My assignment was to cover the final dress rehearsal before that evening's world premier performance at BAM's Harvey Theater, a historic theater a block from their main music hall. I had 360-degree angles, complete access and an empty theater, save for a few staff and Kahane's meticulous audio and video team. I've covered many live orchestrated video performances at BAM (and I love the medium), but this performance was fantastic and an incredible treat to shoot, with four massive projection screens perfectly in sync behind the artist, and a dramatic UFO-like light sequence that I'm sure grabbed the attention of everyone in the house that evening.

Aimee Mann's shows hook me right in. From the stage front (or, alternately, behind the line of audience members who've camped out there hours earlier to get stage-side), I'm usually close to the action, within the range of eye contact and shutter noise, which during noisier shows is never an issue, but at a show like this I'm careful to time my shots around the periodic quiet interludes. Also, I block my shots, knowing that I only need one, maybe two, winning frames of a particular positioning. 

BAM's Arthur Russell tribute was in many ways a photographer's dream, with so much going on on the stage at once, the crowd entirely captivated, and so many options in terms of musicians, types of instruments and scenes-within-scenes. A last minute dance party at the foot of the stage was icing on the cake. From multiple shooting locations to a changing lineup of artists, this set captures just some of the excitement of the night, one of the many BAM shows that I walked away from with 100% assurance that I had camera full of beautiful images with an array of lighting effects and engaging performers.