2025 has been another stunning year for live music, and Louder Than War’s photographers have been there to capture it. From intimate gigs to arenas and festival stages, our cameras have documented the raw energy, passion, and artistry that make live performance unforgettable. This year has seen headline-grabbing shows, breakout performances, and long-awaited returns, each one offering a unique glimpse into the ever-evolving music scene.

Melanie Smith: Whilst I didn’t shoot as many gigs as I’d like this year, for one reason or another. I did manage to knock a few off my bucket list, shoot two shows at the Co-Op Arena and shoot some old favourites again. My favourite shot of the year has to be Iggy Pop, the undisputed grandfather of punk. After decades away from Manchester (the last time I saw him was 4th July 1981 at the Apollo), he returned to O2 Victoria Warehouse to a roaring, triumphant welcome. I captured this moment with a tight frame to heighten intimacy, drawing attention to the creased skin and the taut gesture of his hand. Weathered and wild, Iggy Pop stands as living proof that punk’s fire never fades; it only grows tougher with time. MK Bennet said in his review, “James Newell Osterberg Jr, the last man standing, a legacy that may not be reachable by normal humans, his light remains undimmed and long may it do so.”

International superstar Robbie Williams and his shows are impeccably produced, showcasing his charisma and command of the stage. Even when shooting from the soundboard, far from the action, it’s a privilege to capture his performance. No matter the distance, he never fails to deliver, giving a show that is electrifying to shoot. Every gesture, every expression, carries a magnetic energy that fills the arena, and capturing those moments feels like bottling lightning. Mike Grey was mesmerised by the production in his review “...nobody walks out disappointed; not after a trawl through that back catalogue, and a venue-wide belting of Angels to close the night. ”

CMAT is one of my favourite female artists of modern times; a photographer’s dream; quirky, fun, and unapologetically self-aware. She has a unique charm that shines through in both her music and personality, never afraid to poke fun at herself while still delivering something deeply relatable. On stage, she’s a dynamo, giving her everything in every performance, captivating audiences with her energy and charisma. Slowly but surely, she’s making real waves in the music world, and it’s only a matter of time before she reaches even greater heights. Paul Clarke popped his cherry with CMAT, read all about it here: “She was a wonderfully natural and uninhibited showgirl, but her band were completely locked into her vision.”

It was the first time I’d seen/photographed Bruce Springsteen and the E Street Band, and again, another soundboard shoot at the Co-Op Manchester. From the moment they hit the stage, the atmosphere was electric, charged with an energy that only Springsteen can summon. The night began with an impassioned speech from Bruce about Trump, immediately drawing everyone into his orbit; he had the audience in the palm of his hand, exuding warmth, humility, and an undeniable charm that made him come across as genuinely approachable despite his legendary status. Claire Glover has seen him many times, but this time she got to do a last-minute review. “It was a gathering of souls, bound by music spanning five decades and a shared belief in something greater; a night where hope roared louder than fear.”

Heilung is a band I’ve been desperate to photograph for years, and finally, the opportunity arrived, and it did not disappoint. Maria Franz is effortlessly captivating; her presence is striking and photogenic, and a great shot feels almost inevitable. The lighting, though challenging, only added to the mystique, bathing the stage in shadow and glow that perfectly complements their ritualistic performance. Heilung’s show is deeply atmospheric and intensely spiritual, transporting the audience to an almost otherworldly, ethereal realm where music, movement, and ancient storytelling merge into something truly mesmerising. Every moment feels both primal and transcendent, making it an unforgettable experience to witness and photograph. One of Lucy Shevchuk’s favourite bands, and she was delighted to review – “...they’re holistic and breathe catharsis, an antidote to the dreary, shallow and repetitive trials and tribulations of modern life.”

In 2026, I have a few shows already pencilled into my diary: metal, pop, rock, and the wonderful. Of course, with health and caring responsibilities, you never quite know what might affect your plans, but I’ll be there whenever I can.

