# Nothing Special
> Luke Evans shares stories from behind the lens, covering music photography, festivals, live events, gaming, technology and the moments that make them memorable.
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Append `.md` to any post or page URL to get the content in Markdown (for example, `/example-post.md`).
## Pages
### About
URL: https://www.nothingspecial.blog/about/
Last updated: 2026-07-21T08:47:08.000Z
A lifestyle blog by a South West-based music industry photographer and videographer.

Originally intended as a place for me to write about my experiences and thoughts on working in the music industry while sharing my work and some of my editing processes.

That being said, I don’t want to pigeonhole myself or this platform. I’m a tech enthusiast, sometimes musician, occasional skateboarder who’s past his peak and a father of two who spends too much time gaming. These interests naturally shape the content you’ll find here.

*Nothing Special* is aptly named as a place for me to express my thoughts on whatever it is that’s captured my interest during my day-to-day life.

While it hopefully serves as a platform that entertains and informs, ultimately it’s just a place for an average joe with too many hobbies and never quite enough time to enjoy them all to share them with you.

If any of this sounds like your sort of thing, then feel free to subscribe to the newsletter. I can’t promise every post will be life-changing, but hopefully you’ll find something that was worth sticking around for.

## Sign up for Nothing Special

A personal perspective on music, technology and everything in between

Subscribe 

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---

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/07/L33-JULY--2.jpeg)

**Nothing Special* is an independent publication launched in 2026 by Luke Evans.
### Order prints
URL: https://www.nothingspecial.blog/order/
Last updated: 2026-08-13T18:04:20.000Z
If you've spotted a photo on *Nothing Special* that you'd like to have, prints are available in 6x4 (small print) and 12x8 (large print). 

All prints are made to order and produced from the original, watermark-free images and include the digital version of the photo too. Prices include UK postage and packaging.

How it works:

1. Fill out the form below with the photo number, size you'd like, your delivery address, e-mail address and payment info.
2. Once payment has been received, your print will be produced and posted.

Please allow up to 10 working days for delivery, as all prints are made to order around my work schedule. I aim to get them to you as soon as possible.

If you'd like multiple prints, please fill out the form multiple times. I will work on a way of doing batch orders, but right now, that is beyond my level of web form expertise.
## Posts
### NEEWER RGB1200 Review: A Real-World Test During a Drum & Bass DJ Promo Shoot
URL: https://www.nothingspecial.blog/neewer-rgb1200-review-dj-promo-shoot/
Last updated: 2026-08-26T09:03:08.000Z
I don't often get a chance to shoot this kind of thing.

When Gavin Steel (*@vinnisteel*) got in touch about creating some promo content for his [Felbeat](https://linktr.ee/felbeat?ref=nothingspecial.blog) project, I was immediately interested. Gavin is a drum & bass DJ with influences that extend into alternative music. We got together and discussed what a final product would look like, and the reference material he gave me involved a lot of two-tone RGB portrait lighting.

That presented me with a bit of a problem.

I didn't really have the lighting equipment I needed to create the look, so I started looking at what I could add to my kit without spending a fortune on something that I'd only use once.

That's where the NEEWER RGB1200s came in.

---

## Choosing the NEEWER RGB1200

Initially, I was looking at the NEEWER RGB600s due to my budget.

They were cheaper and they probably would have been enough for this particular shoot. Then I started thinking beyond this one job.

If I was going to invest in a pair of RGB lights, I wanted something I'd still find useful for future shoots and give me room to grow.

So I ended up buying a two-light kit of the **NEEWER RGB1200s** instead.

That turned out to be a decision I'm very glad I made.

**NEEWER RGB1200 — key specifications**

- 60W output
- RGB colour control
- 2500K–8500K colour temperature range
- 0–100% brightness
- Bluetooth/app control
- Built-in lighting effects
- NP-F750/NP-F970 battery compatibility

---

## The shoot

We shot at THÊ DEPØ, which was not only the best option we had available to us, but it turned out to be perfect for what we were trying to achieve.

The combination of exposed brick, black walls and the amount of space gave us plenty to work with. Rather than trying to fight against the environment, or having to buy a backdrop set, we could use it as part of the look.

