The year started out typically enough. But the way it began and how it’s ending are startlingly different. By the end of March, so many plans and hopes were dashed that now, as we race toward 2020’s conclusion, many of us feel they may never be realized.
Like so many others in this Year of Covid, I’ve had a chance to reflect, reassess, and reset for the coming year, sorting out what is, and isn’t, important. I enjoy photographing people, whether it be portraiture, cultural documentation, or musical performance. As a photographer, I strive to become invisible and capture moments as they are, not as I or the subject, would like them to be. Although photographing live music has been challenging as of late, I’ve been afforded the luxury of time to go through my archives and, as a result, have made a belated but important discovery: the final image must also render the photographer invisible.
Spafford performs at 9:30 Club on Feb. 5, 2020. (Photo by Mark Caicedo)
One of the many pleasures of blogging for Parklife DC is getting exposed to myriad types of music throughout the DC metro area. Whether it’s experiencing a new local player putting her/ his voice out there in the cacophony of great area performers or seeing established national touring bands with huge loyal followings, the thrill of documenting live music (to my mind, its purest form) is indeed a privilege. For someone like me, with a foot in the past and one stepping into the future, I get to tread a musical path that stretches out in many directions.
Spafford dropped a studio album, For Amusement Only, last year — a rare move for the storied jam band, which focuses on its live output. Spafford is playing live at 9:30 Club on Saturday, Feb. 9, giving DC an opportunity to see what all of the buzz is about.