A bone crushing night of death, hardcore, punk, and metal from prominent local and national artists.
Haarp opened the night with an uplifting set of atmospheric-ish death metal howling.
Next, Mastadon’s Bill Kelliher took the stage with his punk rock inspired metal unit Primate delivering an aggressive set including the catchy “Get the F*** Of My Lawn”.
In the direct support slot, Warbeast featuring Rigor Mortist vocalist Bruce Corbitt, Gammacide guitarists Rick Perry and Scott Shelby, Devilfist bassist Alan Bovee and Demonseed drummer Joe Gonzalez (monster!) delivered the most polished performance of the evening.
Arson Anthem played the headlining slot featuring Pantera/Down vocalist Phil Anselmo on guitar, Hank Williams III on drums, Eyehategod vocalist Mike Willams, and bassist Collin Yeo for a hardcore punk set.
Shooting Notes:
The Masquerade is a 19th century Excelsior Mill turned entertainment complex featuring three levels aptly named Heaven, Hell, and Purgatory. Additionally, the venue features an outdoor music park for larger and weather permitting events. As of late, music performances have increasingly moved to “Hell” which formerly housed bubble raves and other such events. The room provides a humble 20X20ish foot stage with an open floor facing it. In a “u” around the floor is a raised observation platform for additional standing room performance viewing. The lack of a photo pit requires moving amongst the crowd and throughout the room timing shots with artists, artists movements, the fixed gridspot-ish lighting, and fan appendages. Shows like these also ensure the floor is a mosh pit. Ideal? No. Liveable? Barely. Sigh. You go where the assignments take you.
Metering for the evening fell in the neighborhood of 1/250 F2.8 ISO3200-ISO6400 depending on artists stage placement. Approximately 3 stops of light existed between the fixed front spots and the ambient light of the stage. Subject isolation on the small stage was challenging. Overall, the drummers offered the best shooting angles this night and were a real treat. The Nikon D700 twins coupled with the Nikon 24-70 2.8 and 70-200 2.8 handled the framing.
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