As part of DMC 2020, we’re delighted to be showcasing a collection of photograph’s from the photo journal ‘16 YEARS - Gigs in Scotland 1974-1990’, compiled by Chris Brickley, as part of a town-wide photo trail in closed pubs and music venues in Dumfries.

“Capturing a significant period in Scotland’s music history 16 YEARS brings together rare and unpublished material in a comprehensive and accessible volume. Spanning 32 towns, 120 venues and 500 bands, this collection of over 2000 images includes amateur shots from within the crowd, crafted images by professional photographers and rare memorabilia.”

Ahead of the launch of the Exhibition Trail, we chat to Chris to find out more about the book, how he went about obtaining the images and what caught his attention when he was researching for this photo journal.

To begin with, please take this time to introduce yourself and your newly published work: ’16 Years: Gigs in Scotland 1974-1990’?

I'm Chris Brickley. The object of the book was specifically to compile unpublished/amateur photography of live music in Scotland during a key period. I felt these were in danger of being lost to us - so easily damaged or thrown away. The idea had been in my mind for a couple of years, during which I set up a Facebook page (Scottish Club Gigs-Relived) to build an audience. The book took two years to put together. I felt it needed to be done, now, and it's a book I would buy for myself.

What was the catalyst for such an extensive project?

Actually, the catalyst for the book was the joint-headline tour (in 1980) by two of my favourite bands, The Cramps and The Fall. On the Sunday evening, the original lineup of The Cramps played the Stage Coach Motel in Collin, a few miles outside of Dumfries. I thought that was an amazingly unlikely event, and the idea for a book went on from there.

You asked specifically for images with a focus on Scotland’s bygone music scene from 1974-1990. How did you go about attaining these photographs and what was the general response from those contributors?

When I had tired of doing the music page/social media, I floated the idea of doing a book. The response was good. However when I asked for material, virtually nothing came in. So began 18 months of evenings and weekends, after my work, sitting at the kitchen table ploughing through searches on social media and Google. Otherwise, I had some photos and memorabilia, as did friends, so that was a starting point.

At times, you must have been taken by surprise from your research that has gone into the book. Anything at all that caught your attention, as you began to accumulate contributions?

The most memorable 'consignment' was when Ross, one of the first wave of Edinburgh punks, started sending material. He and his pals were very unusual in that they took turn about taking a camera to gigs in 77/78. One Saturday morning, he just sent email after email of fantastic material including photos of Damned, Dead Boys, Stranglers, Banshees, Slits, Vibrators, Adverts, Mekons, Generation X etc. When I got this fantastic, fresh material I knew I had something to hang the book on.

You’ve managed to cover so much ground within the book. It runs over 500 pages and includes 2,000 photographs. What were the hurdles you encountered as you underwent your “journey” to ensure this book was finished?

To my mind, once I had decided to cover the whole of Scotland (it made little sense to do anything else) I knew it had to be comprehensive, and cover the bases. However, I knew this would be a huge task, and it was very laborious. The main challenges were having to keep track of the credits, for copyright purposes, and having to go with the images as I found then (often low-res, wonky photos/scans etc) as nobody ever sends better images. Raising the funds to do a quality production of over 500 pages was the main issue. We did this mainly through a small group of private enthusiasts, who fronted up the money.

From the images within your book, a great intensity and a sense of collaboration has been captured between bands, artists and their fans. What do you think are the reasons for this?

The book, to my mind, is social history. It's about a type of social life which does not now exist. Gigs were not just an occasional hobby, they were a central point of your week and the friendships forged are enduring. Gig-going was affordable, democratic and spontaneous. The book is about people, and (mainly lost) venues. The bands are really just the vehicle/focal point.

You could consider the images taken by these non-professionals as a marginal activity. How does that compare to the mainstream notion of top photography that exists nowadays?

I came up with the term 'crowd shots', for want of something better, to describe the amateur photos. I go through the book and there are very few 'duds', and even if they are poor photos they are still of interest. They all have merit, and many are excellent images. These pictures offer an immediacy, and energy, and convey the spirit of the occasion in a unique way. I also wanted to include some professional photography, by way of context, and I think they complement each other very well.

You’ve selected fifteen photographs from your book for Dumfries Music Conference 2020 to display in the form of an exhibition trail throughout closed music venues across Dumfries town centre. What are your personal favourites from this selection and why?

Favourite image: no.15, the cover of the book. Jim Barr's photo of a crowd perfectly sums up the intentions of the book, and is an absolute moment in time.

Within your book, you’ve visited the town of Dumfries. Is there anything interesting you found notable concerning the history of our local music scene?

The Stage Coach was a remarkable venue, which I remember only as a regular listing in the music press. The fact that Billy Halliday ran a serious music venue at his hotel in a wee Dumfries-shire village during the post/punk period was quite an achievement, and the bands that played there (Simple Minds, Only Ones, Pretenders, Bad Manners, UK Subs, Cramps, Punilux, Lurkers etc etc) speak for themselves.

By no mistake, your book provides a fitting legacy to a sixteen year period in Scotland’s musical history and subculture. Accepting that we currently have no live gigs due to Covid-19, what are your views on the current live music scene in Scotland?

I think that performers/creative types are resilient, and resourceful, and will always find new ways/arenas to express themselves. Once we get through the pandemic, audiences will be there with them.

In Conversation With.. Chris Brickley