As we approach the end of the year, Louder Than War photographers have selected their favourite captures and memories from an unforgettable 2024. This year brought us some remarkable shows and festivals, allowing us to document extraordinary moments in live music. With 2025 on the horizon, we’re thrilled for the exciting performances and opportunities yet to come.
MELANIE SMITH – It’s been a phenomenal year and choosing five of my favourite images is no easy task as it’s been a whirlwind of fantastic shows. But if I had to pick just one standout, it would undoubtedly be the extraordinary Nick Cave and the Bad Seeds on their Wild God Tour at AO Arena in Manchester in November. Capturing him amidst the front crowd, rather than solely on stage, was a long-held dream. His raw energy and magnetic presence are unparalleled, and I doubt I’ll ever tire of photographing such an electrifying, inspiring performer. Summed up perfectly by Clare de Lune “…a heart-connecting experience that gracefully meanders through darkness and light, with joy being at the core.”
Here are more of my favourite moments in photos. I love capturing performers with an edge, especially dynamic female artists. One of my absolute favourites is Paloma Faith – ever the chameleon, constantly reinventing herself with each tour. Shooting her is always a thrill; her recent shows were no exception. I did two back-to-back shows; but this red-hot outfit was a dream: a divine diva incarnate. As MK Bennett beautifully described her Bridgewater Hall show in Manchester, “She is your best friend, your fairy godmother, the common touch with an uncommon talent.“.
Amyl and the Sniffers was another standout moment, I finally got them off my bucket list at Manchester Academy. Their electric energy, fast-paced chaos and Amy’s raw power kept me on my toes the entire time. The ever-witty MK Bennett summed it up perfectly “Unless you have the soul and wit of a Scarecrow’s colostomy bag, you can only enjoy the Amyl And The Sniffers show.”
Lindsay Stirling is an incredibly talented violinist who effortlessly combines intricate playing with dynamic movement and striking choreography—a truly remarkable feat. An astonishing show which Ed Chadwick summed up as ” Electrifying solos, intricate string-plucking, and unprecedented genre-bending all make for an eccentric musical adventure; but Stirling’s creative costume design and enchanting visuals make it an immersive, multi-sensory experience. “.
Conan Grey a powerhouse of the American pop scene, captivated his massive Gen Z fanbase with two sold-out nights at Manchester’s O2 Apollo. Bathed in dramatic lighting, exuding ’80s rock ‘n’ roll swagger, he commanded the stage in a vibrant leather outfit—a photographer’s dream come to life. Ed Chadwick described him perfectly “He wooed the crowd with his struts across the stage and majestic hair flips. Freddie Mercury-esque fist pumps were shared between Gray and his fans…”
Other standout moments for me include the electrifying Confidence Man, Aurora‘s ethereal vocals and stunning stage design, the emotional power of Camille O’Sullivan, Janelle Monáe‘s full spectacle, and the iconic Grace Jones. My highlights also featured artists at Live at Leeds – Orla Gartland, Caity Baiser, Billy Nomates, Hot Wax, and Baxter Dury. I finally had the chance to check the energetic The Hives off my bucket list. And last, but not least, my favourite find of the year was the ’50s-inspired American rocker Stephen Sanchez. Next year, I aim to capture a show at the UK’s largest indoor arena, the Co-op, and dive into more unforgettable pop shows.
NAOMI DRYDEN SMITH – 2024 has been a good year for me with top shows including Slowdive, Pixies, Grace Jones, PJ Harvey, Kings Of Leon, Vaccines, Wedding Present, Dandy Warhols, EMF, Jesus Jones and Echobelly.
Probably my favourite photo is one of my most recent – Depeche Mode’s Dave Gahan was a special guest at the Roundhouse-hosted Mark Lanegan: 60, A Birthday Celebration. It was a night to remember, and amongst a raft of shots of Josh Homme, Chrissie Hynde, Bobby Gillespie, Ed Harcourt, Soulsavers and a host of others, this one shines out to me. Check out our review by the ever excellent Nils Van Der Linden, who was as impressed with Dave’s smooth performance as I was: “A suave Dave Gahan, first up on the guestlist, doesn’t drop the ball, kicking off with a rousing Sideways In Reverse before using his approach on latter day Depeche Mode albums to add a bluesy croon to Low and the gorgeous Kingdoms Of Rain.”

