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Interpol: Olympia Theatre by Aaron Corr

This was my second time shooting one of my favourite ever bands, Interpol, and the fourth time I’ve photographed Paul Banks officially. The Dublin leg of the Marauder tour consisted of three nights in the Olympia Theatre, one of their favourites it seems. I shot the opening night for MCD and was just one of three photographers. This made for great space in the photo pit for us. On their last tour for El Pintor the band were quite darkly lit, but the backdrop of the red hands from the album cover behind them led to some shots I really liked. That time I didn’t come out with any great shots of Daniel Kessler, and pretty much none of Sam Fogarino, at the back of the stage on drums. This tour was definitely a better shoot.

 Nilüfer Yanya

Nilüfer Yanya

Opening proceedings on the three nights was Londoner Nilüfer Yanya. She was a far calmer and easier support to photograph than Health on the last tour.

Interpol opened with Untitled, and this time Daniel Kessler was better lit and easier to photograph than Paul Banks through the song. I spent a good portion of this song shooting Dan and Sam. I was delighted to get good shots of Sam finally, since he was doing a DJ set on the day of their final show, and I wanted to get a shot of mine signed. I managed to get his signature on the above shot.

The lights and dry ice were a mixed bag throughout the three song shoot, but there was enough time with the songs they played to capture all members of the band well. The biggest frustration were the egg shaped lights between the PA at the front of the stage. It really hindered the vantage points for wider shots. They had a disco-ball overhead (I know right? Interpol and a disco-ball) which was not used to much effect until the last few shots I took. After the three songs, certain songs in the set used it heavily, and it looked fantastic. But while it looked cool, the colours during those songs would have been a nightmare to shoot, and edit, so I’m happy with how the shoot turned out. I went to all three nights and loved every minute of it. They’re still one of the best.

Click here for full gallery, and here to see the set from El Pintor tour.

Kurt Vile: Vicar Street by Aaron Corr

Kurt Vile can be a tough cookie to photograph at a show. With his hari covering his face for the most part, it’s like trying to photograph cousin IT from The Addams Family in a foggy haze. The last time I shot a show of his it was in Whelans on his solo acoustic tour. This was quite a different experience and was tricky during the first song or so.

Kurt managed to show his face a little and from there it was just a battle with the low lighting and dry ice. Some of the colours were really washed out when editing but converted really nice to black & white.

Slaves: The Academy by Aaron Corr

It was a busy photo pit on the night of Slaves return to Dublin. Opening up the show was Murder Capital. It was my first time catching them and I was taken by how animated they were onstage. With the narrow pit and photographers brushing past each other, I kept thinking I’d get hit on the head by a wandering bass or guitar head. They are ones to watch and I’ll be seeing them again this very night opening for Shame.

 Murder Capital

Murder Capital

Slaves were great to shoot, given how animated Laurie and Isaac are on stage. Laurie is easier to shoot given he is not surrounded by standing drums, and he takes to leaning over the stage to meet the crowd. There were a lot of strobes through the shoot time but it was still manageable to catch some good action in a burst of snaps. They were the complete opposite of the cheesy tunes they played for the crowd as their stage was set up, but the crowd lapped it all up.

Read The Thin Air review here.

U2: 3Arena by Aaron Corr

Here was a show and a band I was really looking forward to shooting. I saw their last tour for Innocence & Experience in the 3Arena and it was a great show. I remember seeing great photos from those show my peers, and these were what I had in mind when my opportunity came up. Let’s see what Bono and the boys give me to play with. They had very specific directions for where you had to be for certain songs throughout the show. In my mind this meant the optimal angle to shoot from for how they want to be represented, and the lights should be fantastic.

This was not the case unfortunately.

The first song to shoot was the third in the set, I Will Follow. I got to watch the first two songs from the red zone, which fans pay a couple of hundred Euros for the privilege. During the second song, Bono asked the crowd for some light, so they shone their phone’s torchlight throughout the song. The band took to the stage while Bono remained on the cage platform dividing the crowd. He was facing the thousands of fans, a starry background and it looked amazing. But I couldn’t raise my camera to capture it. My fellow photographers on the night looked at each other, sickened to know what a great shot was being missed out.

Bono came back to the main stage to join The Edge, Adam and Larry and kick in to I Will Follow. Camera were drawn and we got to shoot at the same level as everyone else, fans raised their hands in the air and I did my best to try get above this for clear shots and some with them for an “in the thick of it” effect. Some good moments were ruined by a stray hand, covering a kicking Bono in action. The lights were shining directly down on the crowns of their heads, making their faces be in shadow for the song. These pictures are obviously the better portion of the set, some I’m happy with, some are just tricky. The Edge was so far away from us that he couldn’t be given focus during it, and Larry Mullins was obscured by drum stands from where I stood. This was the closest I was going to get, and I was warned by a photographer who shot the night before, that it only got worse.

Mid set we made our way to an aisle to the right of the arena and set up a fold out step to get an extra bit of height over the crowd. It had very limited effect. We were not allowed to move around due to fire wardens directions. The last row of people were mostly sat on their chairs in front of me to give them extra height to see the show. This removed any possibility to take an arena wide shot of all fans surrounding the band. I had to snap these three songs between heads, arms and hands again. The lighting was poor to shoot in from this distance. The max zoom I had was on my 70-200mm. Bono either was in shadow or had his back to us, facing the other side of the arena. There aren’t many shots I feel happy to show off when saying “I shot U2!!”

