Local dance-rock heros The Bravery played a sold-out show to their hometown crowd at Terminal 5, NYC. The band took the stage to raucous cries from all three floors of the massive 3000+ venue. Despite the steadily increasing B.A.C. of their younger fans and the indifference of those who had already reached their intoxicated zenith, the band brought the heat in the synth-rock fashion that has brought them world wide recognition.
With the radio hit “Public Service Announcement” in the three-slot, The Bravery wasted little time bringing the energy up to a danceable level. In addition to a couple of new tracks, the band ripped through a few songs from The Sun and the Moon before laying down crushing synth entries for crowd favorites â€œAn Honest Mistakeâ€ and â€œFearless.â€
Characterized equally by frontman Sam Endicottâ€™s lanky strut and the virtuosic riffs of guitarist Michael Zakarin, the bandâ€™s performance elicited first pumping and numerous call and response sessions throughout the night. With the exception of a few tech problems and a bunch of rowdy fans, the New York five-piece played an energetic set that was lean on chatter and heavy on the rock.
This was one of the more straight forward shoots Iâ€™ve been to recently. As Iâ€™ve become accustomed to at Terminal 5, the lighting for the openers is fairly disappointing followed by a marked improvement for the main act.
The biggest challenge for this set was to keep up with pace set by frontman Sam Endicott. His fairly constant motion and tall stature made for some more drastic angles than I normally work with.
The venue has the tendency to use a lot of backlighting. Though it does create some compelling visual effects, the quality of the light tends to suffer. This set used primarily orange, red, and violet backlighting with a sparing amount of very warm light from the front.
I shot the entire set with the EOS-1D Mark III and the Canon 24-70mm f/2.8. If Endicott had been a more static subject, I definitely would have used the 70-200mm for a few shots, but as it stood, the pit was crowded and the three song limit was quite pressing.
Though ISO 6400 did rear itâ€™s ugly head during the third song, my exposure rarely fell below ISO3200 and 1/260 at f/2.8.