The idea was to create something dark, atmospheric and slightly unconventional, something inspired by a mixture of both DnB and alternative music, while still keeping Gavin as the focus.

This was where I started to appreciate just how much flexibility having two RGB lights gave me.

Rather than simply using them as conventional lights, I could use colour to change the entire feel of a scene.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/bts-felbeat.jpg)

---

## Using the RGB1200s

One of the things I loved the most when using the RGB1200s was how much control you have over them.

The lights can be controlled directly from the units themselves, and you can control them individually or together. There's also a NEEWER iOS app that allows you to control the lights via Bluetooth (again, either individually or grouped together).

Being able to make adjustments without constantly having to walk back and forth between the camera and the lights was super useful.

There are also a variety of lighting effects, colour options and other controls, including music control and a colour picker.

To be honest though, I didn't use every feature.

For this shoot, I was primarily interested in two things. The conventional lighting options and the RGB functionality.

That's what I spent most of my time experimenting with.

---

## Playing with colour

This was probably the most enjoyable part of the shoot.

I've used conventional lighting before, but introducing RGB colour into the setup gave me another creative variable to work with.

Instead of simply thinking about where I wanted the light to come from, I could start thinking about what colour I wanted that light to be and how it interacted with the environment.

The brick walls at The Depo were particularly useful here.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/STEEL-10-1.jpg)

It meant that relatively small changes to the position, intensity or colour of the lights could make a surprisingly significant difference to the final image.

---

## How did the RGB1200s perform?

They performed brilliantly.

I went into this shoot knowing that I was relatively inexperienced with this particular style of lighting, and I wasn't sure how good the results would be.

But the lights gave me the flexibility I needed to achieve what I'd hoped for.

The output was more than enough for what I was trying to achieve, and having two lights meant I could create much more interesting setups than I could with a single source.

I also really liked having the option to switch away from RGB and use a more conventional colour temperature when required.

That makes them feel considerably more versatile than a light that exists purely to throw coloured light around your subject.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/STEEL-7-ALT.png)

---

## What about battery power?

One thing I haven't tested yet is battery operation.

The RGB1200s can be powered using NP-F750/NP-F970 batteries, which would obviously make them much more useful for shoots where mains power isn't available.

I haven't bought batteries for mine yet, so for this shoot I used mains power and a reel extension lead.

That's something I'll probably change in the future, particularly if I find myself taking these lights out on location more often. Mains power and an extension lead is ideal where the option is available though.

---

## Would the RGB600s have been enough?

Probably.

If you're buying lights specifically for specific shooting conditions and you're working within a tighter budget, I don't think you should automatically assume that you need the RGB1200s.

The RGB600s were initially what I was considering, and for what we actually did on the day, they may well have done the job.

The reason I went for the RGB1200s was less about this specific shoot and more about future-proofing my kit.

I'd rather spend a little more now on something I can see myself using repeatedly than buy the cheaper option and find myself wanting something more powerful six months later.

After using them, I'm particularly glad I made that decision.

---

## The final images

Ultimately, none of this really matters if the photos aren't any good, but I'm really happy with how the final images turned out.

This was a style of shoot that I haven't done a huge amount of before, and it pushed me to think differently about lighting and how I wanted to approach the shoot.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/STEEL-11-2.png)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/STEEL-13-2.png)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/STEEL-20-2.png)

I'm also really pleased with how the images responded to editing.

The lighting gave me a strong starting point, rather than trying to manufacture the entire look afterwards in Lightroom or Photoshop.

The RGB1200s didn't magically make the photographs better on their own. They gave me more creative control, which allowed me to create something that would have been considerably more difficult with the equipment I already had.

---

## My NEEWER RGB1200 verdict

I'm genuinely impressed with these lights.

I bought them because I needed something specific for a particular shoot, but after using them I'm confident they'll become a regular part of my kit.

The combination of conventional lighting, RGB control, effects, Bluetooth app control and the ability to use multiple lights together makes them extremely versatile.

I particularly like that the RGB functionality doesn't come at the expense of being useful as a conventional light. For me, that's what makes them more appealing as a long-term investment.