In the summer, we were lucky enough to get into one of the Sex Pistols shows at Bush Hall in Shepherd’s Bush, which sold out within seconds of the tickets being released. It was fantastic to see legends Paul Cook, Glen Matlock and Steve Jones in such an intimate setting – a sense of how it was back in the day for those of us who weren’t there. Frank Carter is a genius choice for the almost impossible job of replacing John Lydon, beautifully described by Phil Ross: “Crouching and weaving like a fighter warming up, he seems less than half the age of Jones and the other Pistols. His youthful face splits into an enormous, maniacal grin and he throws the mic stand high above his head, shaking and brandishing it like some ancient tattooed Celtic warrior with a spear, daring Caesar and his legionaries to come ahead and try to invade our little island.” Phil also captured a great film of the gig, worth a look.
My third time shooting CMAT, she’s so good she’s medicinal. Supremely talented and yet self-deprecating, to see her is to love her. In my own words: “…everything’s pointing to her being the Real Deal, creatively talented in all directions with so much going for her, on an upwards trajectory. Have to hope that the record business trajectory isn’t so steep that she loses herself in it because what she is, right now, is a bit special – a breath of genuine fresh air. With spurs.”
A dream shoot for me this one – I’ve loved The Cult since forever and I pursued them to the middle of a field in County Laois, my now favourite Irish festival, Forest Fest. The added bonus of being allowed to shoot them from the pit (very rare these days) made this a special one for me. Again, in my own words (sorry) “…powerful, justifiably arrogant, with Ian Astbury showing all rock stars anywhere exactly how it’s done. His distinctive voice and delivery remain just as formidable as before, with his trademark Astbury moves, channelling his hero Jim Morrison. Billy Duffy is in full on rock god mode.”
Finally, a more candid moment from another long time hero, Gary Numan. The Roundhouse stage suited him, and this show felt pivotal. Again, me… “He’s always been a composer in its fullest sense, creating textures and sounds that take his songs through movements, changes of energy and momentum, creating passion and emotion that resonated strongly with angst-ridden new wave teenagers in their bedrooms.”
In 2025 I’ll look to up the ante on the number of women in my top shots, and shoot more festivals than I managed to get to this year. A personal thank you to those who reviewed with me, and more generally to everyone who has contributed to LTW’s set of fantastic festival reviews throughout the year. Finally, thanks from me to all the PRs who have accommodated us at some amazing festivals in 2024 and been so great to work with.
PAUL GRACE – 2024 wasn’t the busiest of years on the music photography front due to a super busy day job, however, I did manage to squeeze in a few shows which left a very strong impression. My favourite music photograph of 2024 has to go to Soft Play at O2 Academy Brixton. I’d wanted to photograph these guys for years and finally, the stars aligned and I wasn’t disappointed. The duo brought a crazy amount of energy to Brixton that Hallowe’en eve, and the fans lapped it up good and proper. Keith Goldhanger reviewed and summed it up perfectly, “Soft Play provide the sound of two blokes who we presume were drip-fed a few Crass albums and one or two metal albums by their parents on the school run in the mornings.”
Future Islands played a fabulous sunset show at the iconic Crystal Palace Bowl over the summer and singer Samuel T. Herring’s gravity-defying dance moves were reason enough to go see them play. “As the sun sets, Future Islands take to the stage and deliver a show that proves they’re 100% worthy headliners.”
Crosses (†††) at the O2 Forum Kentish Town were on explosive form with guitarist Shaun Lopez throwing some classic rock star poses. Nils van der Linden was blown away, “Moreno sings like it’s the last night of Earth.”
Judas Priest at the OVO Arena Wembley showed us they were still very much at the top of their game with singer Rob Halford being a fabulous trailblazer for the LGBTQ+ community in the heavy music scene – Nils van der Linden enthused, “As the front man stomps across the stage like Godzilla, it’s clear Judas Priest are still unstoppable.“.
