Joe Mount

The Best Gigs of 2017 by Aaron Corr

Cage the Elephant: The Academy

The year got off to a flying start with Cage the Elephant making their long awaited headline show in Ireland, in The Academy.  Not only was it an amazing gig to shoot, thank you Matt Shultz for being one of the best front-men of any modern band, but also because the music and the atmosphere.  It was genuinely electric.  I've only been a casual fan to this point yet the gig gives me shivers to think of it.  The setlist, fucking hell it was unreal.  I can’t think of how any one person could come out of the gig with anything but “gig of the year” on their lips, and it was only bleedin’ January!!  It could have been all downhill from there, but thankfully not.  

Read the GoldenPlec review and see all my photos here.

Hamilton Leithauser: Workmans Club

I was not prepared for how great Hamilton Leithauser's gig in the Workmans Club would be.  I heard the singles from his current album with Rostam, but hadn’t yet given it a spin.  The Walkmen had always sort of disappointed me live,so I felt like I could potentially take it or leave it with this gig.  This was a completely different ball game to a Walkmen show, the tunes were all fantastic, and I loved his banter and tales in between songs.  He did a stunning rendition of In A Black Out, finger picking the acoustic guitar and holding the crowd in the palm of his hands with his signature voice.  His story about the origin of the lyrics for The Brides Dad was a fun wedding tale ahead of playing said song.  Often singers can bore you by over-explaining but Hamilton nails it, and it makes you pay more attention to the lyrics.  The gig was under an hour and it left everyone wanting more.  I can’t wait until he returns, however long that will be.

See the full gallery here.

The Moonlandingz: Whelans

After seeing Fat White Family early in 2016, and it being one of my favourite gigs of that year, I couldn’t miss Lias Saoudi’s return to Whelans with The Moonlandingz.  They may not have built up the hardcore fanbase of FWF yet but that has changed now that they’ve played our shores.  Their debut LP was released that Friday, so the band and crowd were well up for a mad show.  Lias, aka Johnny Rocket, arrived out with black make up on his face and cling film wrapped around… kitchen roll(?) to his midriff, swinging beers and a bottle of wine.  They started with their three most popular & well known songs, a brave move for any band, and yet the gig got better and better as it went along.  The duet with Slow Club’s Rebecca Lucy Taylor for The Strangle of Anna was both strange and brilliant.  The band barreled towards the end with some b-sides and yet the momentum kept rising, with only one song providing a bit of respite for the crowd before Man in My Lyfe near tore Whelans apart.  They were a band to rival Cage the Elephant for best performance of the year. 

Click here for my full gallery.

Metronomy: Body & Soul

When I took Joseph Mount’s portrait last year it looked there was to be no touring at all for the album.  Thankfully he broke that sabbatical in 2017 for a handful of dates, followed by full on festival schedule in which they came to Ireland for Body & Soul.  It was my first time at the festival and, I must admit, they were the band that swung it for me to go.  They headlined the first night and they were as brilliant as ever.  Photographers managed to be granted 4 songs to shoot, possibly in the confusion of all the initial songs segueing into each other.  They kept the momentum going and barely let it up, even debuting a new song, which is still in my head.  They always look like they are having a blast on stage while lashing out their unique brand of pop brilliance.  I can’t recommend seeing them live enough.  Even my GoldenPlec partner in crime for the weekend, who previously wasn’t convinced by them, was completely won over. 

Click for GoldenPlec's review and click here for full gallery.

HMLTD: Workmans Club

HMLTD were recommended to many of us at team GoldenPlec by Niall, who moved to London last year and has caught them a few times, citing them as quickly filling the top spots for his favourite gigs of the year.  While we may not have got the full London experience, with a half busy but very enthusiastic crowd mixed in with some technical issues for the band, it was still a solid display of their potential.  My GP friends and I all looked at each other and agreed that HMLTD would be the perfect band for a Halloween night.  They are in line with Moonlandingz/Fat White Family for a raucous gig experience, full of showmanship, sweat and catchy tunes.  The unusual twists and turns to songs like To the Door keep things interesting, mixing glam, psych rock and electronic all in one.  Broken guitar strings and faulty PA meant we were denied an encore but the next time everyone in the room will be back with friends in tow to experience them.

Click here for full gallery.

Black Rebel Motorcycle Club: The Academy

The return of Black Rebel Motorcycle Club has to make my list for this year, particularly since they started their first tour in quite some time in Dublin.  I got to see the guys soundcheck some of their new material ahead of the show, in which they played a good amount of new songs from their upcoming album, Wrong Creatures.  Usually a band playing a fair chunk of new material can be off putting when they have an extensive back catalogue of favourites to work through, but I enjoyed hearing the debut of these tracks live.  The gig also had the BRMC trait of being very loud indeed.   The boys & girl are back, Pete might be grayer but they are still sounding mighty.

