If you’ve been to a show in Philly – sweaty basement gig, packed festival stage, or anything in between – there’s a good chance Mo Smith, aka Phobymo, was around somewhere capturing the magic. Known for her high-energy concert work and vibrant portraits, Phobymo is one of the city’s most recognizable photographers, with a portfolio that blends the chaotic energy of live music with sharp, intentional artistry.

A Philly native with a background in accounting, Phobymo’s path to photography wasn’t exactly linear, but it’s become a space where she thrives. Her work centers on the beauty and strength of women and marginalized identities, and her images have appeared in publications like Vogue, Essence, The Atlantic, and Vanity Fair. She’s also worked behind the scenes with directors like M. Night Shyamalan, bringing her sharp visual storytelling to a different kind of set.

In addition to her photography, Mo curates and hosts Time To Pretend, a biannual art showcase spotlighting women and non-binary creatives. It’s a natural extension of her mission to create space for voices that often go unseen.

I caught up with Mo over coffee, where we talked about her first-ever photo pass, her favorite stories from the pit, the gear she swears by (or doesn’t), and how Philly’s music scene continues to keep her inspired.

Our conversation has been edited for length and clarity.

Tyler, The Creator | photo by Mo Smith | @phobymo

Rita Thompson: You’re one of the most well-known photographers in Philly. How did you get started?

Mo Smith: Before I started photography, I graduated from West Chester University with a degree in accounting and finance. About a year into working as an accountant, I was bored and miserable in my cubicle. I had just gotten one of my first trap credit cards that was 0% APR for a year, and was like, you know what? I want to buy myself a camera. I had never done photography before, but I’d always felt drawn to it. I bought a Canon Rebel for like $500, had it delivered to my job so it wouldn’t get stolen, and literally opened it in my cubicle. I went out and started shooting on my lunch break that same day. I continued working full-time as an accountant for four years, shooting on weekends and even during lunch breaks, until I got fired [laughs] and decided to go full-time with photography.

RT: What drew you to concert photography?

MS: A friend I went to high school with, rapper Verbatum Jones, put together an event with local musicians called Obscura in 2014 and hit me up to see if I wanted to shoot it. John Vettese was there scoping out the local talent, ended up seeing my work, and asked me if I would be interested in shooting for WXPN. I had never shot a concert, but he must have seen something I hadn’t yet. So this is a very full circle moment, shout out to John [Vettese] for believing in me.

RT: What was the first show you ever photographed?

MS: The first concert I shot was KRS-One at The Trocadero. I was absolutely terrified and had no idea what I was doing. I think I might have still been shooting in Auto at this point, which is insane to think about.

boygenius | photo by Mo Smith | @phobymo

RT: How has your approach to photography evolved since you started?

MS: When I first started and didn’t fully know how to use my camera, I would overshoot to compensate for the lack of knowledge. I’d end up with like 2,000 photos, and sorting through them became this super daunting task. Now that I know how to adjust my settings based on where and what I’m shooting, I shoot a lot more intentionally – kind of like I’m shooting film and have a finite resource that’s going to run out (and cost me a lot of money). It’s more challenging, but a lot more enjoyable to feel like I’m waiting for the moment and capturing it, rather than just shooting and happening to capture a moment.

RT: What do you like most about photographing concerts?

MS: Shooting concerts can be exhilarating because you never really know what you’re walking into. The lighting, the angle of the stage, where the artist is going to be standing – it’s different every time. And unless I’m shooting directly for an artist or festival, I usually only get to shoot the first three songs. You get 10-15 minutes max to get it right, and then you’re out. It’s such an adrenaline rush.

Mannequin Pussy | photo by Mo Smith | @phobymo

RT: Is there a show that stands out as a favorite or most memorable?

MS: There are so many! I shot boygenius at The Mann Center in 2023 and any Mannequin Pussy show. It’s always fun to shoot acts where you can tell they genuinely love each other. You can feel that energy on stage [and] you can tell how much the fans love them. I love shows where I’m just as tempted to shoot the fans as I am to shoot the stage, [and] shows where performers aren’t afraid to go in the crowd to interact with fans. It all goes back to the energy between the fans and the performers. You can feel all that, and it makes for really amazing photos.

I also shot Marc Rebillet’s show last December at Union Transfer and was dying of laughter in the pit the entire time. Very chaotic, very different from what I’m used to. It was one of the most memorable shows I’ve ever shot.