The National, again at Crystal Palace Park, were utterly sublime and singer Matt Berninger’s comical band and crowd interactions filled my heart with joy. Tom Parry was rightly impressed,“The National kept building up to moments of sheer euphoria. Sometimes they are more subdued, but then the momentum swells once more, and it’s impossible not to feel stirred by the electric charge they create.”
TREV EALES – 2024 saw fewer assignments for me and a summer festival season badly curtailed (due to personal reasons) but I was still privileged to witness some exceptional gigs and take some pleasing photos. My favourite shot is Dirty Honey shot at Manchester Academy in February – “Dirty Honey are a force of nature; stunning performers up there with the best“. There’s nothing groundbreaking about the music that California’s Dirty Honey creates. They’re firmly rooted in the blues-rock sounds of the late 60s/early ’70s bands like Led Zeppelin, but what they lack in originality they make up for with some impressive songs combined with great stage presence and charisma. It’s hard not to take good photos of them.
More of my favourite shots and shows this year: Yard Act headlining The Market Stage at Truck Festival. They’re a band I’ve watched numerous times but this performance reached another level; easily the most energised delivery I’ve seen from singer James Smith, and he is great to photograph. Keith Goldhanger reviewed “Only three years on from their debut single, life continues to speed along at such a fast pace for Yard Act“.
You usually know what you’re getting with Seasick Steve; a dose of no-frills blues accompanied by a sprinkling of his dry wit. “We get almost an hour of dirty, scuzzy, groove-driven blues” but this performance was far more heartfelt and emotional. The main stage compere at Black Deer discovered Steve in 2006 and first brought him to UK audiences. Hugs and even a few tears ensued as Seasick made this a performance to remember at the Black Deer Festival in June.
Sometimes small stages at festivals throw up real surprises. While tens of thousands watched mainstream indie and pop on the main stage at TRNSMT, a few of us were enthralled by the goth-inspired post-punk of Heartworms. The photo I’ve chosen captures a rare moment of stillness from vocalist /guitarist/songwriter Jojo Orme during an energy-filled set. “The singer’s simply mesmerising and she’s an accomplished guitarist too.“
PJ Harvey at Piece Hall, Halifax in August was music, art, poetics, visual theatre, heartfelt emotion and raw rock ‘n’ roll. P J Harvey brought them all to her mesmerising performance I could have chosen any of five or six images – “… a one-off musician who managed that rare feat of making sounds that constantly challenged your senses but somehow remained a transformative collective experience.”.
JACK FLYNN – What can you even say when it comes to Paul McCartney? It’s my photo of the year just because I’m still amazed it was even possible. A tough shoot, only two songs from the sound desk a mile away, but I never expected I would be in a position to photograph an actual Beatle, so it’s straight into the top five by default. Dave Edwards was stunned by the performance – “This was more than just a show, this was a lesson in history and one of the greatest artists in popular music at his peak as a live performer.”

I only had one song in the photo pit to shoot Liam Gallagher, one of the most iconic frontmen of all time, so I had to make it count, and luckily across my three minutes I was able to dodge the monsoon of lager raining down from the audience. The sheer decibels of the Manchester Arena shouting back the lyrics to every song was unlike any concert I’ve been to in my life, such incredible atmosphere generated with so little movement from the man himself. David Edwards wrote “Liam Gallagher’s journey to the stage tonight has been equally complex and snagged by low-blows and false starts. Yet this is validation beyond all expectation. A night of happiness and reaching back across the decades for a brief, glorious few hours of magic.” I can’t imagine the roar that’ll unfold when Oasis take the stage next year.
Swapping the usual bare chest, emblazoned with tattoos, for a dapper white suit, the latest tour for showcased a more mature, darker depth to their songwriting, but the live show remained as electric and raucous as ever, featuring “a sensational vocal performance from Carter“. And despite the ominous lighting conditions I managed to get a moment of eye contact just as a strobe light fired and illuminated my shot for me.
Fat White Family are one of my favourite bands who must be seen live to be truly understood, and their shows are not for the faint of heart. In this show, frontman Lias Saoudi’s unhinged performances resemble an exorcism, spitting mouthfuls of milk into the crowd dressed in a skin-coloured body suit, all set to a backdrop of avant-garde psychedelic art rock. “Saoudi drew the entire crowd’s attention gyrating across the stage with a demonic glee and an air of hedonistic reckless abandon comparable only to the likes of Iggy Pop. He’s the type of frontman that wrings out every ounce of themselves for the audience, before collapsing as a husk onstage.” Exciting, provocative and unpredictable.
