Shooting the Show, My Approach to Live Music Photography

Photographing live music is one of those assignments that comes with a special kind of energy.

The lights, the noise, the chaos, all of it can either work in your favour or against you, often both at the same time. But for me, the key to great live music photography is preparation, awareness, and instinct based on my experience, all grounded in an appreciation for the craft of performance.

If I’m photographing a band I’m not familiar with, I’ll always start with a bit of research. Who are they, where are they from, what’s their style, their sound, their look?

I’ll check out any well-known tracks or videos to get a feel for their stage presence. If there’s a particularly distinctive member, someone who moves more, or dresses differently, I’ll make a mental note. You never know who’s going to steal the show visually.

Next, the venue. I’ll look online for previous gig shots from the same space.

Then, on the night I’ll have a check before it gets too busy and see what the lighting’s like, where the entrances and exits are, whether there’s a pit, and what kind of access I’m likely to get.

I always make a point of introducing myself to security. I let them know what I’m doing, where I’ll be moving, and ask about any restrictions they have. It helps things go smoothly later on if they’ve seen your face and understand you’re meant to be there.

Once the band comes on, I’ll fire off a few test shots to get a sense of the lighting and dial in my settings. From there, my aim is to tell the full story. I try to get wide shots of the whole band, something that shows their dynamic on stage, as well as individual portraits that capture character and connection. There’s often one band member who gives you more to work with, more movement, more expression, and I’ll keep an eye on them throughout.

Lead singers can be tricky. Some sing with their eyes closed almost the entire set, which doesn’t always translate well in a photo. If that’s the case, I’ll wait for a moment when they pull away from the mic, or catch their breath, often their eyes open then, even just briefly. Eyes open make for a better connection with the viewer. You just need patience and timing.

Some of my favourite shots come from watching the moments in between. A glance between bandmates, a cheeky comment to the crowd, a wave, a smile, or the crowd themselves responding, arms in the air, lost in the music. I’ll often head to the back of the room at some point, shooting through the audience to include that energy and scale. It gives a sense of place, of being part of something.

If I’m lucky enough to have pit access, I’ll make the most of it, but I always try to remember to turn around and shoot the crowd too. That sea of faces, all looking in the same direction, lit by stage lights, it’s part of the story.

And finally, the last bow. Not every band does it, but when they do, it’s often a golden shot, all members together, a moment of gratitude, hands in the air, maybe even a setlist tossed to the front row. It’s the emotional full stop at the end of the show.

For me, live music photography is about anticipation, sensing when something is about to happen and being ready to catch it. It’s not just about sharpness or clarity, but atmosphere, feeling, and connection. I want people to look at my images and hear the music.