### Would I recommend them?

Based on my experience so far, **yes**.

Especially if you're a photographer, videographer or content creator looking for a flexible and portable lighting setup that gives you the option to experiment with colour.

I still need to try them on batteries, and I'd like to spend more time experimenting with some of the effects and other features, especially with video, but based purely on what I've used them for so far, they've already exceeded my expectations.

The biggest compliment I can give them is that I went into this shoot wondering whether I'd made the right decision spending the extra money on the RGB1200s.

I came away wondering what else I can shoot with them.

---

## Final thoughts

Working with Gavin on the Felbeat project was a great opportunity to try something outside of my usual comfort zone.

It also reminded me why I enjoy photography in the first place.

Sometimes buying a new bit of kit isn't about having the latest or most expensive equipment. Sometimes it's about finding something that gives you an excuse to experiment and try something you wouldn't have otherwise tried.

For me, the NEEWER RGB1200s did exactly that.

And judging by the final images, I'm very glad I bought them.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/STEEL-1.png)
### Casa @ Tinside Lido - 01/08/26
URL: https://www.nothingspecial.blog/casa-tinside-lido/
Last updated: 2026-08-26T09:05:56.000Z
A six-DJ lineup at an outdoor swimming Lido on the Plymouth seafront, with house music playing out across the Hoe and members of the public able to tune in as they walked past. Plus one rule: nobody allowed in the pool.

Visually, it was a fantastic setting. Tinside Lido is already a pretty scenic place and with the sun setting over Plymouth, there was some lovely golden-hour light to work with.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/CASA-TEST-16.jpg)

Unfortunately, there was one fairly large thing getting in the way of all that. A massive marquee had been put up, initially in case the weather didn't hold out, but remained throughout the event for reasons beyond the control of the organisers. It wasn't exactly ideal from a photography perspective due to it taking up a surprisingly large amount of my viewfinder for most of the night. Meaning my initial plan of getting some shots from above looking down over the event was pretty much ruined instantly.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/CASA-EDIT-34-1.jpg)

The timing of this one wasn't exactly perfect either. I'd been shooting Pretty Fly the night before, had my son's ninth birthday the following day, and this all landed in the middle of two particularly heavy weeks in terms of hours at the day job. Not exactly the ideal circumstances for taking on another shoot, but I'd never shot anything quite like this before and was keen to make a good impression.

I've met the guys from The Depo plenty of times over the years, when working with various bands at The Depo. This was my first time actually shooting for Ryan and Ben though, so I was keen to make the most of the opportunity. House music isn't normally the kind of show I find myself at either, which added another layer of unfamiliarity to the whole thing.

I'd been briefed to get wide crowd shots, with people going mad and generally enjoying themselves. Simple enough. Except when I actually started shooting, I had to spend most of the night trying to frame those shots around a massive gazebo taking up a sizeable chunk of the viewfinder.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/CASA-EDIT-70.jpg)

Initially, I found it pretty difficult to get anything decent. The whole thing was completely different from anything I'd really shot before. None of the the usual stage, crowd and venue setup that I'm used to working in.

There was also another recurring challenge. People wanting photos together. Every few minutes, someone would ask me to take a photo of them and their mates. I'm also far too socially awkward to explain that I was there to photograph the event itself and the DJs rather than provide a group photography service to everyone in attendance. So I took their photos and figured I might as well use the opportunity to plug my Instagram while I was at it.

Once more people started filling the space, things became a lot easier. Suddenly there were more people to work with, more energy in the crowd and more opportunities to find angles where the gazebo wasn't completely dominating the shot.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/CASA-EDIT-99.jpg)

To be honest, I would've liked to have delivered a little more with this shoot. Unfortunately, sometimes time constraints mean you can only do so much. Between everything else going on that weekend and the hours I'd already been putting in at work, I had to accept that this wasn't going to be a shoot where I could spend endless amounts of time working through every possible shot and idea. Luckily, The Depo have an in-house media person who was able to take some of the video clips I'd shot and edit them together, which meant my workload was significantly reduced.