I love this photo because it just sums up the pure madness of a SNAYX show. The gargantuan riffs and venomous lyrics reduce every crowd they play to into a swirling mass of joyful chaos.
ADAM EDWARDS – My favourite shot this year comes from my favourite gig – GOAT at Manchester Academy. For the audience, this was a superb show, a blizzard of strobes and red lighting, flashes and moving band members – non-stop dynamism. As a photographer, it was a fucking nightmare as the first two songs were bathed in red light, making it hard to discern what was going on with the naked eye let alone focus a camera. At the time I thought this set of photos would either end up being one of my favourites ever or unusable – thankfully it was the former and the gallery accurately conveys the action, the madness, the movement, the GOATness of the band. They were non-stop and amazing for the entire set I can’t wait for them to come back next summer. MK reviews – “Goat know how to structure a set, a journey of subtle movement with a continual upward trajectory towards all possible emotional highs”
Other highlights from this year include shooting Jimmy Eat World at O2 Victoria Warehouse, ticking off a big millennial box personally and seeing how much the band seemed to dig being out on stage. Reviewed by Dave Beech “..an exercise in songcraft over showmanship, resulting in an understated yet exquisitely curated set that showcased the best the band has to offer“.
Los Campesinos! at New Century was a great show, another one cutting through the venue’s penchant for red lighting – Dave Beech remarked in his review “..both joyous and cathartic in equal parts“.
Bambie Thug was my first time shooting at Gorilla and in true amateur fashion I was positioned in the wrong place. But the shot I’ve selected here was a rare time I captured her looking down the camera and is my favourite from what was a brilliant live performance. MK Bennet reviewed “..Part dark pop fairytale, part ice queen, they commanded the Gorilla stage like an animal uncaged“.
And I can’t miss out on Blossoms at their biggest-ever gig: the shot I’ve selected here captures them looking rightfully triumphant at a huge homecoming concert in Wythenshawe Park, a great achievement for the boys and the area. Clare de Lune reviewed “Blossoms fire up the emotional tension like a dopamine high, arousing a sense of carefree, youthful bliss through the power of their songs and charisma.“.
JIM MUMBY – Being an independent venue stalwart and champion of the alternative/DIY scene gives you access to seeing and hearing some of the freshest and most diverse music, more often without the protocol and politics of photographing established artists on the big stages. However on occasion when the big stage beckons, I’ll suck up the protocol and try to capture the essence of a gig in the mandatory three-song allocation. On even rarer occasions, an artist might even acknowledge the presence of photographers and be generously accommodating. A case in point was Rick Astley, who graced the Piece Hall, Halifax with a two-hour set from his constantly nostalgic repertoire in a uniquely non-confrontational manner, making those three songs a genuine pleasure to capture his glowing performance. This Rick pic is my favourite and most memorable of the year, regardless of his momentary vanity flex. A 15-minute funky workout of Never Gonna Give You Up was invariably enjoyed by reviewer Paul Clarke, who described it as a ”timeless pop gem’‘.
The Lovely Eggs at Brudenell Social Club – DIY to the core, and an iconic pairing to say the least. A sold-out show, and space was limited; Ross & Blackwell had emailed upfront with a three-song limit, so time was tight. In a cramped corner, pinned up against David Blackwell’s spangly drum rig, I framed a rare shot of the Eggs together in front of the psychedelic backdrop of Casey Raymond’s gooey artwork, beamed out from a bulkhead projector that gratefully provided just enough workable light to an otherwise gloomy room.”With a stubbornly ‘fuck it’ kind of attitude, The Lovely Eggs have gradually become a fully-fledged indie institution” – commented Andy Brown.
Currently riding high on the latest punk wave, Lambrini Girls‘ own brassy, queer brand of trashcan pop works best in the live arena, where they bash together gritty songs with theatrics that are massively entertaining albeit borderline dangerous. Their performance at MCR Skatepark during the annual Manchester Psych Fest was a standout without exception, as protagonist Phoebe Lunny seemed more at home in the crowd than on the stage. “A creative chaos from the get-go that could’ve gone in any direction made that gig all the more thrilling to document.”