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Naomi Dryden-Smith: Another great year at Louder Than War, where I’m always grateful for the chance to shoot so many fantastic shows and work with a great bunch of talented people. I’ve narrowed my 2025 choices down to The Psychedelic Furs, Sparks, Richard Hawley, John McKay’s Reactor and Swans, in no particular order.

I saw and shot The Psychedelic Furs twice this year, once at Forever Now festival and then again at The Palladium. I never tire of seeing them; they have a firm position in my top ten bands of all time (a list which hasn’t changed too much since I was a teenager). Richard Butler, “suave, glowering sophistication and coordinated tailoring” (Ed Hewens), always gives his all, and more, to his compelling and charismatic performances – and to his audiences. I love the way he glows in this shot from Forever Now. “Whether prancing and pirouetting (moves reminiscent of his heroes Bowie and Lydon), hanging an arm over the shoulders of brother Tim on bass, or guitarists Rich Good and Peter Di Stefano, or crouching down to engage with the front row, he’s all about the theatrics, the performance: that punk DNA still persists.” (Steve Morgan).  Thanks to Ed Hewens and Steve Morgan for their great write ups of these shows.

Sparks at London’s Eventim Apollo might well be a contender for number one concert in heaven. Certainly the best Sparks show I’ve ever seen, all my feelings shared by Keith Goldhanger’s excellent review. “Their influence on the music we hear made at the current time cannot be overstated. Their recent activities since the start of this century (eight albums, world tours, the Franz Ferdinand collaboration….) would be enough for some. This is only half the story.” It was a tricky shoot – from front of house, it was essentially through heads and arms. My favourite shot is this one of Ron; for me, it captures his kindness and humour. I think people (who hadn’t already) are starting to cotton on to what a musical genius he is.

The show that Richard Hawley put on at Regent’s Park Open Air Theatre was an experience I won’t match again. The idyllic amphitheatre set amongst trees in the height of summer, Hawley’s skills both as musician and humorous raconteur, and my own personal attachment to the place, as mentioned in my review, all combined for an utterly magical evening.

I had a few encounters with former Banshee John McKay’s Reactor this year – performances at The Lexington and then a couple of days later at Forever Now festival, and prior to those I had the honour of spending some time at his home to take the first promo shots he’d had taken in many years. In person, I found him quiet, modest with a compelling intensity, and I think these qualities come across in this photo of him from The Lexington show. Steve Morgan observed: “...it’s clearly been quite the journey back, and one surely made with much soul-searching. The muscular robustness of these oft-skeletal, primal songs – and the esteem in which the crowd holds McKay – is what really sticks… it’s a powerful experience hearing a modern PA system crank out these familiar numbers unheard live for so long.”

Finally, Swans, who I was also lucky enough to see more than once this year.  This photo shows the intensity of the artistic interaction between Michael Gira and Kristof Hahn at their acoustic show at EartH London back in April, expertly reviewed by our youngest reviewer (at 18), Luke Lee. “The gig opened with a virtuosic solo by Hahn on the lap-steel guitar (for this show entitled London Overture), flooding the art-deco theatre with whirlwinds of noise, in equal parts beautiful and overpowering. The overture could’ve gone on for five minutes or for thirty for all I could tell, and for its duration held us in a state of blissful anaesthesia.” More recently, I was lucky enough to catch the full line up last month at their stunning performance at Electric Brixton, in the last run of shows before the current iteration of Swans disbands. Hopefully not the end of the Swans story (deliberately avoiding “swansong” puns).

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Paul Grace: 2025 was such a fantastic year for live music. There seemed to be something on pretty much every day/night of the week, from intimate gigs to massive multi-day festivals; it was hard to keep up. I’m constantly dumbstruck and massively grateful to be able to photograph such incredible shows for Louder Than War. I genuinely have to pinch myself sometimes.

My favourite show of the year was the spine-chilling Catacombs show that Queens Of The Stone Age brought to London’s Royal Albert Hall. Part pantomime, part rock concert and wholly surreal, vocalist Josh Homme spent a good part of the gig slashing the air with a bloodied machete while walking around the crowd. I was super lucky to capture the singer holding the blade with a flash of light cutting across it and reflecting onto his face. As Nils van der Linden wrote in his fabulous review; “Homme, the band, and the orchestra have pulled off a performance so sublime and transformative”.