Later in the second half of the show, we were ushered back into the arena to shoot New Years Day, as the band performed in from of a European Union flag. We were more centred than the mid gig part of the shoot, but again the lights were not great from that distance, and there was still people stood in front of us which affected how shots were taken. Below is an example of how far away I was shooting from. Once again, no picture from this part of the set makes me feel proud.

The band put on a hell of a show from what I saw between being ushered in and out of the arena, but overall I am a little disappointed by the photos.

Boy Pablo: Button Factory by Aaron Corr

I headed to catch Boy Pablo for GoldenPlec on a Bank Holiday Sunday befoer Halloween. I planned to stay for just the three songs as I was tired but the songs were short, catchy and with their penchant to throwing a few pop hits in between to get the crowd going further, I figured I should stay. It was a fun gig and I was surprised by the fandom already on display. I’d never heard of the guy a week previous.

Click here for full gallery.

Julian Casablancas & The Voidz: Vicar Street by Aaron Corr

I was surprised to get a photopass for this show, purely because I figured the man himself wouldn’t be too fond of press at shows. When I got the pass I thought to myself “the lights will be shite”, and sure enough, they were.

 Promiseland

Promiseland

Support came from Promiseland, a Tasmanian devil onstage, who couldn’t keep still between running to his decks/samplers and jumping off stage and into the crowd. He came on twenty minutes later than expected. The lights were brutal and the constant movement didn’t help. The most still he was through the shoot was during this shot as he stretched his back on stage.

Then we get to Julian Casablancas and the Voidz, half an hour later than listed time and just as in the dark as Promiseland. Julian takes to the stage and sits on the drum riser, head in hand for a moment before he began to sing. Within a minute he comes to sit at the front of the stage to face, or not face the crowd. While the stage is lit bad, he was completely in the dark and the lighting guy showed no interest in fixing that.

Myself and fellow GoldenPlec photographer, Colm Kelly were the only two photographers in the pit and were at either side of Casablanas, facing the same struggles. The camera couldn’t focus because it was so dark. I’d switch to manual focus and it still wouldn’t shoot. I swapped lens to a f1.8 50mm and still it struggled to find a focus point. The only hope was catching him while people in the audience snapped him with their phones. Never more so was I happy that people at a gig kept their flash on. This is the only reason I’ve anything usable from the show.

His guitarist wore clown make up and even he was constantly in bad lighting. The below shot may look like things weren’t as bad as I’m making out but this was the best I got in the bunch. He would also veer too far forward on the stage away from whatever light there was and I struggled to get him in any action shots, particularly while side by side with the second guitarist.

Overall it felt like a waste of time but if you’re going to have a shit shooting experience it may as well be with someone of note. I can’t call it the worst shoot I’ve ever done as the audience saved some shots. Band’s like Beach House still hold that honour.

Click here for more photos.

David Byrne: 3 Arena by Aaron Corr

This will not only go down as one of the best gigs of the year, but on of the best gigs 'I’ve ever been to. As a life long fan of Talking Heads it was a delight to finally see, and photograph David Byrn in the 3Arena for The Thin Air.

I got to shoot the show from the left and right entrance points on the ground floor. This meant having to avoid all the people coming in with their pints to get to their seats, getting in the way of shots. But this didn’t matter. The lights were solid and perfect for shooting, especially at long range. There was barely any photos deleted from this set, they were all so sharp and lit well.

David started on stage with a table and a brain for the first song. I shot from the left side for this and the second song before legging it over to the right hand side for the third song, I Zimbra. When I was done shooting the band began to play Slippery People and I rushed to get my camera lenses detached and packed away so I could run back to my seat and enjoy the full song on time. The show was a joy to watch from start to finish and I want to see it all over again. Let’s see if it goes to Broadway like the stories suggest.

Click here for full gallery.

First Aid Kit: Olympia Theatre by Aaron Corr

This is the second time I’ve shot First Aid Kit in the Olympia Theatre, this occasion was for The Thin Air. Opening up for the band were The Staves, who I had also shot previously in Whelans. First Aid Kit had a curtain covering most of the stage, so the Stave sisters were very much set up towards the front of the stage. With the height of the Olympia stage it very much felt like most vantage points led to shooting ‘up the nose’ as they say, which isn’t the best angle or flattering. Combine this with the mic stands and equipment they had set up for sampling their vocals, the angles were narrow and tricky and I can’t say there is a photo I particularly like from this set.

 The Staves

The Staves

First Aid Kit’s set I thought would be a better shoot. The hindrance was the colours used on stage, which can be a frustration when editing, particularly when they are used as low light while the Soderberg sister’s hang towards the back of the stage for a portion of the first song. They are a great band to shoot but if I was to compare, my first experience with them in the Olympia was a better experience.

The other frustration during their set was that they were lit well for a good portion of the set but the lights that were lighting them from front on were causing lots of microphone shadow on their faces, as seen of the next photo of Klara. I ended up focusing on her less because her mouth and chin were lost in the photos as she stood singing. Johanna sang less during those songs and therefore was standing back a little more, making her a better performer to photograph.

Their set was good and their singing perfect, however I did prefer their set and energy on stage at All Together Now in the summer. Their latest album is one of my favourite albums of the year.