Equally chaotic yet undeniably calculated, native San Franciscan noisenik Evicshen was “exemplary in her unique, transcendent style” concisely noted by reviewer James Kilkenny. A closer look at some of the detailed photographs from that boutique gig revealed record player styluses hot-glued to fingernails, sonic metal coils that turned out to be used bandsaw blades, and a pair of the most simplistic DIY turntables, all hooked up to a mass jumble of gaffer-taped sonic effects that struggled to remain on the table that Shen straddled and continuously battled against while blasting distorted horns, before a mighty bullwhip-crack at the finale. Insanely good.
To capture the essence of punk, you generally need to embrace the muck and bullets. If you’re worried about camera gear getting splashed with beer, damaged in a mosh-pit, spat on or worse, then it’s unlikely you’ll tell the whole truth with your contributions to a review. At every decent punk gig, particularly in small venues, the dynamics created between the band and their audience is its measure of success. Get involved, get the shot and get the hell out of the melee was the missive when Pennsylvanian punks Pissed Jeans stopped by the Brudenell Social Club on a short UK tour. Thankfully Louder Than War was there to document their widely talked about time in Leeds – summarised once again by Andy Brown “…you can really feel the energy between the audience and the stage. What we’re experiencing here is pure, raw power”.
2025 promises to be a more fruitful year, with the prospect of documenting a year of punk and DIY goodness at one particular venue, culminating with a possible exhibition and book collaboration – all not-for-profit with any proceeds going back into the music industry.
SIMON REED– Louder Than War has once again offered me some incredible opportunities with the camera in 2024, and I never forget what a privilege it is to be afforded the best view in the house. It might generally only last three songs and a few minutes, but the adrenaline rush beats just about anything else I’ve ever done. My personal stand-out moment was to shoot the band Wunderhorse at their biggest headline show to date in a sold-out Brixton Academy. I love the band, the atmosphere was incredible, and I hope I managed to capture the sheer intensity of frontman Jacob Slater. “When…Wunderhorse walk out onto the hallowed boards at London’s Brixton Academy, they spare a moment to pause and take it all in. You can’t really blame them. They’re faced with a sell-out crowd at their biggest headline show to date and the audience is going nuts.”
The Lottery Winners were a highlight at this year’s Victorious Festival in Southsea. Thom Rylance is an incredibly engaging performer, and his honest discussion with the crowd about his struggles with mental health and ADHD struck a chord with me as I have a child who is severely neurodivergent with similar diagnoses and challenges. When the band played Letter To Myself (Rylance telling the 12-year-old version of Thom not to worry about his many problems because everything will work out in the end), I found out first-hand how difficult it is to take photographs when you’re sobbing your heart out. Jon Kean reviewed – “Hilarious and hyperactive, yet at times humane and humble, Thom whipped up the sizeable crowd with a Freddie Mercury Live Aid throwback routine.”
Bloodstock Festival always serves up fantastic photo ops and two of my favourites from the year come from there. I’m always struck by how a festival that serves up such aggressive music never fails to pull off an amazingly inclusive and supportive vibe. It’s well summed up by a young, beaming crowd surfer being supported from below and helped by the excellent security team on the barrier. Meanwhile, the photo pit was rammed for Moldovan band Infected Rain, and specifically their singer Lena Scissorhands. Her amazing dreads are a thing of legend and make for great images. “They bang their heads, they flail their hair, and Lena, in particular, has locks so extreme that when they’re thrown about she more closely resembles an alien character from Doom ”
Finally this year, I’ve got a photo of J. Willgoose, Esq. of Public Service Broadcasting from their gig at The Roundhouse in Camden. There’s nothing particularly exceptional about it you might think (and I guess you’d be right), except that I’ve photographed them a lot, and this is the first time I’ve ever managed to capture Willgoose having stepped away from the myriad of keyboards and other electronica that usually surround him. He’s an excellent guitarist, so it was nice to finally properly capture him playing the instrument. Tom Parry noted – “The cleverness of splicing those excerpts from the archives with soaring guitar licks, angelic chords and outstanding drummer Wrigglesworth’s danceable and thumping rhythms remains impressive.”