Click here for full gallery.

BNQT: The Button Factory

BNQT is a ‘supergroup’ consisting of Alex Kapranos (Franz Ferdinand), Jason Lytle (Grandaddy), Fran Healy (Travis), Ben Bridwell (Band of Horses) with Midlake as the core band.  On this date of the tour we were minus Alex & Ben but it didn’t take away from a mighty and fun gig.  Everyone on stage is having the time of their lives, running through choice favourites from each band in between cuts from BNQT’s debut album.  They also peppered the gig with some classic covers of Neil Young, The Beatles and finished with Tom Petty’s Won’t Back Down.  I went in to this gig tired, half thinking of leaving a few songs after I shot the show, but left with a bit of pep in my step and a big smile on my face for what I got to witness.  Their name isn't well known, so it was to a smaller crowd than any of these band members would normally get in their own gig which added to the ‘you had to be there’ vibe of the show.  If HMLTD were Halloween, then this band were Christmas. 

Click here for full gallery.

The best gigs that I didn't shoot this year were...

Interpol: Alexandra Palace

I couldn’t miss Interpol playing Turn On The Bright Lights from start to finish for its 15th anniversary tour.  They announced they were to do the set at Electric Picnic, but I’ve retired from going to EP.  A trip over the water to London was in order to see them play in Ally Pally.  The buzz about the night was great, the weather was sunny and people were handing out Interpol related samples of the book Meet Me in the Bathroom by Lizzy Goodman to those queuing.  Bar someone getting sick beside us fifteen minutes before they were due onstage, the night was a treat.  They launched straight into Untitled, played the whole album and capped the main set off with Specialist, one of their best tracks which just missed being on the album.  They returned to play a ‘greatest hits’ set, even playing a new song which is not in their tendency to do since they toured TOTBL.  I was envious of the photographers shooting the show, the lights were so much better than when I got the chance to shoot the band on their last Irish visit.

Alice Cooper

Alice Cooper: The Olympia

Buying the ticket to Alice Cooper started off as a laugh.  I couldn’t be more happy for that spur of the moment decision because it was one of the most entertaining and fun shows I’ve ever seen.  To think I very nearly could have photographed the show too near kills me.  Missing out on The Thin Air asking for people to cover this show is my biggest regret of 2017.  At least I was there and didn’t let an amazing show pass me by.  He played all the hits I knew, and everything I didn't know entertained the hell out of me as well.  It was a bit cheesey at times watching the guitarists in near competition with each other to throw as many plecs to the crowd as they could, but it's just all a bit of fun and showmanship while they are playing killer leads on guitar.  The pyrotechnics and theatricality of it was a hoot.  Alice Cooper, what a legend.

Depech Mode

Depeche Mode: 3Arena

This was my second time catching Depeche Mode on this tour, the first time being at NOS Alive in Lisbon.  I really hoped to photograph this show and had my name to it but to get into why it didn’t happen would lead to a rant and who needs that, right?  This is about the show, and it was way better than Lisbon and possibly the best show I’ve seen of Depeche Mode out of the four times I’ve seen them. The set list was incredible, while focusing on their more recent noughties and later nineties output through the first half, they showed how after all this time they still have great songs and are not content to stick around as a nostalgia act.  

The latter half was a blitzkrieg of classics which didn’t let up until it was time for them to leave.  Martin Gore’s ‘acoustic’ moments were the best I’ve seen yet, with A Question of Lust and Strangelove getting an airing.  Dave Gahan has more energy now than most front-men under half his age. He controls the crowd like we are puppets and he is the master, no better is this visible than during Never Let Me Down as he  gets the signature famous crowd wave going midway through the song. This always gives me shivers down my spine to participate, and to look around at the view.  God knows how it feels from their vantage point. Once again, they are unreal.  

Body & Soul Festival 2017 by Aaron Corr

This festival marked two firsts for me.  My first overnight festival where I'm doing photo coverage, and my first Body & Soul.  I've always wanted to go but it's right in the middle of a holiday blackout with my day job and I hated the idea of ruining the fun by leaving the festival early.  What I've found is I've wasted a few trips there and it's time to make up for it.

GoldenPlec sent me with resident reviewer Bernard and we roadtripped to Ballinlough Castle Estate to be greeted with a quick entry through secutiry and in to the Us & You Eco campsite.  My tent was set up in no time and I was amazed to discover all the relevent bits were still there since I last used it at Electric Picnic and couldn't remember what state it was in.  From there it was straight in to watch some bands, starting with Jafaris in the forest on the Pagoda stage.  I followed up with Talos on the main stage and pretty much kept there for the day, covering Anna Meredith and true headliners of the night, Metronomy.

