For over two years, I was a contributor at Hear Nebraska, the state's most notable cultural non-profit. I photographed and filmed bands and concerts, as well as writing reviews and interviews. I wanted a way to communicate the deep connections I felt while photographing these shows – to synthesize the experience of live music, of capturing that intimate humanness within us all.
It is not a linear journey – it is an experiential one, where excerpts are taken from articles, songs, and artist quotes, and photos are presented much like memories, in which their emotional context determines their placement and orientation.
During this time, I was also an audio engineer for Live at O'Leaver's, one of the largest collections of live music recordings for a venue its size. Here, I ran live sound for artists, recorded their performances, and mixed the resulting tracks. This gave me an intimate view of music as a facilitator and documentarian, rather than simply a spectator, and it provided further inspiration for my work on Setlist.
Instead of writing, I used elements already available to construct a deconstructed memoir. I explored a format resembling my inner psyche, pushing to design with a more challenging goal in mind: how to recreate an abstract experience through a tangible, tactile medium.