Some info below and offical Facebook event page here.

Have you ever seen Madonna and Behemoth on the same bill? Or better yet, in the same room?

Twelve of Melbourne’s most talented live music photographers are joining together to take the bands off the stage and onto the walls of Melbourne’s iconic Ding Dong Lounge. Images of bands and artists captured from the smallest pub gigs to some of Australia’s largest festivals.

On display at Ding Dong Lounge for ten nights only. Opening night drinks on Monday 20th, time TBC.

For enquiries including sales contact: a.smith.photography@hotmail.com or 0422181182

Photographers (In alphabetical order): Scott Boelsen, Jesse Booher, Katie Dutton, Rebecca Houlden, Lou Lou Nutt, Naomi Rahim, John Raptis, Brett Schewitz, Richard Sharman, Anthony Smith, Heidi Takla, Elleni Toumpas

Surprisingly with such a strong bill featuring Ne Obliviscaris, The Amenta and Cradle Of Filth – ticket sales were lower than expected.

This gig was originally scheduled for Melbourne’s Palace venue but it was switched to the more intimate Billboard. I hadn’t shot at Billboard since the Converge gig earlier in the year and it is a venue that I do enjoy working in.

And for the first time in a long time, I wanted to get to the venue nice and early to catch both opening bands Ne Obliviscaris and the Amenta who have been causing quite a buzz in local and international media.

Ne Obliviscaris played an atmospheric and sublime set. It would have been nice if they were afforded the luxury of some front lights as the band appeared completely as silhouettes throughout their set. As soon as I had finished photographing them I positioned myself out in the crowd and several people asked me who they were. I shared my limited knowledge of them and the general consensus amongst the fans present was that they were incredibly impressive. No argument from me on that score at all.

The last time I witnessed Sydney’s The Amenta, they absolutely wiped the floor with the band they were opening for Morbid Angel. They were sensational at that gig and as far as I was concerned, they absolutely killed it again tonight. Visually they are impressive and imposing and their brand of post-apocalyptic inspired Metal shone through again. Always an absolute pleasure photographing them as they always play for the cameras and perform like a seasoned professional band. For my money, they stole the show from the headliners… again.

Photographically, I thought Cradle Of Filth were a little disappointing. The stage was awash with red lights for the majority of the photographer’s allotted time in the pit. The shoot proved to be a bit of a struggle. Diminutive Dani Filth screeched like a wounded banshee for the duration of the set as he pranced about the Billboard stage like a man possessed. It seemed to be a typical Cradle Of Filth set but for mine, The Amenta were clearly the stand out act.

It’s hard to put into words what shooting this gig meant to me. But I’ll try. I’ll try real hard to comprehend all that unfolded before me and the honour, pride and raw emotion I felt standing a foot away from Geezer, Tony and Ozzy.

When the Black Sabbath Australian gigs were announced many months ago, that little spark in the heart kicked into gear and I was left wondering, “ooh, I wonder if I’ll get a chance to photograph that one?”

When it comes to the big boys, the acts that play arenas and stadiums and not dingy little Melbourne shitholes, it becomes that much harder to get accreditation and access. It’s not for lack of trying though and I was going to have to move heaven and earth if I was to get a pass for Black Sabbath.

As the dates for the Melbourne shows crept closer and closer, all avenues to get the pass had been pretty much exhausted. It got to the point where I was going to try to get access to one of the Sydney shows. I was totally prepared to wear all costs involved in flights and accommodation… I just had to shoot this show.

When that fell through, I had resigned myself to the fact that it just wasn’t going to happen. That’s how it goes. I moved on and put that little dream back in the shelf.

And then… out of the blue I get the call from the head-honcho of HEAVY magazine that it was done. I was to be photographing the first of the Melbourne shows.

I think for the rest of the night after that phone call I was floating in the stratosphere. I felt euphoric and on such an incredible high. It was going to happen. I was going to photograph Black Sabbath.

And the day finally arrived. It had been a very busy time with shoots at the Blue Oyster Cult gig on the Wednesday, Otep on Friday, a TOOL shoot had been scheduled for the Saturday which didn’t eventually happen so I hit that gig as a punter, and Black Sabbath on the Monday.