Brixton’s Wide Awake Festival featured a stellar lineup, which included Kneecap as headliners. Kneecap’s rapper Mo Chara, had been all over the press in the build-up to the show as he’d only just been charged with a terror offence after allegedly displaying a flag in support of the proscribed organisation Hezbollah, and it was touch and go that their headline set would actually happen. I’d never experienced such an intense and electrifying atmosphere at a festival before. The crowd quite literally exploded when Kneecap hit the stage, and the screams of support for the band throughout their set were deafening.

In early June, I was super lucky to photograph the Outbreak Festival in London, which featured a scorching headline set from Baltimore hardcore outfit, Turnstile. There’s never a dull moment with these guys, and singer Brendan Yates’ jumps have to be seen to be believed. For the review, I created a composite image with the crowd and stage with Yates jumping overhead.

Also in June, Deftones bring an all-day extravaganza to my local park, Crystal Palace. Support band HEALTH blew me away with their unique blend of industrial glitch and post-apocalyptic electronica, during which bassist John Famiglietti thrashed his guitar (and hair!) like a man possessed!

In August, The Smashing Pumpkins put on a fabulous all-dayer in London’s Gunnersbury Park, where Skunk Anansie played the penultimate set of the day. Despite seeing Skunk Anansie a few times over the years, I’d never photographed them, so this was a total dream come true. Skin was an absolute powerhouse – the ultimate front woman and a force you don’t dare underestimate.

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Neil Chapman (aka UnholyRacket): Taking a look back at the year as it fades into history is always an interesting exercise. 2025 has been a busy year of discovering new acts and catching some older ones as they announce their “last gigs”. My selection of pictures for 2025 covers both the new and the old. I returned to covering festivals this year, with both versions of Live at Leeds and Leeds Festival providing great opportunities to discover new music and catch artists who had previously slipped through the net. They are also physically demanding and require meticulous planning to cover as much ground as possible.

The best-laid plans sometimes take unexpected turns. Leeds Festival’s main stages are at opposite ends of a huge site, with smaller tents scattered between. This presents plenty of opportunities for unplanned detours. Sofia Isella was one of the finds of the year, with dramatic post-apocalyptic styling, on-the-fly outfit changes, and multiple instrument switches—all great for capturing different shots. Her striking poses and wild-eyed stares were a dream to photograph. This was one of the best festival detours I have ever taken, and she’ll definitely be high on the list for future festivals or solo tour coverage.

High up on the list of artists at this year’s Leeds Festival were Limp Bizkit. You never quite know what to expect from them. Fred Durst shambled on stage looking as though he was feeling his years, but the low-key delivery of the first couple of songs vanished as he strode purposefully down the main stage walkway during song three. He suddenly started throwing poses for photographers like confetti. Missing one of those shots would have been my worst photography nightmare, so I was relieved to find this one when I finally got to look through a packed memory card. A headline-worthy set followed, along with the incredibly sad news of founding bass player Sam Rivers’ death a few short weeks later.

Live at Leeds remains one of the best festivals for catching up on artists who slipped through the net the year before. Deadletter were high on my list to catch at Live at Leeds: In the Park. The slopes of Temple Newsam nearly broke me, but the steepest climb up to their stage was well worth it. It was a fabulous set and great to photograph. The festival was also a timely reminder that I really need to get festival fit! I cannot recommend the Live at Leeds festivals enough for anyone wanting to discover new music.

Gang of Four played their “last gig” in Leeds at The Brudenell Social Club. The legends of the city’s post-punk scene packed the main room for a not-to-be-missed show. The encore included a microwave oven being added to the percussion, which Jon King played with a baseball bat. It was one of those moments when the three-song rule goes out of the window and the camera comes back out of the bag. Weaving through the crowd to get in position was tricky, but I was pleased to make it before the appliance met its final demise.