If you want to see more of what Casa has posted and edited together from the event, you can find them on Instagram at **@casa\_events**.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/CASA-EDIT-91.jpg)

The feedback I've had from the organisers has been positive, which is always good to hear. Hopefully I've made enough of an impression to get the chance to work with them again in the future. Especially if they keep coming up with events this unusual.

Because while house music might not normally be my thing, I'm definitely up for photographing an outdoor swimming pool full of DJs and people having a good time again.

Just maybe with slightly less gazebo next time.

> *I'd love to hear what you think of my work, so feel free to leave a comment below.*
### Pretty Fly Alt Night: Emo Karaoke @ The Junction - 31.07.26
URL: https://www.nothingspecial.blog/pretty-fly-emo-karaoke-the-junction-31-07-26/
Last updated: 2026-08-27T11:15:27.000Z
There are nights where you turn up to shoot, everything goes smoothly, and you just get on with it. This was not one of those nights.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-01.jpg)

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![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-08.jpg)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-09.jpg)

Pretty Fly Emo Karaoke was back on 31st July, hosted by the usual duo of Cuddy and Jamie, with a hand from Kradams from Ten Years Too Late and Carrier.

I managed to miss the start. Pretty Fly is usually a 10pm start, so it wasn't until around 7pm that I realised this one was kicking off early at 8pm. By the time I actually arrived, it was around 9pm.

Then there was the parking. My usual tucked away private parking space, safely tucked away under lock and key, had a new lock on it. So I ended up borrowing a space from the barbers next door instead (regardless of the signage threatening to clamp my car).

Finally, I got inside, said hello to Jamie and Cuddy, started getting my camera set up and realised I'd forgotten my batteries. I'd charged them the night before as always. I'd just forgotten to put them back in the camera bag.

So, after all that, I drove back home, picked up the batteries, and headed back to The Junction for a second time. Eventually, at around 9:30pm, I was ready to shoot. And by that point, the night was properly underway.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-10.jpg)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-18.jpg)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-17.jpg)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-16.jpg)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-15.jpg)

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![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-12.jpg)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-11.jpg)

Normally, Pretty Fly has people packed right up towards the stage. Which means I can get plenty of close-up wide shots, different angles and plenty of opportunities to move around and find something a little different.

This time, there was a pretty sizeable gap between the audience and the stage. That might not sound like a huge deal, but for me it changed things quite a bit. It made flash photography a little more awkward.

There were really only a handful of vantage points that made sense, so it became more making sure I got a photo of everybody who performed from those vantage points.

That's probably the biggest thing I think about when shooting these nights. It's not just about getting a few cool photos of the event, it's about giving the people who actually made the night what it was something to look back on.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-19.jpg)

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-27.jpg)

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![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-22.jpg)

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![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-20.jpg)

Despite the stressful start, it was a fun one to shoot.

If you want a print of any of the photos without the watermarks from these albums, you can order them [here](https://www.nothingspecial.blog/order/?ref=nothingspecial.blog). Just make sure to take note of the photo number, which is watermarked in the top-left of the photo. For example, **PF-EK1/90**.

Here's the rest of the photos:

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/08/PF-EMO-KARAOKE-2-28.jpg)

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### Pretty Fly Alt Night @ Level 33 - 17.07.26
URL: https://www.nothingspecial.blog/pretty-fly-level-33-17-07-26/
Last updated: 2026-08-27T11:14:38.000Z
Last Friday, Plymouth’s goths, emos and metalheads played an away fixture at Level 33 as Pretty Fly Alt Night returned to the rooftop venue on 17th July.

Running from 6 ’til 10, the summer party once again took over one of Plymouth’s most unusual venues. Sitting above THÊ DEPØ, Level 33 feels worlds away from Pretty Fly’s usual home at The Junction. Deck chairs line the rooftop, while a vintage VW Beetle and chopper bike sit among the crowd. There’s giant Connect 4, a swing, and a neon green phone box that fills with smoke whenever somebody steps inside.

It’s not the obvious setting for an alternative night, but every time Pretty Fly heads there, the emos show up.

