Billy Corgan doesn’t seem to have much love for photographers, and this time we were banished to the sound desk. As a photographer, it’s not ideal—everything is shot from essentially the same angle, and there’s little room to move or find creative perspectives. In the pit, you can chase moments, frame the band differently, or capture unexpected interactions. From the sound desk, your best bet is to perch on a step ladder or lean against a crash barrier with a long lens, hoping the shots stay sharp.

But distance has its perks. I could take in the entire stage, and the lighting design was nothing short of spectacular. Every coloor shift, shape, and transition was perfectly synchronised with the music, creating an atmosphere that felt sculpted and alive. It was a reminder that sometimes the bigger picture—from a physical and visual standpoint—is just as powerful as capturing the close-up moments. Whoever designed the production clearly deserves recognition—or a raise—for crafting such a seamless, immersive show.