It opened on an empty stage. Serani ran soundcheck at The Grand before the doors, the man behind "No Games" dialing in his sound with nobody in the room but the crew and the lens.
Between then and showtime there was Fete — island plates, low light, the artist off the clock. Then the doors opened and the building changed: lights up, bass at full weight, the floor packed wall to wall.
You don't just get the show — you get the quiet that made it.
Shooting a night start to finish is the whole point. You don't just get the show — you get the quiet that made it, the work nobody claps for. So I kept the camera up all day.