One of the many interesting things about the grass-roots scene is that new artists are constantly breaking through. We all like a bit of variety and Allan’s no exception whether it’s a new venue or a new artist. Here are some of the artists that he shot for the first time this year.

 I must admit that I would get really bored if I was just photographing the same people in the same venues every week, so it’s great to see new artists starting up, passing through on tour or moving to London; it keeps things fresh. Here are a few artists that I pointed my lens at for the first time this year.

Ophelia Ray

I saw Ophelia a few minutes before she went on stage at Water Rats as part of the support line-up for Vambo and knew that she was going to look interesting under stage lighting; I wasn’t wrong. The lighting in Water Rats can be a bit unpredictable so when you get the right combination you need to capture it quickly. What I didn’t know about Ophelia is that she’s also a model; that became obvious as she strutted her stuff through her set. This shot looked good as a monochrome, but the contrasting colours work well.

Ebony Buckle

I was invited along by Cat Hockley to a Rachael Sage gig at The Pheasantry on the King’s Road in Chelsea. Normally I’m with Elvis Costello on this one, but Rachael’s an interesting performer and it’s always good to catch up with Cat. The support was from Ebony Buckle; I spent the entire evening trying to work out where I’d seen her before. Was it at a gig or somewhere else. It was definitely somewhere else; when I checked online I discovered that she’d appeared in an episode of ‘Inspector George Gently’ as a folk singer, surprisingly enough. Here’s a shot from her set.

Rachel Croft

A perfect example of breaking my own photographic rules. This time it was the one about focussing on the eyes. 229 The Venue received a post-COVID grant and invested it in all the right areas, improving the sound system and general production values. This shot was taken while some new lighting gear (and a hazer) were being bedded in and the hazer was used a bit enthusiastically a few times. Cameras don’t really like a lot of haze (which is why Lightroom has a dehazer function) so you have to wait for it to settle before you can get a decent shot. Eventually the lighting on Rachel’s hair and a few wisps of haze combined perfectly.

Cali Rivlin

I got a Facebook message midweek to ask what I was doing on Friday night and fortunately the answer was nothing. Cali Rivlin was doing a gig at the Toulouse Lautrec Venue in deepest south-east London and I was going along to take a few shots. Cali’s a fabulous jazz singer and interpreter of songs and her performances are always really animated; there’s always something interesting to shoot. It was a cabaret setting where shooting angles were restricted but I managed to grab a lovely shot where everything just fits perfectly. Cali loved it as well.

Sunniva Bondesson

Ray Jones from Talentbanq saw Baskery play at Cambridge Folk Festival and decided that he had to book them for a London gig at 229. The band is 3 sisters, Stella, Sunniva and Greta, who all sing and play, respectively, upright bass, guitar and 6-string banjo/percussion combination. You can pick your description of their music from Nordicana, Swedish folk (with some dark elements) and rock. For most of the set, Stella and Sunniva managed to avoid decent lighting until Sunniva stepped forward to the front of the stage (which was perfectly lit) for her big guitar solo. After that it was just a question of picking the best shape.

Guitarists; like Madonna, they love to strike a pose, don’t they? It’s all very well playing great solos, but you have to look good at the same time because you might have a halfway decent photographer at the gig. I don’t think it’s an ego thing, I think it’s subliminally taught at the various pop/rock schools and colleges – who teaches guitar players at those institutions? Yep, older and more experienced guitar players. Here are a few shots that either confirm or subvert those plank-spanker stereotypes.

Si Connelly @Water Rats

What I really like about this shot of Si is that he’s so still. Anyone who has seen him live will know that he’s a bit like Taz on stage; a complete whirlwind, throwing his guitar around and kneeling on the stage, but I managed to capture him perfectly lit, with nice contrast and upright. Si’s an incredible performer and it was good to catch him taking a little time out.

Dan Owen @Crypt Lates, St Martin-in-the-Fields

Dan Owen is a master of his instrument, whether he’s playing acoustic or electric you can guarantee that you’re going to hear something special. His raw voice is perfectly suited to the songs he delivers. He’s also a very physical player who likes a bit of a stomp around on stage while he’s playing, which means that there are a few dramatic moments to capture. Here’s one of his characteristic stomps.

Matthew, The Molotovs @229 The Venue

While we’re on the subject of raw energy, how about The Molotovs? Matthew, Issey and Ice are all under eighteen and still developing as a band at the moment as they write more of their own songs. When they hit the stage some magic happens as the adrenaline kicks in and Ice’s pounding drums and Issey’s thumping bass create a platform for Matthew’s singing and playing as he whirls and leaps around the stage. There’s a lot happening on stage and it’s just a question of having the camera pointed in the right direction at the right time. The shot works quite well in black and white, but the warm colours and contrasts really work in colour.

