Music Photography Licensing

A Documented Archive, Not Stock Imagery

This is not a generic stock library assembled after the fact. The archive was photographed first-hand, across fifteen years of direct access to UK rave and club culture, with a documentary approach focused on atmosphere, behaviour, light and the lived experience of events.

Paul Underhill held official photographer roles with Gatecrasher (2001-2008), Slinky (1997-2008), Godskitchen (2002-2010), Tidy (2003-2008) and Slammin Vinyl (2006-2016), as well as official photographer at Reading Festival in 2002 and 2003. Alongside the event work, he shot commissioned editorial for DJ Mag, Mixmag, Muzik, IDJ and Ministry throughout the same period.

That combination of official access, editorial commissions and sustained documentary presence gives the archive a depth and specificity that assembled collections cannot replicate. The work is specific to time, place and scene. It was made by someone who was genuinely there.

Available for Professional Use

Images are available for a wide range of professional applications. The work is particularly suited to projects exploring UK rave culture, early 2000s club culture, trance music, hard house and the evolution of electronic music and nightlife in the UK during this period.

Books and Publishing

Illustrated histories, photo books, cultural essays, academic texts and reference works covering electronic music, youth culture and UK nightlife.

Cultural and Heritage Projects

Museum collections, archive preservation initiatives, academic research and cultural memory projects concerned with UK electronic music history and its social legacy.

Licensing on a Per-Project Basis

Licensing is not handled through a fixed rate card. Each enquiry is dealt with individually, based on the specifics of the project. That approach keeps the process straightforward and ensures the terms are appropriate for the work and how it will be used.

Factors that shape licensing terms include the type of use, the intended distribution and audience, the duration of the licence, territorial scope and whether exclusivity is required. For most editorial and documentary enquiries the process is straightforward. For book publishing, major exhibitions or brand campaigns, the same directness applies but with more detail agreed at the outset.

Images are selected and supplied based on specific briefs or research needs. There is no obligation to commit before seeing what the archive holds. If the material is not right for your project, that will be clear early in the conversation.

How to Make an Enquiry

Get in touch with a brief outline of your project. The more context you can provide upfront, the more efficiently relevant images can be identified and presented.

Useful details to include: the type of project and its intended use; the tone, mood or subject matter you need the images to convey; any specific events, venues, artists or time periods; your timeline and any deadlines; and whether you require exclusivity over the images selected.

Enquiries at any stage of a project are welcome, including early research and development. There is no requirement to have a confirmed brief before making contact.