End-of-year reviews always arrive at a time when gigs are coming thick and fast before the festivities begin in earnest. It’s a very different story at the start of the year, as January tends to be a wasteland of empty gig venues. So I was delighted to see a punk gig appear on the calendar. Helle headlined with Skint Knees and Queer of Hearts supporting. It was a great little show and blew away the January blues with ripping sets from all three bands.

These may not be the best photos of my year or the biggest artists, but they’re all memorable for different reasons. There are still a few more gigs to cover this year, but I’m already looking forward to a rest and some time with the family.

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Jim Mumby: Far beyond the days when it seemed possible that photography could become a prestigious and potentially lucrative affair, I’m so much more comfortable documenting today’s live music scene, knowing that it is nothing more than a passion project and an escape hatch from a stable day job. Even while the music scene remains so unpredictable, the fact that it is so bloody exciting and entertaining means I’ll not be hasty to hang up these cameras anytime soon. Venturing once again into the dark recesses of Leeds and Bradford venues where the DIY/ alternative artists thrive, if shouty noiseniks are your thing, then there’s none more shouty than Care Home. Extreme levels of pummelling percussion, disturbing synths, and plenty of chaos, they’re fucking great.

From his scattershot rig to his homespun cassette recordings, Hang Linton is the epitome of DIY. Lauded by Tom Robinson, embraced by Yard Act, his spontaneous career path could just as easily escalate wildly as it could spectacularly collapse. But not for want of trying, BADBADBUTGOOD pretty much sums up his current modus operandi.

Having been made ‘honorary members’ of The Endless Hum collective, it goes without saying that when another EH gathering is announced, Louder Than War will be there to investigate and document the session. The eclectic line-up tests every sense, even taste, when the organisers are sensitive enough to provide their regular attendees with optional oven-fired pizza treats. Gum Takes Tooth’s rage-acid set was a mega spectacle at the last meeting.

Organised by native new-wave heroes Nervous Twitch, Part Time Punks was the fourth edition of an all-dayer highlighting punk, indie and underground music. Nervous Twitch were “joyful and immaculate” according to reviewer Andy Brown, while Boggis Fringe delivered a set of “satisfyingly primitive punk with half-baked vocals and old school attitude”. I concurred, but Shank And The Shivs stole the show with their undeniable cool, leatherette guitars and unfaltering punk’n’roll propulsion.

Live At Leeds Festival is never straightforward. With venues citywide, you need to have a cast-iron plan for who you want to see and when. You could just as easily see a wide variety of artists as you could see nothing at all, especially when some venues have limited capacity. This year, a clear standout was Paige Kennedy’s engaging set, which was wholeheartedly embraced by a small but fortunate crowd who were in the right place at the right time. Dead good.

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Trev Eales: Another year, and it’s time to choose another 5 photos for Louder Than War’s end of year selection. So, how to choose from hundreds of images taken across gigs and festivals through 2025? This year, I’m adopting a theme, “Another take.” Nothing is surprising about the acts I’ve chosen; I’m sure some have been shot by others too, and that’s the point. Instead of following the trends of other photographers, I’ve selected images that offer a different perspective, Another Take.

Photos of Wet Leg’s Rhian Teasdale flexing her biceps became a common sight this summer. There are hundreds of very similar images out there. Here, she’s caught amid strobing and challenging lighting, striking a very different pose. Sometimes, timing is everything. She held the pose for maybe three or four seconds, but the illuminating back lighting was just momentary.

So many photos of Fontaines DC this year focused on Grian Chatten in dark, brooding light in either halls or headlining outdoor events in darkness. This image finds Chatten in full flight, his black attire very much at odds with the bright sunlight during the band’s early evening performance in scorching 30-degree heat on Glasgow Green.

Escorted to the pit mid-set, photographers were given ten minutes to shoot Fatboy Slim during his headline performance. With obligatory shots of him behind his decks and in front of the stage taken, I looked for something different. Here, the real Normal Cook takes a peripheral role. Meanwhile, his alter ego Fatboy Slim looms above in a backstage projection. The moment his image became surrounded by multiple incarnations of his
decks, being the moment to press the shutter.

