'A Snapshot in Time...'

'More than a collection of photographs, a book that serves as a lasting chronicle of creativity, resilience, and the enduring magic of one of the most influential rock bands of all time.'  Maddy Fry introduces 'U2: In Camera 1991-1997', and speaks to photographer Kevin Davies.

Many of the images in a new book of photos by Kevin Davies, 'U2: In Camera 1991-1997,' have never been seen before. They cover the band's Zoo TV, Zooropa and Popmart eras and, as Davies puts it, a book on U2 would never just be about music - politics, war and the lives lived in between all come to the fore.

One of Davies' trips was the result of a commission to publish shots from the band's time in Bosnia after the Yugoslav war. While readers will be familiar with U2's links with Sarajevo, many of the shots collected here are previously unseen, capturing intimate moments of life off-stage.

Davies was granted access all areas which means he can record the band in relaxed mode, enjoying each other's company.  As well as photos familiar from video shoots for songs like 'Even Better Than the Real Thing' and 'The Fly,' others capture band members in unhurried mode - sleeping, shaving, smoking, or in one case, Bono doing some contortive poses across a Berlin road during the shoot for 'Stay (Faraway So Close!)'.

With captions largely absent, the photos create their own story and seeing band members in such a down-to-earth, human mode is, for this writer, quite moving. It was the emotional reaction to some of the shots by one viewer, that set Davies on a journey into unknown parts of his back catalogue - and into this unique record of U2 in the 1990's. 

So why this book? Why now?

When lockdown happened, I started archiving, and one of the first jobs that I did was David Bowie and then U2. I started thinking about doing books and exhibitions, and working in a different way. The '90s has now become a period of interest.   
 
Also, a couple of years ago, an Italian U2 fan site were in touch with me to say, "Oh, we're gonna be in Dublin next week." Coincidentally, I was also going to be in Dublin, so I arranged to meet up with Gabriel, from the site, and his partner Elisa. They both  loved U2 and I showed them some of those pictures from the archive that hadn't been seen. Elisa thought the pictures were great but Gabriel didn't speak such good English and I realized he found the images quite emotional. I said, "Is he okay?" And she said, "He just loves these pictures."  After that, I thought, "Well, maybe I really should do this book." 

So what percentage had never seen the light of day?

Probably 60, 70%. I mean things like that sequence showing Bono crossing the road - only one or two pictures of that have been seen before. And that's only through me putting them on Instagram.

Any that you're really proud of?

In the stadium in Vegas, the stairs are on wheels and it's just this series of steps going up into the sky. I just loved that. Doing a new show that hasn't been done before…that screen had never been done before and I suppose I saw it as a metaphor for a sort of leap of faith. You go up those steps and you just gotta trust that it's all gonna work.

I love the picture of Bono shaving. It's a very sort of normal thing to do. One of my favourite images is one where Bono's crossing the road. He looks like a starfish. 

You were seeing them in quite vulnerable moments. How did you build up trust?

I think the band understand that if they're engaged with the photographer, everyone will get the best out of a session. And I assumed if they were unhappy they'd tell me, but also…  they're very good fun!

With the one of Bono asleep in Nice, I'd noticed the flight was delayed, and he'd disappeared. I put my head in the door, and there were two other people in the room, this security guy, and one of the management team. I looked at the security guy and he nodded to me, and I took that as "he's okay with me doing this," so I took two frames. And it's the kind of thing where I would never have published that without somebody's permission. And I really like it as a picture. I love the fact that Bono has got a glass of water on the floor and his shoes side by side. And he's having a power nap. I think that's a perfectly normal thing to do, even though some people might think a rock star doesn't sleep!

Working with U2 taught me that I liked going to photograph in the place where people lived or worked, because generally they are more at ease there than in the studio. 

The photo in Sarajevo of the two sinks with paper towels but no plugs... what led to that creative choice?

Within that abnormal situation, that warzone, I like the idea of something completely normal and it still makes me laugh that there's never a plug -  you have to stick some paper towels in there. I've come across that before. I went to Russia in the late '80s and someone said to me, "You ought to take a sink plug with you."  I thought they were joking, but I took a sink plug with me. The hotels didn't have any. I thought, "What the fuck is that about?" It was the same in Bosnia. The photo is a bit of normality in between the photos of all the soldiers in the stadium. 

Do you feel it would be harder to have an experience like that now?

Access is different now. In terms of promotion I don't seem to see many images of musicians in recording studios, or things relating to the creative process.  

On the other hand it would seem we can connect directly with artists through social media in an often personal way. I guess that's quite different to an external view, often from a complete stranger.  

In the foreword to the book Gavin Friday, the band's creative director, mentions that the PopMart Tour can often been underrated but what is notable about the photographs in the book is 'how U2 seems so comfortable and relaxed with themselves. He says, 'they wore it well'… and I agree.

'U2: In Camera 1991-1997', is published by Prestel.