The B List: Ten Tall Tales – The Stories Behind Jeremy Gordon’s Best Photos, Pt. 1

2. Often the second choice is better

[John Butler Trio at Central Park SummerStage]

One of my favorite venues is the Central Park SummerStage. The setting in the park among the trees is beautiful, an early curfew means shows end by 10PM, and the atmosphere backstage is always relaxed. While most greenrooms in the city are small, claustrophobic areas tucked away behind security guards and winding staircases., at SummerStage, opening bands mingle freely with friends and family.

The opener this day was State Radio. While milling about, I saw their lead singer Chad Urmston talking to his former bandmate Pete Heimbold. I tried to introduce myself and grab a candid, but Chad was having none of it. Feeling dejected, I turned around and found myself just a few feet in front of the headliner, John Butler, and his bassist as they quietly readied themselves to take the stage. I got about four or five shots off before they headed onstage, including this one.

3. Legendary Performers, Legendary Conditions

[Bob Weir at Gathering of the Vibes Bridgeport, CT]

One of the greatest things about being a concert photographer is the ability to see legendary artists perform their classic songs. Unfortunately it rarely happens as you’d imagine. The venues can be packed, the lighting dim, and, in the case of Carnegie Hall, you may be forced to shoot from the back of the hall with your camera wrapped in a towel while using a telescopic lens.

Two years ago I had the opportunity to photograph Bob Weir and Ratdog at the Gathering of the Vibes in Bridgeport, Conn. For the headliner at a major festival, you always show up to the pit early, stalk around, and try to figure out the best sightlines because once the music starts chaos often ensues. In this particular case, the chaos started beforehand. As a special present, Weir had promised full pit access to the HeadCount voter registration group. So the 10 credentialed photographers became 20. They, the promoter, his assistants, their friends, their family and maybe 100 HeadCounters all crushed in as I picked a vantage point and prayed for help. Luckily, just moments before Ratdog was to take the stage, the event publicist took charge and cordoned off a small section of pit (with the HeadCount volunteers behind barriers) and I was able to snap off this shot.

Oh, and did I forget to mention that during the third song a fan fell unconscious and was passed over the rail? Meanwhile security toppled everyone in their way as they rushed in to administer medical help. Just another memory in the pit.

4. Faces in the Crowd

[moe.ron at Vasa Park]

I spend a lot of time staring at the stage and the talented musicians on it, looking for the right lighting, composition, and moment to shoot. Generally, with a three-song limit in a darkened show, you can’t afford to waste a minute. Yet the one problem with concert photography is that you can’t record the sound. Instead you rely on freezing the silent actions and emotions, knowing all too well that sometimes the best images and reactions come from the crowd. Obligatory images always include girls hula hooping or concertgoers in exotic outfits, but kids are always good for a reaction too. I got this photo on a lovely Sunday afternoon during a moe. show in Vasa Park. After I took this shot, the dad whispered into my ear, “I hope the moe.rons don’t get too upset at him. We made the sign before finding out they played it last night (ouch).”

5. Keep an eye on the opener

[Fiction Plane at Camp Bisco 7]

Often when you go to a show or especially a festival, you take your time getting acquainted with the venue and catch up with old friends. The last thing on your mind is the music that’s playing right over there. Who’s the opening band? Anyone ever see them? Where are they from again? Eh, I’ll get ‘em the next time through.

As I arrived at Camp Bisco 7, I took way too much time and was denied access to the photo pit for the first band of the festival. Walking back into the crowd a bit, I pulled out the camera, shot a few frames (including a great one of the drummer above), and walked back to set up my campsite. Months later while reading a baseball blog, I found an interview with the drummer, Pete Wilhoit, and sent him this photo. A few months after that he was nominated for a readers poll on Modern Drummer and bought an image from the day for the magazine, the first time my concert work had ever appeared in print.

Lesson from the day, always shoot the opener.

Come back to Hidden Track tomorrow for the other five entries on Jeremy’s list of his best photos and the stories behind them.

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