26TH MAY – 2ND JUNE

Week 35 was a huge one for me—Don Toliver at the O2 Arena in London. This felt like one of those full-circle moments. A year ago, I was just getting comfortable with a camera. Now I was standing in one of the biggest venues in the UK, shooting an artist I genuinely listen to.

I came in feeling way more confident. I knew how to move in the space, how to read the lighting, when to shoot, and when to just wait and catch the moment. Being in the photo pit at a venue like the O2, you don’t get much time—three songs max—so I had to make every second count.

The vibe of the show was unreal, and it pushed me to shoot on a different level. I was calm, focused, and I trusted my instincts the whole way through. I didn’t need anyone to guide me. I knew what I was doing, and I think the content reflected that.

Looking back, this show reminded me how far I’ve come—not just in skill, but in mindset. A year ago, I wouldn’t have even imagined being in that space, but now it feels like just the beginning.

3RD MARCH – 10TH MARCH

This weeks focus was promoting Sean Paul, which was a big shift from the usual artist lineup. The audience was completely different from our usual crowd—older, more mainstream—which meant we had to rethink how we approached advertising. We couldn’t rely on the same channels we normally use for rap or underground acts.

This time, we pushed promo across more general platforms—trying out generic news outlets, Facebook groups, local event pages, and anything that reached beyond our usual audience. It felt like we were building hype from scratch again, but it was a good learning experience. The campaign needed to look clean, professional, and broad enough to catch a wider range of people.

In the same week, I had a random but cool opportunity to work on a Mumford & Sons merchandise shoot. It was a last-minute thing—I got called in the night before—but I didn’t want to say no. The setup was simple, just VHS and digital shots, and the whole thing was super low-key. It was actually surprising how minimal the production was for a big-name band like that—just one photographer, an assistant.

Even though I didn’t get credited or contacted after the shoot, it was still a valuable experience. I’ve learned that sometimes the job itself isn’t huge, but it opens the door for something else later. Plus, it felt good to know I can jump into those situations last minute and still deliver.

24TH FEBRUARY – 3RD MARCH

Week 22 was a double event night with Lil Tracy and The Hellp—two completely different energies, but both memorable in their own way.

The Lil Tracy show started off a bit chaotic. There was a delay, and his group VampBoiClique performed for a while before he even got on stage. People in the crowd were getting frustrated, and we had to manage the vibe both online and in person to keep things calm. Funny enough, we were just glad he showed up at all—he missed his Vienna show the night before because he lost his passport. So honestly, we were grateful the show even happened.

By now, I wasn’t afraid to ask for what I needed anymore. I got video clips straight from Lil Tracy. I also wasn’t nervous about being on stage to shoot, as long as it was allowed. It was a cool feeling to notice that shift in myself. I even ended up doing some last-minute visuals for the performance, which came out better than I expected considering the rush.

The Hellp played the same night, but it was a totally different vibe. It was a much smaller show, way more chill. The only issue was the insane amount of smoke on stage—I could barely shoot anything usable. But the guys were super friendly, and the set had a nice atmosphere despite the visual struggle.

(fog example :D)

17TH FEBRUARY – 24TH FEBRUARY

Week 21 was all about the Morad concert, and the energy was wild from start to finish. The venue was packed, and there was a lot of pressure to capture everything properly. I’ve noticed with artists like Morad, the expectations are much higher—both in terms of production and content quality.

I spent most of the night shooting the concert, focusing on crowd reactions, lighting, and stage presence. At this point, I felt much more confident moving around and knowing when to grab the right shot.

After the concert, we headed straight to the afterparty, which was equally intense but with a more relaxed vibe. I continued shooting content there.

10TH FEBRUARY – 17TH FEBRUARY

Week 20 was my first proper week back after being sick, and I jumped straight into work with the Victony concert. Even though I still wasn’t fully recovered, I didn’t want to fall behind any further. This event was important to me, not just because it was a bigger name, but also because I got to prepare projection visuals for the show.

Creating visuals is something I’ve been slowly building confidence in, so having the chance to work on something that would actually be used during a live performance felt like a big step forward. I wanted to make sure the projection matched Victony’s vibe and energy, while still being simple enough to work well in a club setting.

I was also happy to get contacts with some people from Victony’s team.

Aside from that, I was also back on social media tasks—building up promo, posting updates, and covering content during the night. It felt good to be back in the flow again after the chaos of the past few weeks, and this concert helped me ease into it with a creative boost.

20TH JANUARY – 27TH JANUARY

We finally announced Noizy, a moment that was already performing well in our soft testing. Meanwhile, I started prepping logistics and visuals for Men’s Fashion Week in Paris.
 At the same time, Victony promo went heavy. He’s a one of central focus for beginning of 2025, and pushing content as much as we can.

The WELIT NYE party was a success. We’d been promoting it for weeks with countdowns and ticket pushes, and now came the aftermath—after-movie edits, recap reels, and overall social media push.

2ND DECEMBER – 9TH DECEMEBER

Pre-Christmas Push + Ballin Winter Camp Begins
This week was about smart sales and soft branding. We launched pre-Christmas discounts, boosting end-of-year revenue, while seeding early visuals for the Ballin Winter Camp—a subtle, community-driven way to stay relevant during the off-season.