I must admit I was feeling a little worn out but by the time early Monday eve had rolled around… I was ready. Braving the Melbourne traffic I made it to Rod Laver Arena in time to meet the media contact.

There were several photographers present. Most I knew on a first name basis so the usual photog chinwag happened in earnest.

After passing on our media releases to our contact in exchange for the Sabbath photo-pass, we were escorted into the venue in time for openers Shihad.

It’s good to shoot the opening band as well as it gives you a feel for the venue and the conditions that would be on offer.

Especially this night as there was a video crew taking up most of the photo pit. There were cameras on stage right and left and a mobile video dolly through the centre of the pit in constant motion from left to right. So you had to be fully aware that it would be in constant motion and to stay well clear out of its way.

It was a difficult night and the pit was awfully crowded but I acclimatised myself to the mechanics of it all during Shihad’s set so by the time Sabbath took hold, I’d be ready.

It was at this point that the road manager decided to cut back our access to only two songs rather than the standard three but seeing as Sabbath tracks are reasonably long, this wouldn’t prove to be too much of a problem.

So after Shihad’s set, we were led back outside the arena and waited for the call again. Once outside again, the team of photographers, (approximately 10 of us) traded barbs and war stories as we waited to be led back in.

The time had arrived. Walking through the hallways of Rod Laver Arena always sends a chill up the spine. You can feel your heart begin to beat that little bit faster and a slow shot of adrenaline begins to creep from the base of your skull and down the length of your back.

Once on the floor of the arena, you can feel the atmosphere of the crowd permeate your skin and combined with the aforementioned adrenaline overload, it feels like you are going into battle.

Standing in front of the drawn curtain, you can see a dark silhouette of Ozzy Osbourne standing before the microphone in a Jesus Christ pose. The curtain parts way, the stage lights are on and there it is… this thing called Black Sabbath is a mere couple of metres away from you.

Game on. Instinct takes over now and you’re here to do what you’ve done so many times before. Photographers left, right and centre all jostling for position but with respect and an understanding of each other’s space.

You break out into a cool sweat as the levels of concentration are at an all time high. Incredible volume and power is pouring off the stage from one of the greatest bands ever to stomp on a concert stage and the energy from the crowd is intense and rapturous.

Seeing Ozzy Osbourne stare directly into your eyes as you are about to frame a shot is just as surreal as it gets. Seeing Tony Iommi’s fingers pluck his guitar and his smiling at Ozzy’s antics whilst Geezer Butler slaps his bass silly is just a magic moment.

And then it was over. Our two songs were up and we get escorted back outside. Through the halls of Rod Laver we go as one photog up ahead turns and asks me, “How was that Raptis?” I just let out a scream, “FUCKN HELL THAT WAS FUCKN AWESOME!” was the reply that bounced off the walls.

I had just photographed Black Sabbath and I dare you to even begin to try and wipe this permanent grin from my face.

For a review of the show, please visit the HEAVY website.

I’ve now officially shot my last show at the Hifi Bar. I have kicked and screamed and whined and moaned about its awful lighting for nearly every shoot I have done there. Tonight was the final straw.

When the act themselves comments about the lighting after the first song, you know something is wrong.

Otep pleaded with the ‘lighting’ guy to turn on the lights. After her response was ignored, she asked again and he bathed the stage with that awful Hifi Bar ‘red’ we’ve all become accustomed to.

Ugh! Total utter farce. It is impossible to photograph in there under such conditions.

I later found out that the band’s tour manager approached the lighting desk only to find out there as no lighting guy and the sound guy was blindly twiddling knobs to get some sort of lighting on the stage.

I give up. Hifi Bar, thanks for the memories…

Arriving at the Prince Bandroom, I was greeted with a massive queue leading into the venue for tonight’s Blue Öyster Cult gig. I haven’t shot at the Prince much, twice before actually… Die Antwoord sometime in 2010, and Rowland S Howard in 2009.

Once inside, the first thing I noticed was that there was absolutely no room to take photos. No pit. No where to get a decent shot. I cursed my luck and wasn’t looking forward to the night ahead.

