Behind The Lens: A Conversation With Liam Gillin

For the final installment of our Behind the Lens concert photographer series, we had the chance to sit down with Liam Gillin, a rising name in the New York concert photography scene. His unique style—blending stop motion, mixed media, and 3D animation—sets him apart, bringing a fresh and dynamic perspective to live music photography. We first discovered Liam on TikTok, where his behind-the-scenes videos offer an unfiltered look at the industry while offering tips on videography and photography.

Liam’s entry into the field started with a simple goal: getting tickets to see Olivia Rodrigo live. After stumbling upon a YouTube video about securing press passes, he decided to give it a shot and reached out to local venues. But his timing coincided with the start of the pandemic, forcing him to put those plans on hold. When SOUR dropped, his passion for live music reignited, leading him to photograph his first show at Mercury Lounge. That moment changed everything. Having struggled to find fulfillment in a corporate videography job after college, Liam realized concert photography was what he truly wanted to do. Since then, he’s been carving out his own path, capturing some of the biggest names in music and sharing his knowledge along the way.

We sat down with him at a bar called The Library, just around the corner from Mercury Lounge, where he first started photographing shows. Here’s what he had to say.

YFG: Were there any photographers or artists who inspired you?

Liam: Yeah, so in terms of concerts, I think my friend Nikki Cardiello (@nikkimarie.jpg), was one of the first people I found on Twitter, and I was like, wow. Alfredo Flores (@alfredoflores), he's now with Sabrina Carpenter but was with Ariana Grande for years on the Sweetener tour—was the first professional concert photographer I really noticed. That was before 2020, but I always looked up to him. I also get inspired by people outside the niche. I try to find creators doing unique things and see how I can translate that into music photography. For example, I love watching Mama Cookie on TikTok. She makes recipes for her kids, and the way she cuts her videos—flipping plates and saying, “If you don’t like it, bitch, don’t bite it” is just so cool. I also really like Ethan Tran (@ethan.uncurated), he’s the make stuff, even if it’s bad guy. Justin Shen (@shenny.visuals) is another one—he does these rapid, fast cuts and became famous for a Chicago video. Of course, there are a lot of concert photographers I look up to, like Christian Sarkine (@christian.x), who I think is phenomenal. But to avoid burnout, I try to pull inspiration from different niches and bring something new into the concert world.

What sets Liam apart is his ability to tailor each edit to the artist, a philosophy he calls the "50/50 rule"—50% his style, 50% theirs. His viral edit of Clairo, which even caught the artist’s attention, is a prime example. “I wasn’t ready to photograph her in 2023,” he admits. “I wanted to do her justice, and back then, I wasn’t using stop-motion yet.” When the opportunity finally came in 2024, he poured everything into the project, staying up until 5 AM experimenting with different techniques. The final image—an unplanned crayon-scribbled cover—became his most shared work.

Before a show, he studies setlists, listens to the first few songs, and imagines potential shots. “With Clairo, I knew she’d be at the mic the whole time, so I had to think outside the box,” he explains. The same mindset led to his edit of Ryan Beatty, where he isolated the singer’s head in motion. “I was on the train, just thinking, What if his head was floating? I’d never seen that done before.” That creative impulse drove him to capture a zoomed-in shot from the venue’s exit, later spending the entire night cutting out the image. “Sometimes, the best ideas come out of nowhere,” he says.

YFG: Have you ever considered going on tour?

Liam: My goal is to tour with Olivia Rodrigo. My friends always ask, ‘When is it happening?’ and I’m like, ‘I don’t know.’ Photographing her at the Today Show for Guts was a full-circle moment—I always knew it would happen, but getting that confirmation was surreal. She’s the backbone of my creative journey. My Olivia Rodrigo edit even got me hired for Gov Ball. So much of what I’ve accomplished ties back to her. I didn’t apply for press for the Guts tour since it was front-of-house photography, but I later found out photographers were placed at the exit, needing a 600mm lens. I was in the 100 level, 15th row, and decided to make it work with a point-and-shoot. I was so proud of those shots. On the fourth night, I camped out to upgrade our seats and ended up front row, lower bowl, next to the stage. I’m going to work so hard to make this happen—even one night of all-access would mean everything.

When we asked Liam about the rise of social media and its role in the industry, he acknowledged both its benefits and challenges. While platforms like Instagram and TikTok provide photographers with a space to showcase their work and celebrate achievements, they can also create an over-romanticized view of the industry—something many, including himself, have fallen into at times. Liam makes a point to keep his content realistic, highlighting the struggles alongside the wins. “This industry is rough,” he emphasized, noting the constant fight for fair pay and the ways people try to take advantage. Many of the artists he photographed in 2024 had rejected him in 2022, a reality often hidden behind the curated highlight reels of social media. “People don’t want to see struggle, but they have to,” he said, reinforcing the importance of persistence and hard work in breaking through.