In 2022, I sneakily shot Harry Styles’ Coachella set from the VIP area. [It was] me and a bunch of 20-year-olds screaming and dancing – very memorable

Harry Styles | photo by Mo Smith | @phobymo

Action Bronson | photo by Mo Smith | @phobymo

Oh, one more! Eight years ago, I shot Action Bronson at the TLA. Some kid jumped on stage, and Action tackled him so hard that his shoe came off and fell into the pit. I handed it back to him, he kissed my hand, said “Thanks, boo,” and proceeded to play ACDC’s Back in Black while throwing cheesesteaks and vapes into the crowd.

RT: What has the experience been like as a Black Woman in a male-dominated space?

MS: It’s been okay for the most part. I’ve never been made to feel out-rightly uncomfortable or like I didn’t belong, but it’s always internally lonely and disappointing to look around and see no other women. Even though I have personally never experienced any blatant sexism, it still feels like a boys’ club. I’ve had many encounters where men ask to see my work and seem genuinely shocked by the quality. Like they expected me to be bad. I’ve also noticed that men are so obsessed with gear. Every time a man sees my camera, he’s like, “What are you shooting with?” Girls never ask that. They ask what I shoot. They are interested in my work.

In the last five years or so, though, I’ve noticed more women, and Black women especially, in the pit. It used to be me and six hype beast white dudes wearing joggers and Yeezys, but I feel like we’re working away from that.

RT: Since you love being asked what you’re shooting on, what’s your go-to setup?

MS: I shoot with a Canon. I don’t even know what kind of camera it is. I used to use a Canon EOS R, but I broke it last year, so I started using the backup camera I bought used maybe 5 years ago. It’s full frame, 5D, maybe?

My favorite festival concert lens is the Canon 70-200, which hurt to buy, but I knew I needed it for long-distance shooting. For typical concerts, I use an off-brand 35mm lens that I bought for $95 and the Canon 50 1.8.

RT: Is there anyone you dream of photographing or touring with one day? What artists are on your bucket list?

MS: Call me basic, but I need Harry Styles to take me on tour. And obviously Beyoncé. Lady Gaga’s set design is insane and would be wild to shoot. Doja Cat has been doing really dope things visually as well.

Japanese Breakfast | photo by Mo Smith | @phobymo

Lil Uzi Vert | photo by Mo Smith | @phobymo

RT: What makes Philly’s music scene unique compared to other cities?

MS: I don’t go anywhere else enough to really compare it, but I love how many insanely talented acts come out of Philly, yet no one really gives Philly the credit it deserves. Tierra Whack, Japanese Breakfast, Jesus Piece, Mannequin Pussy, Lil Uzi, Jazmine Sullivan, The Roots, Jill Scott, Circa Survive. Hall & Oates, for god’s sake. There’s so much variety, we cover all the musical bases.

RT: What’s your favorite venue to shoot at?

MS: I’d have to go with The Met. Their lighting is always on point, and with the angled theater seating and multiple floors and balconies, there are so many different angles you can shoot from once the first three songs are up.

Janelle Monae fans | photo by Mo Smith | @phobymo

RT: What have you been listening to? Any artists or albums you’ve recently discovered/rediscovered?

MS: I haven’t been listening to much music lately. I’ve been on a “rewatching TV shows I’ve already seen 5 times” kick, but I’ve noticed in my older age I’m mostly listening to what I was listening to in high school, or whatever top 40 stuff is out. Call it nostalgia, call it laziness, but I haven’t been diving deep and discovering new acts lately. I need to get on that.

RT: What advice would you give photographers looking to break into concert photography or the creative industry?

MS: Don’t think you need the fanciest gear. Shoot with what you’ve got, and make it work. Learn your camera, go to local shows, shoot local artists, and grow your network. The more people you work with, the more people see that work, and it’ll ripple from there. And don’t be afraid to ask people for opportunities because the worst they’ll say is no, and then you can keep it pushing. It’s normal to feel scared or nervous when shooting new things. Push through it and learn. And stop comparing yourself to everyone else. You’re on your own journey. Mind ya business and keep goin down your own path.

RT: When you’re not behind the camera, what’s something you like to do that might surprise people?

MS: Over the pandemic I started playing Dungeons and Dragons. Once the world came back to life, I stopped, but my boyfriend and I recently went to a Dungeons n’ Drafts event at a bar, and it was so much fun, so I think I wanna start getting into that again. I also listen to an unhealthy amount of true crime. The world is a scary place, so obviously I find solace in something even scarier.You can check out Mo’s work on Instagram @phobymo or reach out via email to give her her next gig.

Jonathan Wilson: “Desert Raven” (World Cafe Version)