Live Music
Twenty-Thirteen was my concert debut.
Shooting for local Tasmanian musicians Close Counters, saw me stepping into the live music scene at the age of 17. Over the next few years, traveling between Melbourne and Hobart, I established myself, working with a handful of artists such as What So Not, Alison Wonderland, KLP, Boo Seeka, and PNAU. Years later at the 2019 Fall’s Festival I was connected with ARIA winning artist Baker Boy.
Taking my experiences back to Melbourne, I jumped into the vibrant music scene and continued to work. Establishing new connections with Australian artists— icons such Hermitude, Horrorshow, and Allday required a variety of clips from individual after-show recaps, to promotional album content, documenting the recording process & collaboration of music as well as a national tour. This developed my understanding of the industry and soon enough I began employing others to piece together multi-cam concerts.
One of these productions was with Donya Dadrasan for her performance on BBC Persia’s broadcast of the 2020 Nowruz festival celebrating the Iranian New Year. After the success of this production, we continued to shoot multi-cam performances. Kurdish singer, Navid Zardi was filmed at the Enmore Theatre in Sydney with eight cameras, and a four camera live recording of The Friends of David McComb was an in-studio recital of the late Triffids singer’s discography.
The majority of my live music experience came from shooting at festivals. Filming at Beyond the Valley, Listen Out, Party in the Paddock and Ultra, exposed me to a plethora of international acts, which saw a highlight personally as well as professionally, when shooting Flosstradamus at Groovin’ the Moo. Filming other acts such as Bru-C, Trippie Redd, and Disclosure, provided opportunities to learn much in composition, emotion and execution.
This high pressure environment doesn’t leave much room for error.
You learn your tools, you learn your eye— not just because you want to, but because you have to.
will@ishiki.com.au
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