Liam also touched on the instability within the industry, noting the recent waves of layoffs at major labels like Universal and Warner. “Sometimes I never hear back because the person got let go,” he explained. This uncertainty affects everyone, from seasoned publicists to rising photographers. When asked what new photographers should know in 2025, he pointed out that many of the most talented industry professionals—the ones responsible for breaking artists—are the ones being laid off. Gen Z, in particular, faces challenges, often being seen as too young or inexperienced, making them the first to be let go. This is why many are heading to the freelance world. Recognizing these shifts, Liam has started leaning into self-employment. “I think this is what I was meant to do,” he said, emphasizing how social media plays a crucial role in adapting to the evolving industry.

YFG: Do you think concert photography impacts how fans experience music and live performances?

Liam: Honestly, our industry doesn’t get enough credit—we’re the backbone of so much. My parents have always been supportive, and at the start of 2024, my dad sat me down and said, “I’ll back you up, but you need to find a way to make money.” That led to a conversation about how photography is marketing and sales. Our job is to get people so hyped that they feel like they have to go to the show. Balance is key when building strong festival content teams. From what I’ve observed, many local creatives struggle to gain access to their own community’s festivals, as larger companies are often prioritized. Imagine being in a small town with one major festival a year and not being able to cover it as media. While experienced professionals are essential, the best content teams thrive when they blend seasoned photographers with emerging talent, fostering mentorship and fresh perspectives. Corporate decision-makers don’t get it because they’re not in our shoes, which is why we have to keep speaking up. If we don’t, nothing will change.

YFG: What advice would you give someone trying to break into the industry?

Liam: Persistence is key. If I could go back, I’d tell myself to stay neutral—confidence is important, but so is understanding how unpredictable this industry can be. You have to be ready for rejection. A rejection today doesn’t mean that same person won’t approve you in the future. Networking plays a huge role, and I made a video about this—why people aren’t getting hired. It sparked some controversy because I emphasized what you know, not just who you know. People always say it’s all about connections, but I believe it has to be balanced. Some people know everyone but may lack the skills, but that doesn't mean they can't learn. Others are incredibly skilled but don’t have the right connections. If you want longevity, you need both. That’s what I’d tell my younger self—build strong relationships and develop your skills equally. And most importantly, trust that no matter what happens, you’ll be fine.

YFG: What has been your most memorable concert or performance to photograph?

Liam: Greta Van Fleet, hands down. I even made a whole Twitter thread about it—they’re one of the most underrated bands of our generation. In 20 to 30 years, we’ll get a biopic about them, and suddenly everyone will pretend they were lifelong fans. When they were announced as headliners, I was all in. Their performance was pure magic, and they let us stay in the pit the whole time—something most headliners don’t do. I was in tears. They’re the epitome of live performance, truly one of the best of this generation, yet they don’t get enough credit. I took over 2,000 photos that night, and I still haven’t gone through them all. Easily a top-three show of all time for me. I’d kill to photograph them again. The energy was insane, and honestly, more artists—and even music fans—need to take notes. That performance reminded me why I love what I do.

We couldn't wrap up our conversation without asking about his stop-motion concert photography course, an idea sparked by his parents. “They kept asking when I was going to make one,” he laughs. Initially, he put it off, wanting to wait until he had tour experience. But after a stop-motion video of his went viral in July, he knew it was time.

Unlike traditional concert photography courses, his focuses on the editing side—something his audience constantly asked about. “People always wanted to know how I edited,” he says. To make learning more engaging, he infused humor into his tutorials. “I didn’t want to just say, ‘Click this, then this.’ I’d joke, like, ‘Here’s how to avoid making your photos look like Barney the Dinosaur.’” That approach resonated, making complex editing techniques easier to grasp.

While the course is concert-focused, its skills are transferable. “I have sports photographers using these techniques now,” he shares. His methods even caught the attention of the Brooklyn Nets, leading to a collaboration where he applied his stop-motion style to sports content. Recently, he also worked with Barclays Center on a recap project, showcasing the versatility of his approach.

To make the course more accessible, he lowered the price from $140 to $99 and introduced a student discount for high school and college students with proof of enrollment. “I wanted to keep it affordable while still valuing my work,” he explains. Looking ahead, he envisions himself teaching in colleges someday. “Maybe in my 50s,” he says. “For now, this course is just the beginning.”

We couldn’t be more grateful to Liam for saying yes to this interview and taking the time to share his experiences with us. As fans, it was incredible to get a behind-the-scenes look at his work and hear about the moments that shaped his journey. With that, we wrap up the Behind the Lens series, and we want to extend a huge thank you to Liam, as well as Kirill and Chantel, for their time and insight. We can’t wait to see what this year holds for them. Be sure to check out their work, Groupies, and let us know your thoughts. Until next time!

All our love,

Your Favorite Groupies