It's now just over a year since I took some portraits of frontman Joseph Mount, and the release of their fourth album.  At the time he said he wouldn't be touring the album and I was a bit heartbroken.  A year later and a handful of gigs lead into festival season and the band make their return to Ireland.  I can sacrifice a headline show in Dublin to see them again at a festival.  I've only ever caught the band at festivals, since they've rarely played their own shows in Ireland, so this wasn't a bad thing.

They were in flying form and had amazing lights to shoot them on stage.  They segue their first three songs together, the same opening three songs from Summer 08, and as I go to leave I get the nod from our photographer liaison that we have one more tune to shoot.  A cool mistake and one I wasn't going to debate.   This was far better shoot than at Longitude 2015, when they were on a higher stage and where wide angle options were not great.  The Body & Soul stage is a cool one to shoot on, but the little raised bit in the centre does get in the way of a good few wide angle band shots from the weekend.  That gripe aside, it was a great start to a weekend's shooting.

After waiting around for final act of the night, Parcels, the festival organiser came onstage to announce that the band was here but their equipment stuck in Berlin.  They were replaced by Le Cool.  This was disapointing as I was really looking forward to seeing what Parcels were like.  I just stayed for one song as it was time to unburden myself of the camera bag and go enjoy the festival's sights at night.

Saturday began with photographing Loah.  I've seen her twice live since I did some portraits with her for Plec Picks 2015 but never shot either of those shows.  It was great to capture her, bright and colourful on stage on a sunny day.  Next up was Icelandic band Mammút.  I didn't hang around to watch their show, they didn't really do much for me.  I went to explore the festival and get some people shots around the walled garden.

I returned to the main stage again to photograph Lambchop.  There was nothing interesting to shooting them so I moved on during the second song and didn't stay.  The day was redeemed by La Femme, a French new wave band whose only song I knew was the one featured in the Renault adverts recently.  They put on a great show, swapping instruments, vocals, dancing around the stage, smoking cigarettes and looking quintessentially French.  

The day was further improved by Sleaford Mods arrival. This was the first time I've caught them live and they were cool to photograph, primarily vocalist Jason Williamson's passion in delivering the words on stage.  I always have a laugh at Andrew Fearn just standing around the back smoking, drinking and pressing play on the laptop.  

Bonobo were my last act to shoot on the main stage.  At first I thought it would just be smoke and silhouettes until their vocalist came onstage during the second song and saved the day and the photos.  She was beutifully lit and greatly improved upon what I was getting from the camera beforehand.  The night finished with King Kong Company in the Midnight Circus Tent.  I tried to shoot in this tent earlier but it was just DJs, low lighting and heavy on red lights.  Not helped was the extra addition to the stage at the front which made for a tight squeeze in the centre of the pit, and made it a no go area for photographers according to security.  Shots were limited for movement as a result, and the lighting didn't get a whole lot better, with dry ice and heavy yellows and purples washing everything out on stage.

Sunday was a better day, starting with Æ MAK.  This is my second time photographing them, after their support of Warpaint recently.  I nearly didn't make the set as I packed my tent to drop to the car, leaving my camera gear in Bernard's tent and locked with my coded lock.  When we returned the combination wouldn't work suddenly and we were stuck.  I managed to squeeze my hand in what little could be zipped open, reached his bag and he pulled out his swiss army knife from the front of it.  A zip was removed and we were in.  All was well again.  

Ailbhe Reddy followed Æ MAK's performance and later on I returned for Sinkane.  The big clash of the day came in the form of the two bands I wanted to see most that day.  Austra and The Moonlandingz. Due to band cancellations, the Midnight Circus timetable was given a reshuffle and hence the clash.  I had fifteen minutes between Austra beginning and Moonlandingz taking to their stage.  I was not missing them for the world.  I stayed for half a song for Austra, hence how limited options I had from their set.  I took a few shots and ran.

The Moonlandingz were so good they deserved a set all to themselves when I submitted them to GoldenPlec.  Lias, aka Johnny Rocket arrived on stage cling film wrapped to his mother, walking backwards to his microphone.  From there she escaped and he took off, launching to the front of the stage, stalking the crowd, dribbling beer and pulling all sorts of shapes an poses.  They are such a good band to shoot live, and I love the music and attitude.  Like Fat White Family, they are a different beast live to on record.  Unfortunately Rebecca Lucy Taylor was absent for backing vocals and her duet on The Strangle of Anna, opting to stay at Glastonbury it seems.  

