In Conversation: Amy Cooper and Danny Brooks of Plymouth Music Collective CIC

For nearly four decades, Plymouth Music Collective has been part of the fabric of the city’s grassroots music scene. Tucked away in the city centre, it has long provided affordable rehearsal rooms, recording space and vital support for generations of musicians finding their feet, honing their sound and building community.

Run by musicians for musicians, Plymouth Music Collective is more than just a place to practise. It is a hub of experience, encouragement and opportunity; somewhere people can come to make noise, make connections and make things happen.

We spoke to Amy Cooper, Chair of the Board, and Danny Brooks, Manager of Plymouth Music Collective, about the organisation’s history, the role it plays in Plymouth’s music scene today, and why its future matters so much.

First of all, tell us a bit about Plymouth Music Collective. What is it?

Danny:

Predominantly, Plymouth Music Collective is a not-for-profit rehearsal space and recording studio, with the aim of making music as accessible as possible to as many people as possible. At its core, that’s what we do: we provide affordable rehearsal rooms and recording facilities for musicians in Plymouth. But alongside that, there’s always been a wider ambition too - to support the local music community in broader ways, and to do more outreach and community-focused work going forward.

Amy:

It’s really important to say that Plymouth Music Collective is run by musicians, for musicians. Everyone involved, from board members to staff, is connected to music in some way, whether that’s through performing, recording, touring or supporting artists behind the scenes. That gives the place a very particular feel. It means the people here understand what musicians need because they’ve lived it themselves.

At the heart of it all is access. We offer rehearsal and recording spaces that are genuinely affordable, which is so important for emerging artists and grassroots musicians. We’re also one of the only independent spaces of this kind in Plymouth city centre, if not the only one, and that makes us a really vital part of the local infrastructure.

Plymouth Music Collective has a long history. When did it begin, and how has it evolved?

Danny:

There’s a little bit of debate around the exact year, but we’ve been established here since 1988, and some people say the original collective idea dates back to 1987. Back then, it was known as the Plymouth Musicians’ Co-operative, and then in the early 2000s it became Plymouth Music Collective.

That means we’re talking about an organisation that has been here for nearly 40 years now, which is incredible really. A lot has changed over that time, and sadly many of the people who were involved in those earliest days are no longer with us, but their legacy is still very much present in what this place stands for.

Amy:

Over those four decades, Plymouth Music Collective has done much more than provide rehearsal rooms. Historically, there have been songwriting workshops, instrument workshops, youth music projects, outreach with schools, and all kinds of events. There was a particularly close relationship with White Rabbit when that venue was around, and PMC helped facilitate some huge gigs there, including opportunities for local bands to support touring acts from overseas.

So it has always been about platforms and pathways. It’s for people just picking up an instrument for the first time and not really knowing what they’re doing yet - but it’s also for bands who are ready to record, play live, tour, or take the next step professionally.

In more recent years, especially since COVID, we’ve done a little less of the events side of things and focused more on our core services. But that’s now starting to shift again. We’ve had a reshuffle in terms of the board and leadership, there’s new energy, and we’re asking some really important questions about what the music sector in Plymouth needs now.

We’ve already started holding events and open forums again so we can hear directly from the grassroots music community. We want to know: what support do people need beyond rehearsal and recording? Is it help with learning instruments? Getting gig-ready? Releasing music? Building confidence? Navigating the industry? We want to understand where PMC can play a role in that.

For someone reading this who loves music but doesn’t know where to start - maybe they want to be in a band, but don’t know how that happens - what would you say?

Amy:

I’d say that if you’re already going to gigs, then you’re already part of the community. If you love grassroots music and you show up to support it, you’re in it already. A lot of this world is built on word of mouth, on conversations, on meeting people and saying yes to things.

If someone says, “Where can I rehearse in Plymouth?” I’d hope PMC is one of the first places people mention. But equally, if someone is trying to figure out how to find bandmates or start making music with others, the answer is often much more human than people think. It starts with talking to people.

That’s how I got into it myself. I didn’t pick up an instrument until my mid-thirties. I started learning bass because I talked to people, said I was interested, and found others who were up for trying something together. Sometimes your friends have hidden ambitions too! Maybe someone secretly wants to play drums, maybe someone else has always wanted to sing. You don’t know unless you start asking those questions.

Danny:

That’s such a big part of it. People often come in and say, “I can’t find anyone to play with,” or “How do I get gigs?” And one of the first things I ask is: do you go and watch local bands? Because that’s where it starts. Go to gigs. Watch people play. Speak to them. Make friends. Very quickly, you’ll start to find your people; the people you click with, musically and socially.

The music scene is built through participation. You don’t have to have it all figured out before you join in.

Danny, you’ve got your own long history with this place. What has your journey with Plymouth Music Collective looked like?

Danny:

I’ve played guitar since I was about eight. I lived in Twickenham originally, then moved to Plymouth in the early 2000s. I went to St Boniface’s College and met a group of friends who were all getting into music. We started messing around with guitars in music lessons and, inevitably, getting told off for it.