Who knows what 2025 will bring? There are certainly some amazing opportunities out there. Whatever occurs, I’ll be doing my best to capture it with a camera.
LIAM MAXWELL – Going into the pit you never really know what you’re going to get. The unpredictable nature of concert photography has a quality that keeps me coming back for more, again and again and again; especially when you get to shoot some of your favourite acts, ones you grew up listening to, where this is greatly exacerbated. These are a few of my favourite gigs this year, and a few favourite moments from shows that were a dream to shoot.
Rise Against – seeing Tim McIlrath’s entrance to the stage I knew exactly what kind of shots I wanted to get from this performance; a bit of waiting and lining up carefully and one of my favourite shots fell into place. I love the dynamic energy from rock acts and have been a fan of Rise Against for years, so this is one of my favourite live images from the year. Dave Beech sums up the show “..tonight has been something special; a more raw, more intimate version of Rise Against than we’ve previously seen.”
The Smile – This shot of Johnny Greenwood, whilst most might have favoured a Thom Yorke still, really stood out to me. It captured the grace and beauty of The Smile’s work, lining up perfectly with some moody and cinematic lighting and Johnny using the bow on his bass. Claire Glover writes in admiration – “Thom’s distinctive wild, exciting yet melodic vocals that weave in and out of the layers of what could be only be described as extraordinary, experimental jazz fusion, blending beautifully.”
Jesus and Mary Chain – Jim Reid has a powerful presence, and the JAMC catalogue is vast and awe-inspiring. Sometimes I think you have to create the shot and sometimes you just find a position that works and just let the artist unfold everything in front of you – this was one of those cases. Ryan Walker’s poetic description was “…a blissful, broken overdose of cracked, climactic noises and magnetic atmospherics, the sonic departure from one room, and stepping into another whilst guided by a glimpse of light with dust particles dancing in its harsh, hallucinatory beam.”
James – The shot of Tim Booth going into the crowd was an adrenaline moment – will he? won’t he? Then all of a sudden he was just in there and amongst it. Brilliant stage presence and one of the best performers of our time – seeing the crowd’s reactions to his antics was joyous. Natalie Royale was captivated – “Tim seems in awe of the size of the crowd, every single one of the 23,500 people singing his lyrics of solidarity back to him – connecting an audience of that size is no mean feat“.
And lastly, DIIV – An esoteric favourite, a band that I’ve found solace on many nights editing away with, and the live set was everything I hoped it to be. Stunning visuals, and one of those shows where I had to put the camera down for a moment and just let the sound wash over me. Joe Goggins reviews “..there is a sense that we are catching DIIV before their latest transformation is complete, but on this evidence, we’re entering into their most exciting era yet.”
As well as being busy on the live circuit, this year I’ve been fortunate to work with some great acts on press shoots in the studio. Some highlights include Pixies, Nick Mulvey, The Slow Readers Club, The Lottery Winners, and South Arcade (who are the next big thing, for those not in the know…).
ADAM WILLIAMS – When I first picked up a camera and brought it along to gigs, l never imagined it would take me on an adventure to Malta to shoot one of my all-time heroes Liam Gallagher. I will always remember the moment when he came onstage and how I had to stop my hands and arms from shaking with nerves whilst holding the camera. Capturing his last solo gig and the final stop of the Definitely Maybe anniversary tour before the Oasis reunion hits next year, absolutely blew my mind. “The Maltese crowd – locals, Brits, and every Gallagher die-hard in between – turned the place into a giant, sun-soaked singalong, proving that even in paradise there’s no escaping the pull of that swaggering Mancunian charm.”