One thing I’ve always noticed about Pretty Fly at Level 33 is how different the crowd feels compared to the regular nights at The Junction. There’s a slightly broader, more mainstream energy to it all, which unfortunately meant my request for Enter Shikari’s *Zzzonked* was swiftly rejected by Jamie, who instead opted for safer territory with tracks like *Shake It* by Metro Station.

That shift in atmosphere also influenced how I approached photographing the night.

Normally, I like Pretty Fly galleries to lean heavily into the grungier side of things with wide-angle shots, crushed shadows and ridiculous amounts of grain. But with Level 33 bathed in golden hour sunlight, that approach didn’t feel right.

Instead, I stuck with my Canon 24-105mm F4L and aimed for something cleaner. The edits are warmer, the shadows and highlights are more natural, and the grain is dialled back considerably.

Looking back through the gallery, I think it paid off. The cleaner look complements the weather, the venue and the slightly different personality that Pretty Fly takes on whenever it heads up to the rooftop.

If you'd like a print of any photo from this gallery, 6x4 and 12x8 prints are available. Click [here](https://www.nothingspecial.blog/order/) for pricing and order details. 

Picture numbers for the form are below each gallery.

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### Behind the Edit: Ten Years Too Late at Ruckus Festival
URL: https://www.nothingspecial.blog/behind-the-edit-ten-years-too-late-at-ruckus-festival/
Last updated: 2026-07-09T12:58:47.000Z
Before I say anything else, here's the finished edit.

Normally my edits lean into darker colours, film grain and overlays. Sometimes I wonder whether all the extra layers end up distracting from the footage itself. Maybe it's some sort of imposter syndrome. Maybe, subconsciously, I'm trying to hide behind the edit instead of trusting what I've captured.

In my opinion, my usual editing style suits the kind of venues I mostly shoot in. But Ruckus was different. It was bright, sunny, colourful and you could see the crowd. In my opinion, a grungy edit would've felt out of place, so I kept this one much cleaner than I normally would. The funny thing is, whenever I edit like this, I always find myself doubting it. I look at other photographers and videographers who produce these beautifully crisp edits and wish I could achieve the same confidence in my own work.

Because I wanted this edit to feel a little different, I organised for a drone operator to capture footage of the set from above. I couldn't get him access to the festival, but there aren't any tickets on sale for the airspace above it, so he parked up outside, launched the drone and captured some great shots.

As much as I was happy with at least half of the footage I shot, the shoot itself definitely had its challenges. In the usual setting of dark venues, getting enough light is the biggest problem. Ruckus was almost the complete opposite.

Standing on stage looking out, the band and the section of crowd nearest the stage were lit beautifully. Everything beyond that was sitting in harsh sunlight. I had a choice: expose for the crowd and leave the band underexposed, or expose for the band and accept that parts of the audience would blow out.

I chose the latter. After all, I was there to capture content for Ten Years Too Late.

Looking back, I still think it was the right decision, but it's one of those situations where there isn't really a perfect answer. I spent far longer than I'd like to admit trying to recover detail from those highlights during the edit before eventually accepting that sometimes the conditions simply win.

If I could go back and shoot the set again, I'd probably spend more time in the pit.

The footage from down there looks fantastic. The colours are richer, the exposure is easier to manage, and it gave me exactly the clean look I was aiming for. Instead, I stuck to my original plan of splitting my time roughly fifty-fifty between the pit and behind the band on stage.

I don't regret it because photos from the pit are something I can get at almost every show. Standing behind a band playing to around 1,500 people in a rugby stadium in Plymouth is a much rarer opportunity. Those wide shots showing the crowd from the band's perspective tell a story that pit photos simply can't.

That decision did make editing a little harder though. I found myself wishing I'd captured just a few more close-up clips to help carry the pace of the edit. If you watch closely, you might even spot one clip that's been duplicated and reversed just to squeeze a couple more seconds out of it.

This edit reminded me that putting extra effort into something doesn't necessarily mean adding more effects, more overlays or making it more complicated. Sometimes the challenge is doing less, trusting what you've captured and letting the footage speak for itself which I hope this edit does. There's still some CRT lines overlaid, and a few Super 8 style burns, but I've tried to keep it to a minimum rather than letting them become the focus.