Live, Iron Maiden are renowned for their big production values. This year’s Run For Your Lives tour replaced physical backdrops with digital imagery for the first time. The effects were stunning. Menacing animatronics mascot Eddie was also re-modelled and supersized. Here, at almost four metres tall, he takes centre stage, dwarfing vocalist Bruce Dickinson and bassist Steve Harris.

Late May / early June saw a proliferation of Iggy Pop images in the press, the vast majority featuring the septuagenarian’s gnarled, naked torso. I’m not decrying those images; some are excellent, but there are just so many out there. At Bearded Theory, for the first ten seconds of his performance, (I checked my camera’s data) he appeared centre stage, not so naked, flanked by back projections of his own logo and the
ubiquitous snarling dog image. After thirteen seconds, the imagery was gone, and so was his waistcoat.

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Robyn Skinner: It never ceases to amaze me the calibre of live shows by new bands and established artists year after year. 2025 has been incredible. A perfect moment gig for me this year was Jehnny Beth playing the legendary Electrowerkz in London’s Angel. A tour de force since her time in Savages, this was a dream opportunity to see her play up close in a small venue, promoting her new album You Heartbreaker, You. It meant getting stuck in amongst an up for it audience, but oh, it was so worth it. She said she wanted to write a punk album, and she certainly has.

Moonlandingz launched their new album at The Lexington in London back in February, and I made sure I was down the front in good time as Lias Saoudi is one not to be missed. As the gig went on, he stripped down to his bare chest to reveal pineapple rings cling-filmed across his nipples, delicious. The gig itself was a riot; read Steve Morgan’s fantastic review, he describes their unique sound and style perfectly.

Our writer, Keith Goldhanger, told me Bathing Suits were a band to see, so I headed down with him to catch them at one of our favourite small venues, the Shacklewell Arms, and he couldn’t have been more right. Pounding industrial noise of the highest order, thrashing at their instruments as they jolted around the stage, a joy to capture their raw energy. Watch out for them!

Shooting bands can be a bit like collecting Pokémon cards for us music photography nerds, you’ve got a shoot ’em all, particularly our favourites, and Dinosaur Jr are top of the pile for me. A band I’ve loved since I first started going to see live music, J Mascis is by far my favourite guitarist. One of the great joys of shooting bands is being in the photo pit and up close, and in this case getting the full force from the stacks of guitar amps both J and bassist Lou Barlow line the stage with, best blow dry my hair had in a long time.

Richard Dawson is a singer-songwriter who completely engages the audience from the minute he walks on stage with his humble demeanour, impassioned songs and dry inter-song wit. He’d recently had an accident and had his foot in plaster, meaning he had to play the gig sitting down, which did nothing to diminish his performance and actually made for some great photos. As our writer Tom Perry said in his review, “a beguiling performance swaying between tender fragility and dramatic intensity”.

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Simon Reed: Although I’ve been at it for a few years now, shooting live music for Louder Than War remains a privilege and still feels slightly unreal. A magic passport to volume, excitement and the dodging of flying plectrums, every gig is a new adventure. Out of all the glorious mayhem in 2025, these five photographs stand out as the ones that bring back the best memories.

My favourite shot of the year features Sol Abrahams of punk band Bilk; in full guitar hero mode, kneeling on the stage of The Engine Rooms, Southampton, as if he was summoning riffs from the underworld. I was practically close enough to count his frets, and the resulting photo captures the same chaotic spirit as the band. It was a hell of a gig. I observed the crowd were bouncing off each other “… like atoms experiencing an acute dose of nuclear fission.”

March saw The Temperance Movement reconvene for a highly anticipated reunion tour. I caught them huddled around a single microphone at The Forum in Kentish Town, their first London show in six years. Nils van der Linden summed it up perfectly: “Musically it’s glorious, raise-the-hairs-on-your-arms stuff. Visually, it’s epic, the perfect symbol of a reunited band making a fresh start.”

Justin Hawkins of The Darkness is a man practically allergic to standing still. I’ve snapped him quite a bit, and he’s always tremendous fun to shoot. It was no different when I caught the band at Portsmouth Guildhall in March. My favourite photo of him captured the moment he launched himself off the drum riser, frozen in mid-air like a glam-rock hummingbird. As is usually the case at a Darkness show, the experience was as much musical theatre as it was a regular gig: “At the end, Justin is showered with fake roses thrown by some planted swooning ladies parked in the photo pit”, I wrote at the time.

