Kicking off 2026 behind the lens at Miles Kane’s Roundhouse gig set the tone for what’s already shaping up to be a huge year of photography.

It wasn’t just another gig — it was one of those moments that resets your focus. A bigger venue, multiple photographers in the pit, fast-paced shooting, low light, and no second chances. You’ve got three songs to get what you need, and that’s it. It forces you to be sharp, intentional, and completely locked in.

Since then, I’ve been building momentum. Shooting Cast at MK11 and The Subways at Craufurd Arms brought things back to a more local level — but in a good way. Different venues, different lighting, different crowds. Each one refining my approach and helping me dial in what I actually want my live work to look like.

What’s interesting is how different this feels compared to where I’ve spent a lot of time previously — shooting food and product photography.

With that kind of work, everything is controlled. Lighting is placed exactly where you want it, subjects don’t move, and you can take your time to perfect every frame. Live music is the complete opposite. You’re reacting, not controlling. You’re working with whatever light you’re given, whatever moment happens in front of you, and you have to make it work instantly.

That’s also where things have started to connect properly for me.

Through National Sound, I’ve been surrounded by musicians and live performance for years — but now, bringing Pixel Affiliate into that world visually just makes sense. It’s no longer two separate things. It’s one lane.

And last night, that all came together perfectly.

Couch at O2 Kentish Town Forum.

I’ve known about Couch for a couple of years now, originally discovering them through Lawrence. That retro-pop, groove-heavy sound instantly stood out — and from a photography point of view, they’re exactly the kind of band you want to shoot. Movement, personality, energy, and a proper visual identity.

The Forum itself made it even more of a full-circle moment.

It’s one of those venues I’ve been to as a fan multiple times. Proper classic London venue — old building, loads of character, and always a good crowd. So going from being in the audience to being in the pit, working, changes your perspective completely.

The night kicked off with Gareth Donkin, who brought a really smooth, soulful energy to the room. There’s definitely a blend of influences in there — somewhere between Mac Ayres and Alex Isley — with that modern, polished take on retro soul. He fit the bill perfectly as a support act and set the tone properly without overdoing it.

Then Couch came on — and from the first track, it was clear this was going to be a big one.

This show had actually been upgraded due to demand, and it showed. The room was packed, the crowd was fully locked in, and the energy was there straight away. They mentioned on the night that it was their second biggest show to date, only behind a hometown show in Boston — and you could feel that significance in the room.

It genuinely felt like they were meant to be on that stage.

From a photography point of view, it was ideal.

We had the usual three songs in the pit — which, as always, goes by ridiculously fast — but everything was there. Strong lighting, constant movement, loads of interaction between band members, and a crowd that was fully engaged.

After the pit, I spent some time shooting from within the crowd and from the upper level, which gave a completely different perspective. Those wider shots, capturing the scale of the room and the connection between the band and the audience, really helped tell the full story of the night.

Gear-wise, this was also a big one for me.

This was my first larger venue gig fully committing to the Fuji system — running the X-H2 and X-H1.

I’ve bounced between DSLR and mirrorless over the years, including time in the Canon system, but coming back to Fuji properly just feels right. The colours, the handling, and the overall shooting experience just suit how I like to work — especially in fast-paced environments like live music.

For lenses, I kept things simple and practical:

16–55mm f/2.8 as the workhorse — perfect for the pit, giving flexibility for wider stage shots and mid-range framing without needing to switch constantly
56mm f/1.2 for those tighter, more isolated shots — pulling out detail, expressions, and moments that feel a bit more intimate

That combination covered everything I needed on the night. Fast, reliable, and adaptable — exactly what you want when you’ve only got minutes to get the shots.

Looking at the bigger picture, this year has already started to build in a way that feels natural but intentional.

Starting with Miles Kane, moving through local venues, and now hitting a show like Couch at Kentish Town Forum — there’s a clear progression. Not just in the size of the gigs, but in how I’m approaching them creatively and technically.

And it’s only just getting going.

Next up, I’ll be shooting The Bros. Landreth at Unity Chapel in London, followed by (hopefully) Jared James Nichols. Then into summer with Paul Weller at Bedford Park — plus a lot more in the pipeline that I’ll share as it unfolds.