I'm still my own biggest critic, and I probably always will be. I don't think that's entirely a bad thing. Being critical of my own work is one of the reasons I've improved over the years.

This time, though, I think the biggest lesson was that maybe sometimes less is more.

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If you missed my write-up and photo showcase about my weekend working at Ruckus Festival shooting Ten Years Too Late on the Friday, and returning on Saturday in the capacity of artist liaison, then you can read that [here](https://www.nothingspecial.blog/nothing-special-1-ruckus-festival/).
### Nothing Special #1 - Ruckus Festival
URL: https://www.nothingspecial.blog/nothing-special-1-ruckus-festival/
Last updated: 2026-07-08T10:13:48.000Z
Every blog has to start somewhere.

*Nothing Special* starts with Ruckus Festival in Plymouth.

---

On Friday, I was there to shoot photos and video for Ten Years Too Late. Their first hometown show since November 2025 (which was also at Brickfields). 

Armed with a nostalgic, interactive video intro, a brand-new song in the set, and some questionable summer shirts that hadn't seen the light of day since their summer show at The Junction back in 2023, the band looked more than ready to be back on home turf.

Sandwiched between Foo Fighterz and Stiff Bizkit, Ten Years Too Late caught the attention of everybody in attendance at Ruckus from the moment their set started - the laid-back summer atmosphere quickly turned into a packed-out crowd singing along to every word, with plenty of nostalgia for emos-in-the-making and elder emos alike.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/07/TYTL-RUCKUS-21.jpg)

Liam West (Ten Years Too Late) - Ruckus Festival 2026 | Photo by Luke Evans

Amongst the jam-packed set of emo anthems was "Wake Me Up When September Ends" by Green Day - one I'd never heard them play before. It was a real treat for the hometown crowd, who turned out in huge numbers.

I've travelled all over the UK with Ten Years Too Late and worked shows of all sizes with them, but Ruckus might just be the biggest crowd I've seen them play to. I believe there were close to 1,500 people there, which could make it their second-biggest audience to date. That's only overshadowed by their most recent show, playing to around 4,000-5,000 people on the District X Stage at Download Festival.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/07/TYTL-RUCKUS-3-2.jpg)

Kris Adams (Ten Years Too Late) - Ruckus Festival 2026 | Photo by Luke Evans

I'm incredibly lucky to be able to regularly work in the music industry, both for and alongside some amazing artists, but it always feels that bit more special working big shows when it's with Ten Years Too Late because the band and crew are some of my closest friends.

This show included a performance from another dear friend, Gordon MacKenzie of Black & Brass Tattoo Collective, who got on stage to perform "King For A Day" while Kradams took to the microphone alongside Cuddy. For me, this was a highlight from the set - even if there was a mishap with Kradams' guitar pedal resulting in Gordon's guitar being doubly drop-tuned for half of the song.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/07/TYTL-RUCKUS-12.jpg)

Gordon MacKenzie joins Ten Years Too Late - Ruckus Festival 2026 | Photo by Luke Evans

After the show, a few of the band headed off for an interview with [FCR Radio](https://www.fcradio.co.uk/plymouth-albion?ref=nothingspecial.blog), while I called it a night not long after packing the camera away.

I managed to catch parts of Foo Fighterz before Ten Years Too Late took to the stage, and parts of Stiff Bizkit before heading home. Both were absolutely killing it from what I saw. 

Unfortunately, I missed L1NKN P4RK's set, but I've photographed them a couple of times before - once for Live Sound Promotions at THÊ DEPØ and again when Carrier supported them at Falmouth Princess Pavilion back in February. Based on those shows alone, I'm pretty confident the Ruckus crowd won't have left disappointed by Friday's headliners.

As for Ten Years Too Late, they won't have to wait long before they're back on another big stage. On 19th December, International Emo Day, they'll be playing Torquay Arena alongside Bring Me The Horizon tribute act MANTRA. If Friday was anything to go by, it's one that'll be well worth checking out.

Tickets available [here](https://www.seetickets.com/event/ten-years-too-late-00-s-emo-tribute-mantra/arena-torquay/3675056?ref=nothingspecial.blog).

