WORDS AND PHOTOS BY AKIRA REPLICA
Tonight marked my first time stepping inside the historic Castro Theatre since its renovation. I used to come here when it was still a movie theater, catching glorious film prints of old horror flicks, B-movies, and classics. Now, the rows of aging red velvet seats are gone, replaced by concrete floors and standing room on the main level. No more stale popcorn scattered beneath the chairs. Time marches on, and things change, even when we'd rather they didn't.
Built in 1922, the Castro Theatre blends Spanish and Art Deco architecture. It's an incredible place to experience live music, especially a sold-out Dinosaur Jr. show. Steph Chura opened the night with mellow indie rock touched with elements of country, a fitting introduction to the headliners.
Dinosaur Jr. delivered a fantastic career-spanning set, pulling material from their earliest '80s releases through their most recent album. Being right up front in the photo pit gave me a perfect view of J Mascis working his pedalboard, dialing in different levels of fuzz and distortion. His Big Muff settings varied between rhythm and lead parts, but whenever he kicked it into gear for a solo, the volume jumped into glorious, face-melting territory. I even managed to capture a few shots of him working his wah pedal, something I'd never photographed at previous shows.
Whenever I picture Mascis performing live, I immediately think of him surrounded by those towering Marshall stacks. This time, I was close enough to frame him perfectly between the cabinets and get the shots I'd hoped for. The Castro's lighting was solid, and the theater's beautiful interior made an incredible backdrop for photographing the band.
The sold-out crowd brought plenty of energy, and the band fed off that excitement. Lou Barlow, easily the trio's most animated and talkative member, bantered with the audience and bounced around the stage in his socks throughout the set. Photographing Lou is always an adventure, mostly because his enormous mane of hair seems determined to cover his face in every frame. Fortunately, I caught a few moments when it wasn't.
I also experimented with slower shutter speeds, capturing the motion of Murph's drumsticks while keeping the rest of him relatively sharp. I tried similar techniques with Lou's hands as he attacked his bass. Murph remains an absolute powerhouse behind the kit, and watching all three musicians work together reminds you just how exceptional this band really is.
Dinosaur Jr. closed the night with their classic rendition of The Cure's “Just Like Heaven,” bringing the set to a fitting conclusion. Anyone familiar with the band knows that's about as far as they usually go with encores.
After a Dinosaur Jr. show, I always feel like I could watch them for another few nights. The volume, the musicianship, and that unmistakable wall of fuzz never get old.
Here's hoping they make their way back to the Bay Area soon.