If I was to get any sort of shot, I would have to improvise.

Blue Öyster Cult are one of those timeless classic bands. Although the line up only featured two of the original members, Buck Dharma and Eric Bloom – that still didn’t stop the venue being at capacity witnessing these old times put in an epic two hour set.

I did as best as I possibly could to shoot the gig spending the first half at stage left and the second half at stage right.

A very tough night’s work I can assure you…

Even though the majority of acts that I photograph are usually from the Metal sphere, it was hard to knock back the opportunity to photograph an icon legend in John Lydon.

There were several photographers present for tonight’s shoot. We had all been instructed to meet our contact outside the ticketing booth at a certain time. As we were all anxiously waiting, our contact was no where to be seen.

As the time creeped closer and closer to showtime, we collectively decided to move straight for the photo pit or we would be too late. We could not wait for our contact any longer.

In single file we marched towards the pit making our way through a very large and generous crowd.

We were pretty much in position just as John Lydon appeared and began his set.

From the outset, the band sounded amazing as did John who put so much emotion and effort into each and every lyric.

For a detailed review of tonight’s gig, please visit HEAVY.

I have honestly lost count of the amount of times I have seen Opeth live. They regularly tour Australia on each tour they undertake and almost always without fail, they never, ever disappoint.

I believe tonight was the second time I have photographed them having shot them on their last tour in 2009.

I arrived early at the venue as I wanted to photograph tonight’s openers Katatonia as well. What greeted me on arrival at the venue was a queue that stretched down the length of two city lanes as many had come early to see Katatonia too.

I could have just waltzed in, flashed my media pass and beat the queue but I said fuck it, I wanted to feel the vibe of the people so I trekked all the way to the end of the queue just to get into the right frame of mind. As you do.

Once inside, the usual chit chat with my fellow photogs in the photopit as we waited for Katatonia to hit the stage.

My phone was going mental as colleagues in the audience were demanding I try and get a photo of Katatonia’s lead singer. This proved to be a completely impossible task as his long hair, frustratingly, covered his face for the duration of the band’s fine set.

Most label Katatonia and Opeth clone, but they held their own tonight and delivered a wonderful set.

And then Opeth took command. I always do enjoy shooting them because a three song limit with Opeth, usually lasts about 40 minutes!

Again, they were superb. Truly superb but I am not here to break down a track by track review of the gig, you can read that over at HEAVY who I was shooting for tonight.

After last night’s insanity at the Slayer/Anthrax gig, it was good to be back on home turf at Melbourne’s Palace for tonight’s stoner-fest with Red Fang, Orange Goblin and the legendary Kyuss Lives! set to rip Melbourne a new one!

Being a fan of all three bands, I pretty much got to the venue straight from my Sydney flight and although I was feeling slightly weary, there was no chance in hell I was gonna miss a solitary second of this.

And what an absolutely correct decision that was because all three of these bands put on the show of their careers!

It was an amazing night and I purposely told anyone within earshot that this was gig of the year so far in 2013.

Red Fang took the stage and were received as if they were the headlining act. They absolutely killed it and proceeded to play harder as the generous crowd just greeted their every song with thunderous applause and intense enthusiasm. It took the band by surprise and they put forth a blistering set.

Orange Goblin kicked it up another notch and again, the band were overwhelmed by the response from the fans. Taking command of the stage, lead singer Ben Ward had the crowd in the palm of his hands for the entire ass-kicking set. They, along with Red Fang, absolutely dominated proceedings and even from this early stage of the night, it was looking like an incredible once-in-a-lifetime gigs.

And then it was Kyuss Lives’ turn.

I’ve lost track of the amount of gigs I have photographed. Its in the 100′s. Out of all those shows, nothing sounded as good as this tonight. The bass felt as if it was rearranging ones innards but the sheer volume of it all was match by its clarity, power and superb groove. Filling in on bass was Corrosion Of Conformity’s Mike Dean. Fuck he was superb!

The entire band sounded amazing, as stated, one of the best I have ever seen, one of the best live mixes I have ever experienced at a gig. Fuckn superb!