May was spent gallivanting around with The Gulls on their Robin Hood tour, a series of outdoor busking gigs to raise money for the Trussell Trust. This meant two things: 1) lots of fresh air; and 2) the rare joy of getting close enough to photograph a drummer without enduring several rounds of negotiations with security first. My favourite shot shows Tali Knight on Brighton beach absolutely giving it the beans. It was the final show on the tour: “…a fitting end to a journey which is all about doing what the hell you want, when you want it and without worrying about the consequences of having just done it.”

Finally, as winter envelops us with early sunsets and dodgy Christmas jumpers, I hark back to a sun-soaked late-Summer family crowd at Victorious Festival. Reverend and the Makers were onstage, spirits were high, and the audience basked in golden early evening rays. It’s a photo that practically radiates Vitamin D and my favourite from a festival that always serves up great stuff.

It’s been an excellent 2025. Here’s to more in 2026: more gigs, more chaos, more photo ops. Whatever comes next, I’ll be sure to be ready for it.

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Adam Edwards: 2025 has been the busiest year for me for gigs since about 2011, with well over 30+ headliners covered, plus their support acts, and a city-centre festival thrown in for good measure.  Am I knackered?  Yes.  But has it been worth it?  Absolutely.  There are several bands in particular that I didn’t think I would ever get to shoot, and 2025 has made a huge dent in the ol’ photography bucket list.  Narrowing it down to 5 favourite images means there are some massive names that I have to leave out; for example, Fontaines DC and Kneecap, who both lived up to lofty expectations at Wythenshawe Park this summer, don’t make my list.  Likewise, Weezer in July aren’t included despite being 15-year-old-me’s favourite band of all time.

Who does make the list, then?  My number one favourite photo could only go to one band, and one moment in particular. Deftones at The Piece Hall, Halifax. There are myriad reasons why I was so excited to shoot this show (including asking to cover it a full 7 months before it happened). One, I’ve loved Deftones for over 20 years now, and they continue to go from strength to strength.  Two, my dad, a sports photographer, has shot one gig in his entire life, Deftones in Manchester in 2001, at my behest, and then promptly swore off shooting music again forever due to the volume.  So to finally close the circle and shoot the same artist as my dad, 24 years later, was particularly special. Even better, the band were incredible.  They opened with my favourite song of theirs, and the heavens opened as they walked on stage – there was no bigger highlight for me personally this year than shooting the band in torrential rain while they blew the sides off The Piece Hall with Be Quiet And Drive. Read all about it here: 

Other favourites from this year fall along the same lines – I’d tried and failed to shoot Pixies before but was granted the pass for their Manchester Apollo gig in May, managing to catch a beaut of a portrait of Pixies main man Frank Black against their iconic logo. Read Pixies review here:

A last-minute call-up to cover Pulp in June; how do you say no to Yorkshire’s greatest ever band?  While the experience itself was testing (photographers had to wait in the arena’s loading area for 90 minutes just to shoot 2 songs of the second half), the very last photo I took that evening has ended up being one of my favourites of the year:  Jarvis Cocker in full icon mode, appropriately lit up, centre stage. Read the Pulp review here: 

Father John Misty is an outlier on the list as he’s not a musician I had listened to (beyond Real Love Baby) and still isn’t, really; however getting the chance to be up close to an artist at the peak of their powers, absolutely radiating charisma and holding the legendary Manchester Apollo in the palm of his hand, was a joy to experience and to shoot. Read the Father John Misty review here:

And last but not least, on the last weekend of November, I was lucky enough to finally shoot The Hives. They are still the best live act I have ever seen, consistently brilliant over the five times I’ve seen them (spread across 2 continents and 4 countries!). I’m not sure my photos fully did the band justice on this occasion, but to be that close to the manic, enthralling energy of the band at Factory International was a huge personal highlight.  Long live The Hives. Read Hives review here:

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Andrew Twambley: I have only recently taken up the mantle at Louder Than War, but am so happy that I did, as it provides me with an expansive plethora of varied gigs, from old favourites to bands I had never previously heard of… but so glad that I now have. Putting together a list of my favourite photos from those gigs is tough and fluid, so I had better get on with it before I change my mind. So let me list them in order of love.

