If you want a band that keeps you on your toes, look no farther than Dropkick Murphys. I'm surprised singer Al Barr didn't wear a groove in the stage from his constant pacing at the front to a packed house of four-thousand raised fists.
The energy of Dropkick Murphys is a real force, both in the audience and on stage. It's impossible not to grin a bit and get caught up in that kind of infectious energy. Between the band's ferocious attack on stage to the wall of singing fans on the barricade, this set was a blast to shoot.
This show started off with a big bang from the blinders at the back of the stage, which, as a music photographer, I had to love.
Technically, this show was a pretty good challenge. Singer Al Barr's constant pacing kept photographers on their toes, while the rest of the band was back behind a fat line of monitors.
For this show, I made the executive decision to focus most of my time and energy on Barr, and I played zone defense to his perpetual movement. To this end, the Nikon 24-70mm f/2.8 was my go-to lens, while the Nikon 14-24mm f/2.8 and Nikon 70-200mm f/2.8 came into play for quick shots here and there.
I shot at ISO 3200 for most of the first and second songs, dropping down to ISO 1600 for the last and brightest song of the three-song limit.
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