I’m not going to lie, this one hit me in all the feels; I was fine capturing all the amazing acts at All Points East throughout the day until LCD Soundsystem started to close a great day of music. James Murphy told us they lost a very close friend (Justin Chearno) the day before and went on to add “We’re trying our best. We love him and miss him. This sucks. Thank you for being here and being a part of it”. My heart felt for them and, as that repetitive piano melody kicked in, I found myself on a reflective journey, thinking about friends I’ve had in my life; reminiscing about my youth and those glorious days and nights of the 2000s when the world (at least at the time) seemed like a much better place than it is today. With all the emotions flowing, I stood there amongst the crowd grateful for that moment and how music has undeniable special powers to make you feel. “Murphy discusses their close friend and collaborator Justin Chearno, who died just the previous day. They then play, naturally, Someone Great, where new troubled whirring effects surround the introduction, signalling the arrival of a new grief.”. – Mark Muldoon
Without a doubt, Fat Dog were my favourite band at this year’s Latitude festival. You know you’re capturing a special performance when you get completely lost in the music and forget you’re supposed to be there taking photos. I absolutely loved their sound and I didn’t see a bigger party throughout the festival than I did in the sunrise arena for their amazingly fun show. Simon Lucas-Hughes wrote”..the five-piece’s blend of drum and bass infused electronica, rock, sprawling post-punk and even ska elements created a strikingly original, high-energy and most importantly, really exciting and fun live sound.“.
Blossoms in Malta sounds like a match made in indie-pop heaven, and Stockport’s smoothest five-piece proved it. Under the very warm Mediterranean night sky it was a pleasure capturing this gig – with this image below being my favourite. For me, it encapsulates what was a slick, stylish and impossible not to love performance by the band. “Blossoms wasted no time turning the evening into an all-out dance party”
And finally, I could go on about how Kasabian are still one of the best British live acts around but it’s all been said before. I do however want to mention how effortlessly cool Serge Pizzorno is; he’s a photographer’s dream and it’s almost impossible to not capture a gold moment of the guy. This image encapsulates the King of Kasabian from their headline slot performance at this year’s Latitude festival in Suffolk. Simon Lucas Hughes summed up “Sergio’s stage presence brings a fresh flare, a different feel to their music whilst still capturing the anthemic and huge sound which you would expect from the band, and still delivering the big punching riffs of old.”
NEIL CHAPMAN (aka UnholyRacket) – Anyone who made the case for live music being on its way out did not reckon on 2024. A few short years after the pandemic, despite increased pressures on small venues, the live music scene has been astounding. I’ve had the good fortune to tag along with LTW reviewer Andy Brown to see a few bands. I hope he appreciated me upping my game and dragging him along to some of my favourite artists, playing the amazing venues this fine city has to offer. I’ve even been inspired to write a few words to go along with my photos.
If there was a single gig that represented the arrival of Leeds’ new wave of artists, and the network that supports the music scene it would be Yard Act’s appearance at Millennium Square. My favourite photo of the year comes from that show and I also wrote about it. I always try to get a wide shot and love an action shot, so this turned out to be both. I wanted to show the staging and saw the trench-coated James Smith leaping from the stairs. “Arenas are not too far in their future albeit Smith states they ‘Don’t care if we play to a half-full Hyde Park Book Club’“.
The line-up included the Mercury Prize-winning English Teacher, Fat Dog, and Ultimate Thunder who all feature at the business end of the Louder Than War albums of the year. This also got me thinking about the other great outdoor gigs I’ve covered this year.
The Piece Hall in Halifax and Millennium Square in Leeds played host to some amazing gigs, and I was fortunate to cover a few of them. Both venues fit neatly into the gap between Yorkshire’s indoor venues and the arenas, so are a great size to fit in some bigger bands. I’ve chosen some photos from those gigs for my gallery – Pixies: “..No encore, no frills, just 100% Pixified goodness. The Piece Hall has seen so many great acts this summer but this feels like a huge highlight“.
Dave Beech said of Korn “It’s not just the band’s trademark brutal weight that’s at play however, there’s more than enough melody to offset those really heavy moments.”
Of English Teacher, who supported Yard Act, I said: “There has been no shortage of well-deserved plaudits for their debut album This Could Be Texas“.
My final choice comes from Russell Crowe’s Indoor Garden Party at The Brudenell Social Club, Leeds. Andy Brown was pleasantly surprised – “From an emotional, spotlit performance of Dire Strait’s Romeo And Juliet to the ecstatic gospel of Let Your Light Shine. The songs just keep coming!“. Here’s to 2025.
PHIL THORNS – 2024 has been a year to remember, not just for the incredible music but also for the joy of capturing it all through my lens. Each gig and venue brought its magic and sometimes challenges, such as lighting or overactive smoke machines, making every shoot a unique and varied experience, which is what I love about gig photography.