Gary Numan has been a passion of mine since mid-1979 when I saw him in Manchester. He was a trailblazer in electronic synth pop, adopting the rhythms of Kraftwerk and making them his own. Many bands saw him on TOTPs and asked, “wtf was that?”….and many attempted to follow in his wake. He released a set of groundbreaking, pioneering singles and peaked in popularity in the early ’80s, then retained and developed a cult following. This photo shows Numan when he packed out the O2 Apollo, Manchester, this November. He is not an artist who turns up in jeans and a T-shirt and knocks out a few classics. He puts a huge effort into his shows, which have improved and matured with age. The lighting is always great for Numan, so it is difficult not to take a great shot

I’m giving my age away here, but the old ‘uns are the best. I have always loved Morrissey, and being given the opportunity, by LTW, to shoot him was very exciting. Despite his somewhat right-wing views and despite having to shoot from the crowd, two miles away from the stage, it was a great gig and did not disappoint. At the Co-Op, Manchester, his voice was still there, as was his swagger and undoubted charisma. I’m looking forward to his next homecoming.

Can The Pogues survive without legendary frontman Shane MacGowan? Absolutely yes. At the O2 Apollo, Manchester, on the 40th anniversary of the classic album Rum, Sodomy and the Lash, the band, and all its guests, including Nadine Shan, exceeded all expectations. It was a wonderful sing-along as the worshipping crowd knew all the words. I am sure Shane was looking down with a proud smile on his face and a whisky in his hand.

The great thing about The Lambrini Girls is the audience participation. They always leave the stage and join the crowd, encouraging everyone to join in with the show, which makes for brilliant photography. One seldom sees fans form a human pyramid, and one never hears an opening song entitled Big Dick Energy….unless one is at a Lambrinis gig. Full of fun and political messaging, it made a wet Wednesday night at Gorilla one of the highlights of the year

Loose Articles were new to me until LTW sent me to some godforsaken mill north of Oldham, namely The Vale in Mossley. (I have seen them twice more since). It was a trek to get there, but 100% worth it. It was like a post-punk, pop riot from a group of unstoppable Manc girls on fire. Great lighting for such a small pitless gig, and zero rules about putting the camera away after three songs. These women were born to be photographed.

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Elliot Davies: As a photographer just starting out in the modern musical world, Louder Than War has shown me the ropes, helping me get started on my photographic journey. With a wonderful team and a genuine passion for music at Louder Than War, every moment of this journey so far has been constructive and enjoyable. There has been only one regret for me regarding Louder Than War – that I didn’t shoot more for them.

My first gig with LTW was Strawberry Studios Forever, a show in Stockport Plaza headlined by the one and only Peter Hook, commemorating the troves of talent that Stockport’s own Strawberry Studios recorded for. The Lottery Winners, Andy Couzens (Stone Roses), Clint Boon (Inspiral Carpets), and many other emerging talents from the Stockport area were given the stage on the night. It was truly a one-off performance in a location like Stockport Plaza. Fortunately, I had a few friends of my own backstage, letting me get a few snapshots of the performers backstage and even a few words in with Peter Hook. As a long-time fan of many musicians on this roster, this was a great way to kick off my career in LTW.

Shortly after, Glen Matlock came to Stockport’s Holy Diver, which is a new metal-themed bar with a glass mural of Ozzy Ozborne to top it off. On tour to celebrate his new solo release, Matlock took his band, which featured Neal X (Sigue Sigue Sputnik), playing his new solo tracks alongside his roster of classics from his time in the Sex Pistols to Rich Kids. Can Matlock still kick it on his own? Certainly.

