[citation needed] Ibiza locations used in the movie include the music venues Pacha, Amnesia, Privilege, DC10 and the historic Pike's Hotel and Cala Llonga beach.

At this time, Frankie is making his next album with his "two Austrian mates" Alfonse and Horst, but his hearing degrades rapidly and progress stagnates.

Frankie refuses to acknowledge his problem until a gig in Amnesia, when he cannot hear the second channel in his headphones and crossfades songs without first beatmatching them.

He inserts his hearing aid to demonstrate and, overwhelmed by the sudden sound exposure, leans close to one of the monitor speakers.

He sinks into a heavy depression, repeatedly throwing his body against the walls, and wrapping Roman candles around his head, either an attempt at suicide or a drastic way to recover his hearing, but dives into his swimming pool before they ignite.

Frankie manages to devise a system for mixing songs, in which he watches an oscilloscope trace while resting his feet on the pulsating speakers.

Fubar rockers Paul Spence and David Lawrence, from Dowse's earlier film, also have cameos as Austrian hangers-on.

[7] The film has a rating of 76% based on 71 reviews on the review aggregator website Rotten Tomatoes, the critical consensus stating, "Part raucous mockumentary, part drama-filled biopic, It's All Gone Pete Tong amuses and warms hearts with its touching, comic, and candid look at a musician faced with a career-ending handicap.

There is a kind of desperation in any club scene (as 24-Hour Party People memorably demonstrated); it can be exhausting, having a good time, and the relentless pursuit of happiness becomes an effort to recapture remembered bliss from the past.

noted "resemblances to various hipster films about music, drugs, excess and failure" such as Trainspotting, Boogie Nights, yet it "never feels stale".

"[10] Ken Eisner of The Georgia Straight liked the film's "zippy visual style, with sun-dappled primary colours and whirlwind editing to go with the hip pop tunes and block-rockin' beats".

[5] Dennis Harvey, writing for Variety, found those first two acts depressing and decidedly not as advertized (the film was hyped as another This is Spinal Tap), but Michael Dowse rescues the film with "a particularly deft transitional montage that begins with Frankie discovering the musical properties of vibration... segues into lead duo's first lovemaking, and goes on as Frankie re-connects with the dance rhythms he’d thought were lost to him".

[6] The Guardian's Peter Bradshaw gave the film one star, panning it as "breathtakingly charmless and humourless", writing that "Paul Kaye gives a frazzled, one-note performance", while the "appearances by real-life DJs should tip you off that any satire involved is of an essentially celebratory and sycophantic sort; the comedy is leaden, the drama is flat and the attitude to deaf people is Neanderthal".