My favourite had to be Chic and Nile Rodgers at The Piece Hall, Halifax, the highlight of the year. This 18th-century architectural gem created a magical setting to hear hit after hit after hit. The lighting was spectacular, the music was flawless, and the crowd’s energy was unparalleled. I’ve never seen an audience so immersed in a performance, with every person dancing, smiling, and completely lost in the moment. Paul Clarke partied on – “The formula was simple – a top class band full of superb musicians playing the hits with two incredible female vocalists belting out the words as the effortlessly cool Rodgers meandered round the stage playing his trademark ‘chucking’ guitar style, and talking to the crowd between songs.”
Other highlights for me include The Stranglers at O2 Apollo, Manchester, with its iconic design and top-tier production, which was the perfect backdrop for The Stranglers. Their raw, commanding presence filled the space, and the dramatic lighting turned every moment into a frame-worthy masterpiece. The band’s dark energy and timeless hits created an electric atmosphere that was a thrill to capture. Robin Boardman got nostalgic “…a band which delivers a celebration of a legacy with a promise of more to come, and as long as The Stranglers are around, there will be heroes.“.
Big Special at the Deaf Institute, Manchester, with its cosy, bohemian vibe and retro decor, perfectly complemented the band’s raw, heartfelt performance. Shooting here felt personal, with every frame capturing the deep connection between the band and their dedicated fans. John Robb wrote “The between song banter is hilarious and the songs are direct, inventive, powerful and brimful of mention as the aptly named band gate crash the decadent poppermost of the toppermost party.”
Doctor and the Medics and The Twang at Mosfest Don Valley, Sheffield, set in the heart of Sheffield’s historic steelmaking district, was alive with energy. The industrial heritage of the location added a gritty authenticity to the festival. Shooting 10 bands in one day was a whirlwind of colour, sound, and energy. The diversity of acts and the friendliness of the crowd made it a special family-friendly festival. What a shame it was the last one. Doctor and the Medics “…gave a charismatic and thoroughly entertaining performance, characterised by a blend of glam rock and psychedelic influences, creating a sound that is both nostalgic and timeless.” and The Twang – “The band’s chemistry was palpable; they were more than musicians, they were storytellers.”
It’s been a pleasure to document these moments and many others, and I can’t wait to see what 2025 brings. Here’s to more music, more stories, meeting more lovely people and more unforgettable opportunities to capture our wonderful live music scene.
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Our heartfelt thanks go out to our talented team of photographers, for their incredible work this year, to the PR teams for organising our access, and to the reviewers whose words fit our images perfectly. A special thanks to the bands and artists who welcomed us and delivered unforgettable performances, giving us moments that were a joy to capture. Finally, a big thank you to Louder Than War for their unwavering support and for providing a remarkable platform to showcase our work.
A special thanks to Jack Flynn for the header image and calendar design.
While you are here, why not purchase one of our exclusive wall calendars, featuring 13 images – here:
Melanie Smith – www.mudkissphotography.co.uk
Naomi Dryen Smith – www.naomidrydensmith.com
Paul Grace – www.paulgrace-eventphotos.co.uk
Trev Eales – www.trev-eales.com
Adam Edwards – adamedwardsfoto.com
Jack Flynn – www.jackflynnphotography.co.uk
Simon Reed – www.musicalpictures.co.uk
Jim Mumby – jamesamumbyphotography.co.uk
Neil Chapman – unholyracket.co.uk
Liam Maxwell – Instagram
Adam Williams – Instagram
Phil Thorns – Instagram
Thanks to other photographers who supplied photos for us this year: in no particular order: Phil Newall, Kevin O’ Sullivan, MK Bennett, Hels Millington, Andy Von Pip, Frank Ralph, Keith Goldhanger, Mike Gray, Tessa Carroll, Andrew Poutney, Charis Bagioki, Rachel Emily, Aaron (Kent) AMP photography, Andi Callen, Jaden Moss, Andrew Twambley. (hopefully, I haven’t missed anyone.) Also, we want to shout out in memory of our Berlin photographer Svenja Block, who is very sadly missed.
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