In the midst of the summer heat, Melvins took to the sweaty Manchester Club Academy for a night of sludge debauchery. Club Academy was certainly the perfect venue for such a band, intimate, loud and dark, the Melvins ploughed through their set with few words, and many decibels. Photographing Buzz Ozborne was a treat in itself; his wizard-like robe and flowing curly white locks made for an incredibly imposing subject matter. After the first three songs were done, I shoved my camera into the locker and joined the hurling mass of muscle, sweat and shoving in the crowd. Hearing Night Goat live; what a treat, with two drummers nonetheless. A show to remember for the rest of my life.

As autumn crept in, Wisp, an up-and-coming artist from America dedicated to the nu-wave of shoegaze, took to touring England for her first ever time. To much success, might I add, selling out Gorilla. Her song Your Face blew up online overnight, causing widespread overnight success and a large fanbase gathering around her online persona. Dedicated fans are still viewing my social media post of her months after the show. This sold-out show on her first ever performance in Manchester, speaks volumes on the new age of shoegaze artists and their widespread influence on popular culture.

To wrap up my first year with Louder Than War, I was given an opportunity to photograph the monolithic Alex G at Manchester Academy 2. As a current central figure in many online spaces, Alex G’s songs resonate throughout the crowds across the globe; his jangly guitar and whiny vocals pierce the hearts of fans. Also, playing an accordion on stage? Certainly not an everyday sight for most indie fans! The misty and incredibly well put together lighting set helped highlight Alex G’s incredible songwriting skills, making for a beautiful final review of the year for myself.

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Mike Bennett: A cold Stockport church becomes a frenzied hive of overstimulated locals for a couple of unforgettable hours. The support, Paddy Steer may well be a mystery to most of us, but his headgear and singular approach to his art is not. He spends his set playing along to some excellent jazz psychedelia, all the while, the only signs he’s not an android himself is the fag sticking out at angles from his straggly beard. The mask was beautifully photogenic and handsomely built, and despite the horrendous backlit stage they always use there, I managed a couple of decent atmospheric shots. There’s something so alien about the mask and the way he wears it. I often find myself returning to these pictures.

The headliners Henge, were more colourfully lit, and the atmosphere was unusual, a bit of dysphoria. Riotously brilliant, I have rarely been so impressed by the back catalogue of a band that I knew very little about previously. In a year of great gigs, this one was somehow different. Read the review here:

Maybe it was the forced technical limitations, maybe the fact that I managed to accidentally traumatise myself shooting the Kim Deal gig, and maybe it was medical misfortune laying me low for the rest of the year, or maybe a combination of the lot. Whatever the reason, this is the shot that both has meaning and connects to Barthes idea of a picture having a hook.

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As 2026 approaches, anticipation is building for what’s next. New artists will emerge, established acts will push boundaries, and festivals will once again bring thousands together to celebrate the thrill of live performance. For Louder Than War, and for our photographers, the journey continues…… 

Thanks to all the photographers who entered into the spirit of the selection this year. In no particular order, Melanie Smith, Naomi Dryden Smith, Paul Grace, Adam Edwards, Andrew Twambley, Neil Chapman, Jim Mumby, Robyn Skinner, Simon Reed, Mike Bennett, Elliot Davies and Trev Eales.

If you want to look at more photos taken by our photographers, you can find their website links below, where you can contact them for prints or publishing (where applicable):

Melanie Smith – www.mudkissphotography.co.uk
Naomi Dryen Smith – www.naomidrydensmith.com
Paul Grace – www.paulgrace-eventphotos.co.uk
Neil Chapman – unholyracket.co.uk
Jim Mumby – jamesamumbyphotography.co.uk
Trev Eales – www.trev-eales.com
Robyn Skinner – https://robynskinner.com
Simon Reed – www.musicalpictures.co.uk
Adam Edwards – adamedwardsfoto.com
Andrew Twambley – https://twambley.com
Elliot Davies – https://www.instagram.com/elliotphotography___
Mike Bennett – https://mikebennettphotography.co.uk

Also, a big thank you to all the other photographers who shot for Louder Than War this year, or provided images for us to use.

And last but not least, a big thanks to Jack Flynn for the main compilation image.