Pure stonerfest! One got the munchies just watching these guys!

Gig of the year!

Oh, and go and read a proper review over here.

When one is presented with the opportunity to photograph Slayer and Anthrax – no matter where – one jumps at that chance!

Both are amongst two of my favourite bands and both I had never photographed in the past so even if the gig was to be held in Sydney, I was arranging flights and accommodation even before the confirmation to shoot had been finalised!

It wasn’t long for confirmation to arrive and the next thing I knew it was the day of the gig. I flew into Sydney a little after 5.30 and once at my hotel in North Sydney I refreshed, had some dinner and then made the trek to the Big Top venue at Luna Park just at the foot of the mighty Sydney Harbour Bridge.

My cabbie marvelled at all the Metal Heads loitering in the general vicinity commenting, “everyone’s dressed the same…” and then I noticed I too was in the obligatory black tee shirt and army camo shorts, long hair and tattoos like the majority of the punters present! Naturally I felt at home almost in an instant.

I stood at the feet of the Harbour Bridge and marvelled at the view ahead. With the sightseeing over in about 5 minutes, it was time to lock and load and head into the venue.

And what a freaking cool venue it is. I can fully understand why many of the international Metal acts perform here. Its about as close to the perfect venue as you can get albeit acoustically, I’ve heard far better.

I did the fanboy thing and bought myself a Slayer t-shirt just as Kingdom Of Sorrow were winding down their set.

I really wanted to catch them too, let alone photograph them, but I just could not align my schedule to accommodate that.

I made my way to the photo pit and Anthrax took command of the stage. Without Charlie Benante on the kit, it wasn’t the good, old Anthrax that I know and love but they still put forth a blistering set mixed from their past repertoire and liberally peppered with new tunes from their awesome ‘Worship Music’ opus. Ya couldn’t wipe the grin of my face as I stood in front of Sir Scott Ian. He ripped it a new one and still has the same energy and presence as he did 20+ years ago.

I was surprised by the amount of photogs in the pit. There were quite a few of us which made jockeying for position just that little bit trickier.

Not long after Anthrax, Slayer were armed and ready. Again, they were without their drummer who many feel is the driving force behind their sound. Jon Dette, who had just played a set with Anthrax was on double-duty tonight hitting the skins for the controversially absent Dave Lombardo. Jon did an admirable job indeed, but I would have loved to have experience the merciless onslaught that is Dave Lombard in full throttle – one of the finest if not best drummers of his genre!

I’ve seen Slayer about 4 times and they’ve always been kinda not-quite right. The Tom Araya Karaoke gig that happened in Melbourne a few years ago was a disappointing night as Tom couldn’t sing a note – but tonight I gotta say, Slayer were on!

I had a blast photographing the gig until a punter came flying over the security railing and landed feet first into my right shoulder blade. It was agony as I tried to fight of the pain and the size 10 Doc Marten boot that is imprinted on my back.

It proved to be a night of classic old-school Thrash Metal by two bands that literally defined the Thrash Metal movement. Hurt shoulder and all, I had an absolute blast!

Einstürzende Neubauten are the stuff of legend. Their influence on what is now known as Industrial music is the stuff of legend. For instance, there would be no Ministry or Skinny Puppy or Nine Inch Nails without these guys pioneering the sound and ethos.

I was excited about tonight’s gig and jumped at the chance when offered the opportunity to photograph it.

Standing in the photo pit pre-show, I marvelled at all the custom-made instrumentation that were scattered throughout the stage. It looked like a veritable metal junkyard and with great anticipation, I couldn’t wait to hear what it all sounded like.

On cue the band took the stage. Dimly lit and atmospheric, that junkyard came to life as the band kicked off their eclectic set in such a low key and sombre tone that I could actually hear my camera’s shutter clicking with every photo I took. Now that, that is an absolute first if you look at the other calibre of acts I usually photograph.

Lead singer Blixa Bargeld proved to be very popular with the adoring crowd probably because of his long time stint as a Bad Seed in Nick Cave’s crew.

The band cruised through a nearly two hour set banging, crashing and smashing every conceivable surface and object creating such an organic and at the same time, visceral soundscape.