A behind-the-scenes look at an emotional and high-energy night of live music at Rise in Acomb, York. From unplugged walk-through performances to tear-jerking finales, this post explores how I captured the story of the night using ambient light, thoughtful framing, and fast reflexes — all while staying invisible in a packed room.
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York has no shortage of music venues, but most are pub-based — geared toward covers sets and drunken singalongs. And I say that with affection. As a musician myself, I love playing pop songs to packed pubs just as much as I love sharing my own originals with a quieter, more intentional audience. Still, it’s been refreshing to see a few spaces pop up that actively support original music. Rise, based at the Bluebird Bakery in Acomb, is one of them — and what a lovely venue it is.
I was invited to document a gig there headlined by my good friend Will Dreyfus, frontman of the Hyde Family Jam and one of the biggest personalities on the York music scene. On this night, though, Will wasn’t playing Hyde’s chaotic party anthems — he was performing a rare set of original music, supported by a lineup of brilliant local artists.
The venue itself is a café by day, events space by night. Modern, friendly, full of character. Floor-to-ceiling glass on two sides means it’s flooded with light during the day and glowingly ambient after dark. The performance space is equipped with ceiling-mounted LED stage lighting, and the café tables easily give way to rows of chairs for a more intimate gig setting.
I got in early to scout the layout and plan my movements. It’s a tight space, and I knew I’d need to be nimble. My plan was to shoot through the space — through the crowd, through glass, through moments — to bring context and atmosphere into the frame.
Phil Grainger kicked off the night in spectacular fashion, entering from the back of the room and singing his opening number unplugged, unamplified, and moving slowly through the crowd. I’d been tipped off in advance, so I was able to catch the moment from the front — one of many candid, context-rich shots I wanted to grab throughout the night.
Later in his set, I slipped outside and shot back through the venue’s big glass windows. Framed through neon blue signage and the warm glow of the interior, I caught a photo of Phil mid-song, staring unknowingly into the lens. I asked him about it later — he hadn’t seen me there. Just a bit of lucky timing and good framing.
Next up was Dan Webster, an artist I’ve worked with many times before. I embedded myself by the stage to catch his signature movements and stagecraft up close. It helps when you know your subject — you start to anticipate their physicality and make images that feel like them.
Finally, Will Dreyfus took the stage, joined by Dom Patrick (drums), Katie Lou McCabe (bass), and Tom Dylan (guitar). Lighting here got tricky. The LED stage lights were doing a solid job of illuminating Katie, front and centre, but Will — seated at stage-right — was lost in the shadows. Still, we made it work. Will’s set was raw, emotional, and full of punch. He closed with a heart-wrenching solo performance of Fleetwood Mac’s Songbird, sung off-mic and unplugged. Tears flowed — his, and the audience’s. Magic.
I shot the whole event on my Sony A7IV, using only available light — flash would have ruined the vibe entirely. Lens-wise, I rotated between:
That 85mm performed brilliantly. It let me keep my distance while still getting intimate, emotive shots. I could isolate subjects in a sea of darkness or shoot through crowds and glass without losing clarity or tone.
From the moment I arrived, I had a few key shots in mind:
The challenges were mainly technical:
After getting home around midnight, I was up early to start the edit. I’d nailed most of the exposure and colour in-camera, so the post-processing was mainly light grading and curation. I delivered the full gallery via Pixieset within a few hours — a tool I highly recommend for gallery delivery and client experience.
The response blew me away. Messages came flying in from the venue, performers, and their followers. Will himself said:
"These are some of the best gig photographs I’ve ever seen."
Can’t ask for more than that.
This wasn’t just another gig. It was a celebration of original music in a venue that genuinely supports it. It was emotional, chaotic, and beautiful. And for me, it was a reminder of why I do what I do — telling stories with light, lenses, and a little bit of hustle.
I’m already planning future projects with some of these artists, and I sincerely hope to shoot more events at Rise soon. York’s live music scene is growing again, and I’m proud to be part of the team documenting it.
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