The second to last band I shot that weekend was Hundred Waters.  This was another band that just didn't stir me at all.  I found the singer to seem a little shy, sometimes seeing the cameras and turning around.  It could have been coincidence but to me and a fellow tog is had an air of unconfidence.  Maybe we were wrong.  

The last act of the festival, Birdy Nam Nam, cancelled and the headline slot was given to Mykki Blanco, upgraded from the Midnight Circus tent.  This was of much benefit given that stage's set up.  We were advised that we could shoot the whole show as he loves photographers.  I chose to stick with the usual three songs as it was cold, late and I wanted to get home to bed as I had work in the morning.  Unfortunately bed was to wait as he had a DJ play for half an hour before he came on stage.  When he did arrive he was like whirlwind, boucing around the red light soaked stage, picking up props and roaming the stage.  I left my zoom lens in the bag and kept to my 24-70mm for the whole set.  By the third song he jumped into the crowd and got them to form a circle pit.  This was the best part of the shoot and a great way to end the weekend.

So I've talked about the bands a bit, now it's time to show off the people, the festival goers and music lovers.  It's a great festival for people to dress up and not give a damn.  I didn't realise there was so much going on around the site to encourage this, secret parties, raves, masked balls and wine parties.  I didn't see the half of it.  Maybe next year.

Metronomy Photoshoot by Aaron Corr

At the end of June The Thin Air gave me a great assignment to photograph Joseph Mount of Metronomy.  I'm a big fan of theirs and photographed them live on the main stage at Longitude last year.  They do that thing for me that LCD Soundsystem used to do every time I'd see them live, they'd make me giddy with happiness.  I don't know what it is but it's a rare thing for me to get at every show by one band, even with those who are my absolute favourites.

Joe was in Dublin for the bones of a day to promote the release of their new album, Summer 08, jetting in early that morning for a day of interviews before taking off again that night for more promo in Paris.  We had a half hour slot with him, meeting up in the Dean Hotel in Dublin city centre.  Myself and my Thin Air colleague, Eoghain, agreed to split it as 20 minutes interview, 10 minutes photoshoot.  This gave me quite a tight slot, especially when I did not know what I had to work with, where would be best to do the shoot in the location or how busy it would be with people, given the time of day it was happening.  

At the venue I decided upon using the smoking area on the ground floor as it had fairy lights on one wall, a tiny bit of natural light and a fireplace with multi-coloured glass and fire logs behind it.  The door to the smoking area is so close to the bar that you'd be forgiven for mistaking it for a staff door, which was to my advantage as it was empty inside, save for a guy on a video conference call on his laptop that left minutes before the shoot.

I tested the natural light with my camera and tried my pocket wizards with the flash, using Warner's very helpful rep as a stand in model, to see how it looked in the room.  Ideally I would have brought a bigger set up (tripod & a soft-box for better portrait lighting) but I sacrificed bringing too much for fear of over complicating things within the time constraints.  To get the natural light in the room I had to use a higher ISO than I would have preferred, combined with a slower shutter speed.  

Joe was taller than I expected.  The fairy lights would have made a nice backdrop for a straight on portrait but they were not high up enough on the wall to accommodate the look I wanted, so I asked Joe to sit on a chair so I could feature them in the background.  The first thing I noticed at this point was that he looked very tired.  This was emphasised more as I looked at the previews on the camera display.  This was completely understandable given all the press he had been doing.  To combat this I asked him to look slightly off camera, over my shoulder, up at lights on the ceiling or through a window depending on where I stood him for the shot.  I used photoshop afterwards to help ease things around the eyes.  I did three quick set ups with him.  

  1. As described above. 
  2. I stood him in a position where the one little gap in the wall that let in natural light, and cigarette smoke out, so I could use it to light him while again keeping the fairy lights behind him.  This is the main shot used for the feature.
  3. In front of the fireplace, making use of the lights overhead and the colours behind him.  This proved tricky in not trying to catch myself in the mirror's reflection, particularly in shots where I tried using off camera flash.

I was told that if I needed the extra few minutes that I could continue but I chose not to keep him any longer as he still had more interviews straight away, and a radio show to go present on TXFM before hitting the airport, so I decided to stick with my allotted time.  He was great to deal with, I chatted briefly with him in between shots about his visits to Ireland and such.  As we were saying our goodbyes I quickly remembered that I meant to ask for a quick photo with him.   I asked this of him & frustratingly said "Can I get a selfie?"  Nooooo!!!  Why??  I hate that word.  He graciously obliged and I took a quick snap on my phone and thanked him for his time.

Click here to read the interview with The Thin Air from that day and click any photo above to see the full gallery I posted.