Daybreakers @Slim Jim’s Liquor Store

Sometimes you get results because you’re having to work around things like lighting that’s not ideal and lots of people on a small stage. I found a nice shooting angle (which meant I got a nudge every time someone went downstairs to the toilets) but it paid off when Aidan, the guest guitar player and bass player Conor Cotterill all had the necks of their guitars at slightly different angles to create a bit of structure out of a very busy scene. The expression on the guest player’s face is the icing on the cake.

Joanne Shaw Taylor @Shepherd’s Bush Empire

This was a last-minute thing. My friend Richard Bolwell from MNPR magazine couldn’t make the gig and asked me if I was available to cover it. I hadn’t seen Joanne play before and I always like a pit shoot at The Empire. Except it was cabaret seating and no pit, so the order of the day was keeping out of the way of the people in the expensive seats at the front and grabbing a few interesting shots. The positives were that the lighting was perfect and Joanne is incredibly photogenic. Probably one of my favourite shots of the year.

We decided to let Allan share another set of photos from 2020 while we wait for contributions from some of his fellow photographers. He was more than happy to pick out a set that reflected the positivity we’ve been seeing from our contributors so far.

It’s a privilege to work with performing musicians to create photographs of people on stage doing what they love and creating a shared experience with an audience; I’ve missed it for a big chunk of this year and I’m desperate for its return. The beauty of working in smaller venues is the intimacy between the performer and audience (and the photographer); everyone’s closer together and everyone can make eye contact. Here are a few photos where I think I managed to capture the artist’s response to the audience (and the camera) and a few big smiles:

 

Simeon Hammond Dallas @Greenwich Blues & Beer Festival

This was from the first gig(s) I did after the first lockdown ended. It was initially an outdoor event at the end of August, but the traditional August Bank Holiday weather meant that most of it was moved indoors. This is from one of the sessions that wasn’t; it was the first session on Sunday and let’s just say it wasn’t a balmy British summer morning. I’ve photographed Simeon Hammond Dallas a few times before; her songs are powerful and her delivery is perfect. She puts everything into her performance and when she laughs, she really laughs. Can you tell how cold it was on that Sunday? Simeon definitely dressed for the weather.

Lisa Canny @The Big Gig

This wasn’t an intimate little venue; it was the main room at 229 The Venue and Lisa was playing with her full band. I’ve photographed Lisa in many different venues, both solo and with her band and she always gives the absolute maximum. She plays harp (the Celtic not the blues kind) and banjo, does loop mixes and has a great line in anecdotes as well. This was a full band gig on a big stage celebrating the second anniversary of the Talentbanq organisation; the room was full and the band was cooking on gas. There’s an intensity to Lisa’s performance that shows on her face; it’s all about knowing when to press the shutter.

Isabella Coulstock @The Bedford

Way back in pre-lockdown days (and my first gig of the year), this gig was a cracker. The line-up was Rebecca Riedtmann, Hope Winter and Isabella Coulstock, three gifted performers and songwriters. The Bedford’s a fabulous live music venue with some great photographic angles and (pre-lockdown) the opportunity to get really close to the performers. Which is exactly what I was doing, with a 35mm lens, when that lovely interaction between performer and photographer happened and Isabella stuck out her tongue, creating a perfect cheeky shot.

Martha L Healy @ Cash Back, The Woodside, Aberdour

I was so chuffed to get an invitation to this gig but concerned that it might not happen because of the impending lockdown. It did go ahead and I saw some incredible performances from established Scottish legends and new talents. This is no criticism of the venue, but the lighting for most of the performers wasn’t perfect for photography; it’s something you have to live with. However, there was a sweet spot on Friday during Martha’s set where there was a bit of contrast and colour. It’s not a typical performance shot, but I think it captures Martha’s warm personality. This was a case of eventually finding the right angle with reasonable lighting and grabbing something that worked.

Sadie Horler @Eccleston Yards

Between lockdowns and following lockdown lite, Talentbanq has been providing artists for a music stage at the Sunday markets at Eccleston Yards in Victoria. I’ve had a few good Sunday afternoons there and managed to grab a few good shots. On this particular afternoon, Sadie Horler, who I first met when she supported Sound of the Sirens, arrived breathless and just in time for her closing slot, did a quick sound check and went straight on stage. Sadie performs a lot of her own material and has a certain knack with a cover version as well – how about an acoustic version of “Creep”? Another thing you should know about Sadie is that she has a smile that lights up a room (or a yard in this case). Again, find the right angle, just wait and press the shutter at the right time.