Yungblud’s “Idols” era is the subject of a London photography exhibition running November 20–22. Tom Pallant’s images follow recording sessions, backstage activity and live performances, bringing previously unseen material into view. Organised by Behind The Gallery at Union Pacific, the free exhibition follows the collection’s Sydney presentation in January 2026 and includes a listening event and a discussion with the photographer during the weekend.
Yungblud’s time making and presenting “Idols” will be explored through black-and-white photographs by Tom Pallant in a new London exhibition. The photographer and creative director has selected images from the album’s creation, release and touring period, combining public performances with moments away from the audience. Some of the material has not appeared in official promotional photographs or social-media posts.
Behind The Gallery is organising “Yungblud: Idols” at Union Pacific, 17 Goulston Street, from Friday, November 20, to Sunday, November 22. Admission is free. The collection first appeared in Sydney in January 2026, with the London dates marking its first UK presentation and an opportunity for British visitors to encounter the archive in an exhibition setting.
Pallant began working with Yungblud in 2019. Since then, he has followed the musician through recording sessions, tours and festivals, observing different stages of his career. Their collaboration includes appearances at Glastonbury and Coachella as well as quieter or less formal parts of touring life, providing a sustained perspective rather than material gathered during one isolated assignment.
That continuing presence has allowed him access to moments that sit outside the usual public record of an album campaign. The exhibition’s interest extends beyond a sequence of formal portraits. It looks towards the circumstances surrounding the work: preparation, performance and the hours in which the artist and his team are away from the stage.
The focus is “Idols”, released in 2025 and reaching number one on the UK albums chart. The photographs follow writing and recording, the launch of the album and the shows that came afterwards. Yungblud appears within those changing situations, allowing the collection to trace the process through which a record became something performed in front of audiences. The emphasis is on the whole album period, with different phases of its preparation and presentation represented together.
Discussing the London presentation, Pallant said he wanted to gather favourite images from the album’s era alongside photographs that had remained unused. His interest includes exhaustion, backstage disorder and the effort surrounding a concert. He hopes the selection will allow visitors to view “Idols” as an extended creative undertaking, rather than only the finished recordings or the most visible promotional images.
The photographer’s approach often depends on being physically close to events. Images in the wider Behind The Gallery collection include dark recording spaces, where he has described the difficulty of working without flash. Other photographs follow Yungblud among spectators when the performer moves beyond the customary division between the stage and the crowd.
Such moments rely on readiness rather than the control of a planned portrait session. The exhibition brings that kind of observation into a gallery context, placing images from different circumstances alongside one another. Its material can therefore register both the public energy of a performance and the work or fatigue surrounding it, as described by the photographer.
The weekend programme includes an “Idols” listening event on Friday, November 20, at 6:30pm. Pallant will take part in a public question-and-answer discussion at 12:30pm on Saturday, November 21. These are additional events within the exhibition weekend; an appearance by Yungblud himself has not been announced, so attendance should not be assumed from the exhibition’s title.
Regular opening hours are 10am to 5pm on Friday and Saturday, and 11am to 4pm on Sunday. The Friday listening event is scheduled separately at the later time. The exhibition remains free to enter, allowing visitors to see the photographs without buying a ticket or committing to purchase one of the works available.
Selected limited-edition prints will be offered for sale, signed by Pallant. They are produced on archival fine-art paper, giving collectors an option separate from simply viewing the show. The availability of works to buy does not change the free-admission arrangement, and no purchase is required to visit the exhibition during its announced opening hours.
Pallant has previously documented his long collaboration with Yungblud in the photo book “All My Friends Have Deserted Me”. That project follows the musician’s development through to his sold-out Alexandra Palace appearance in London in 2021. It provides an earlier point of reference for the photographer’s continuing attention to the performer’s work and the life around it.
His work has received three distinctions at the Abbey Road Music Photography Awards. Alongside music photography, he works in creative direction and video. Those activities form part of the background to an exhibition in which his selection and perspective help shape how an extended recording period is presented, rather than merely illustrating the album’s title.
Behind The Gallery’s creative director, Stephen Dallimore, highlighted Pallant’s ability to tell the artist’s story through his own viewpoint. The collaboration continues the organiser’s series of music-photography presentations. In London, “Yungblud: Idols” will bring large concert images together with preparation and recording material, remaining open through November 22 with no admission charge.
