partner company, Worley Sound, who provided an identical package in collaboration with the UK rental house. Patchwork set up the show in the UK during rehearsals which Worley mirrored in the US. Fast-forward to 2024 and Tèmídayọ̀ Oládẹhìn, Burna Boy’s production lead, got back in touch with Patchwork regarding various festivals and a headline Wembley Stadium show. This time they needed to build on the existing kit list with more channels, musicians and outboard requirements.
For this summer’s shows, Burna Boy’s audio team harnessed the new DiGiCo Quantum852 at FOH with two DiGiCo SD7 Quantum monitor consoles. These were on an Optocore Loop with seven SD Racks (32 bit) for inputs, outputs and FOH outboard inserts. Unbelievably, Patchwork had to make considerations with i/o card configurations because of the 504-channel limitation of the Optocore system.
FOH had an extensive selection of both analogue and digital outboard equipment. This included two Rupert Neve Designs 5035 Shelford chanells, two 211s, four RMP-D8s, two Portico II channels, a Portico MBP and a 5045; a Bricasti M7, a Sonic Farm Creamliner, a TubeTech CL1B compressor, Waves SuperRack LiveBox and Extreme Servers. Monitor world boasted a 5045, a Bricasti M7, Waves Extreme Severs and KLANG DMI Cards.
With numerous musical elements from musicians, backing singers and a drumline, the wireless requirements were slightly higher than your standard production. Patchwork used 34 channels worth of Shure Axient Digital Wireless Microphones. This was made up of two ADX2-FD for Burna, which automatically switched frequencies via ShowLink. Three AD2 for the backing vocalists, 29 AD1 belt packs for the string, marching band, talking drums, Omele, guitar, bass, brass and choir members. Using the AXT630UK Antenna Distribution system made it easier for the audio team with two Active UA874WB Antennas on board. The team also utilised 26 channels of Shure PSM1000 In-Ear Monitors and PA821B Antenna Combiners.
The main challenge with this project was the sheer amount of wireless spectrum space required – especially for the Glastonbury show. Patchwork RF Technician, Alex Legge, used AD600 to scan the RF environment, Wireless Workbench to deploy and WaveTool to monitor. In addition, the number of packs and people proved a challenge. The team used an 8ft table to lay the packs out for different members of the band, performers and crew.
Along with equipment, Patchwork supplied five members of crew, including FOH and Monitor Console Technicians, two Patch Technicians and an RF Technician. For the stadium and Glastonbury shows, the company sent an Audio PM.
“Working with Temi, Duriel, Josh and the wider team is a pleasure,” concluded White. “For a show of this size to maintain such wonderful spirit is something special, and we’re really honoured to be part of that. As far as the project and technical demands are concerned, it’s something that has pushed us forward. Maintaining our boutique and custom approach to something that large is a challenge which we feel we’ve risen to pull off.”
