As the juggernaut that is Taylor Swift’s Eras tour takes over Australia, take a closer look at the images which emerge from it.
Some will become historic, revisited decades later to remember when “Swifties” from around Australia and New Zealand packed stadiums to see the US singer-songwriter, swapped friendship bracelets, and made the star herself tear up as she was overcome by their enthusiasm (and, possibly, thoughts of the eye-watering sums the tour, rumoured to be the most profitable in history, is earning her).
Behind those images are the photographers, often lugging myriad heavy camera lenses and with minutes to send their shots around the world.
Fiona Goodall is an Auckland-based photographer who has spent the past 24 years working as a photojournalist for newspapers, and most recently freelancing covering sport, news and events. Her photos, which depict New Zealand life, often up close and personal, have gone global. Given what a summer of concerts and festivals it has been, it is only fitting to discuss Goodall’s shots of live music moments.
How did the iconic DJ Ardern photo happen?
This was 2014, so Jacinda was a Labour MP but not yet Prime Minister. We knew she was going to be at Laneway, and we heard sort of rumours going around that potentially she was going to be DJing. The only place it was going to be was one of the silos in Silo Park in Auckland, where the festival was held at that time. So, I just sort of squeezed my way to the front and hoped for the best. I ended up being literally on the other side of the decks to her pretty much. Being in a prime spot, the crowd just went wild around me when she turned up. It was a really short set, but it was actually really good. I was jammed in between everybody else in a corner but luckily I had my wide-angle lens and was able to kind of get an in-action shot.
This photo took on a life of its own, arguably amplifying her in the public eye, particularly among young people. What was the energy like in this moment with the crowd?
Sort of semi-surprised. She wasn’t on the line-up and maybe she didn’t necessarily know she was going to do it until the last minute. But everyone was excited, and I think it’s been used over and over again because it’s something you don’t often see from a politician. She wasn’t Prime Minister then, but still you don’t often see a future prime ministers DJing and getting the crowd going in that manner. So, I think it’s been used quite a lot just to show the different sides of her.
What’s it been like being behind the lens and watching her role as a politician shift over time?
It’s been interesting. Seeing the relaxed way she was then shift to less-relaxed as time went on. I do remember once I was photographing the [Auckland] Pride Parade, and she was opening it. It was at the beginning and there were all these ribbons to cut, which she did. We got to the end, and she was there. So, I thought, “well, she’s really the picture”, so I stood and waited near her.
And my daughter, she must have been 3 or 4, she Face Timed me to say good night. While we were talking I put the camera out and said, “here is where mum is, she’s working, I’m just about to start, I’ve got to go.” And then Jacinda said, “what’s that? Who’s that?” And I told her it was my daughter.
I’m pretty sure she was pregnant at the time. She said, “let me see” and she got me to bring the camera over and said to my daughter, “Mummy’s at work, darling, you have a really good sleep” and then blew her a kiss. And then my daughter said goodbye and we ended the call. I got home the next day and asked my daughter whether she knew we that was that said goodnight to her. And she said “mum, that was the Prime Minister!”
I wasn’t sure there were many Prime Ministers who would do that.
What is the experience like photographing festivals and concerts? Is it chaotic? How do you ensure you get still, well-composed shots amidst it all?
It’s chaotic. It’s hot. You’ve got lots of gear you’re lugging around. You’re getting through people and getting to where you need to be. You’re normally only allowed to photograph the first two songs of any set. Three if you’re lucky, in the packed area. That makes it a bit more challenging to get what you need and to get out. Then you can be on the other areas, but generally you’re not allowed to photograph the artists from anywhere else. That’s the general rule.
This Six60 concert was the largest concert post-Lockdown in 2021, could you sense that from the energy in the crowd?
Yes, this Waitangi one was the first major concert after 2020. We went because it was a worldwide news event. People were still very much wanting – and waiting - to do those things in other parts of the world. The vibe was amazing, people were so excited to be out and with each other again, enjoying music. It was a beautiful day. Those pictures went quite far and wide as well, just because of the nature of it and New Zealand was quite well-watched internationally around our Covid-19 response. Coming out the other side of things and how we were managing it was of interest. I think the artists were all excited to be out there as well. The sun was setting when I came on which was beautiful. I was also able to do a bit what I wanted for this one - it wasn’t a three-song limit because there’s more flexibility to cover it as a news event as opposed to as a concert event.
I suppose the end is where the energy of the concert truly comes to a head. Do you prefer having all that time to build up to those moments?
Definitely, because that’s when they get into their groove as well. When it’s the first three songs, at that point, they don’t usually play the real bangers. They save the ones people know to the end. For the show at Eden Park, I even had time to get up to the roof as well to get an overview of the whole mass of crowd. That was pretty cool.