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/07/TYTL-RUCKUS-23-2.jpg)

Cuddy (Ten Years Too Late) - Ruckus Festival 2026 | Photo by Luke Evans

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On Saturday, I left the camera at home and attended Ruckus in the capacity of artist liaison. Jamie from Live Sound Promotions did all the hard work in the morning, and I tagged him out at around 5:30, shortly after the festival kicked off for the day.

Jamie had to leave as Carrier, a band he manages, was performing in Metal 2 The Masses for a chance to win a slot at Bloodstock Festival. Usually, he'd lean on Jonah, but as the bass player of Carrier, Jonah was otherwise engaged. It was a good call in the end, as not only were the artists liaised with in a world-class fashion, but Carrier won the competition and will be playing Bloodstock in August. Not that I was there, but it was well deserved in my opinion. I've had the pleasure of working quite closely with Carrier since their revival and they are a very good band.

Saturday's line-up consisted of The Busketeers, Vince Lee & Sophie Lord, Andy Quick, The Captain’s Beard, Slady, rePunk'd, Liam C and The Hoosiers.

By the time I'd arrived and done a handover with Jamie, The Captain's Beard were preparing to go on stage. Someone from Slady was sharing out their rider, so I accepted a Corona before getting some food. There was plenty of options, but I opted for a ham & mushroom pizza with hot honey drizzle from Pilgrim's Pizza and "Fry Me Up Chicken" from the Authentic Thai Food stall. Both were great, but those chicken skewers were seriously amazing.

After a bit of food, Jamie left, and there I was - all alone with Thai chicken sauce unknowingly stuck in my moustache, pondering - do I wait to be liaised with, or do I proactively liaise? Well, Beau from rePunk'ds entourage made that easy for me. Introduces himself to me as rePunk'ds manager. I ask him if he's had his food vouchers, he said he hasn't and tries to blag some before the real manager of rePunkd makes her way out of their green room informing me she's the manager, and not to give him any food vouchers. He was seriously convincing - turns out he's the singer's boyfriend.

Next, the guy in charge of the social media for Ruckus Festival comes up to me, asks the whereabouts of The Hoosiers as he's hoping to film an interview and get it uploaded before their set. Turns out, The Hoosiers were on their way from playing the Sausage & Cider Festival in Worcester earlier that day. I couldn't believe it! Two festivals in one day, with a 3-hour drive in between. Crazy.

The stage manager, Ross, who I'd met Friday comes up to me and asks "Have you seen Liam C?". I had seen him earlier, but now he was out and wandering around the festival grounds giving away merch and dapsing up his fans for social media content. This was my moment - finally, a legitimate reason to liaise with one of the artists. I walk around the grounds and I see Liam C's manager. I let him know Ross is looking for Liam C. I'm earning my money now.

After this, I kind of entered a sort of artist-liaising flow-state. I charged the rePunk'd singers vape while they were on stage, got some questionable but perfectly functional towels for The Hoosiers, hung out with my new mate Beau, chatted with the lovely people from FCP Radio, and it all went great.

Once The Hoosiers were on stage, the artists that hadn't left already were all enjoying the festival, hanging out together and I get invited to watch The Hoosier's set with people from rePunk'd, FCP Radio and the sole remaining member of The Captain's Beard.

![](https://storage.ghost.io/c/41/7a/417a6c19-fcc2-4ff8-87e9-2bfaec06ddd1/content/images/2026/07/IMG_1772_VSCO_VSCO_VSCO-1-1.JPG)

The Hoosiers - Ruckus Festival 2026 | Shot on iPhone by Luke Evans

Looking back, it was impressive how smoothly everything ran. Ross and the stage crew kept everything moving, artists were looked after and change-overs happened without drama even after being cut from 30 minutes on Friday to just 15 on Saturday. 

Once the festival wrapped up, I gave Ian Carroll a lift home before calling Jamie to let him know what a top-tier artist liaison I am. He was at Caffeine Club celebrating with Carrier, so I popped in to congratulate them properly before finally calling it a night.

Not a bad weekend, really.

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I‘ve spent my time since Ruckus Festival editing photos for Ten Years Too Late and editing a video from their set which will be dropping very soon. 

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