Then there was an initiative from Plymouth Music Zone called Rock Therapy, I think, and some of the people involved were Tom Ward and Oli James, who are both on the board here now. They came into our school and encouraged us to start bands. Every week they’d come in and push us to play together, rehearse, and take it seriously.

Eventually, when we got a bit older, around 15 or 16, they introduced us to Plymouth Music Collective. We came down here, and honestly, I’ve never really left. I’ve been rehearsing here pretty much every week since I was about 15. That’s about 21 years now.

I was in a band called Dead Poets when I was younger, and we toured around the UK. Later, with the same group of friends, we started another band called Patrons, and that took us on European tours. So music has shaped a huge part of my life, and PMC has been central to that.

It also means I’ve been through a lot of the stages that young bands go through; the excitement, the mistakes, the setbacks, the learning curves. So one of the things I really value about being here now is being able to help other people with their own journey. You do learn a lot by getting things wrong, and I think people need space to make their own mistakes too. But if you can save someone a bit of head-banging-against-the-wall along the way, that feels worthwhile.

So practically, what can people access when they come through the door?

Danny:

The rehearsal rooms are set up with PA systems, and they’re soundproofed to a reasonable degree, so people can make as much noise as they need to. We’ve got amplifiers, instruments and drum kits available too, which can be really helpful especially if someone’s own gear isn’t working, or they’re still figuring out what they need.

And there’s always a member of staff on site. That makes a big difference. Quite often someone will arrive in a panic because a guitar has stopped working or a bit of kit has failed, and we can usually sort something out quickly, whether that’s lending them another instrument so they can get on with rehearsal, or grabbing a screwdriver or soldering iron and trying to fix the problem there and then.

We’ve even had local pedal makers bring equipment down for people to try, which is brilliant because for some musicians that’s their first experience of experimenting with effects and sound in that way.

Then there’s the recording studio too, which is a natural next step for a lot of bands.

Amy:

And I think what makes the whole thing work is the fact that there are people here. It’s not just about hiring a room and being left to it. There’s always somebody on site who understands music and understands what musicians might need help with.

Whether someone has a question about a rehearsal, a recording session, how to prepare for a first gig, what to ask a sound engineer, or just what it means to be in a band and navigate that world, there’s a huge amount of experience here. Everyone involved has done it in some form; playing live, touring, recording, troubleshooting, learning as they go.

So even if someone hasn’t used PMC before, we’d really encourage them to come down, have a look around and have a conversation. That’s absolutely something we welcome.

And the recording side of things? What does that offer musicians?

Danny:

The recording studio is led by Doc Collins, who’s brilliant. He’s very accommodating and really understands that not every artist is coming in with the same experience level.

If it’s a new band who’ve never recorded before, he’ll do everything he can to make the process feel easy and comfortable. If it’s a more experienced band who have a very clear idea of how they want to work, he’ll adapt to that too. He’s not pushy, but he’s great at guiding people when they want that support and insight.

That flexibility is really important because recording can feel intimidating at first. We want it to feel accessible, not alienating.

Plymouth Music Collective also seems open to partnerships and wider community use?

Amy:

Definitely. It’s not just about individual bands. We’ve got relationships with other organisations too - DBS, for example, use our spaces - and we’re always open to partnerships. If another group or organisation wants to run activity here, whether that’s workshops, sessions or something more developmental, we’re really open to those conversations.

That’s a big part of what the future could look like for us as well: not just continuing what we do well, but widening how the space is used and who it can support.

From your perspective, how is Plymouth’s music scene feeling right now?

Danny:

It feels small, but busy in a good way. Plymouth has always had these little pockets of different genres and scenes, all very concentrated and passionate in their own ways. But right now, there’s some really exciting energy coming through.

Some of the newer bands coming up are honestly some of the best I think the city has had in a long time. There’s a lot of talent, a lot of confidence, and a lot of originality. It’s really exciting to watch.

Amy:

It’s also incredibly varied. For a city of this size, the music scene is remarkably broad. There are so many different sounds, communities and identities within it. Personally, I’m closer to the punk and rock side of things, and what I’m seeing there is really exciting; bands who are fearless, passionate, raw, politically engaged, and really connected to the world around them.

But alongside all that intensity, there’s also so much joy.

Danny:

Yes that’s one of the nicest changes. In years past, there was maybe a more serious energy in parts of the scene. But now, especially among younger bands, there’s a lot of fun. People are making music seriously, but they’re also having a genuinely great time doing it.

Amy:

And that’s infectious. When you watch musicians who are clearly having the absolute best time on stage, you enjoy it more too. It becomes a shared feeling like a party, really.

There’s also a really strong sense of inclusion growing in parts of the grassroots scene, which is wonderful to see. There are spaces actively celebrating Pride, Trans Visibility Day, International Women’s Day and other moments that really matter. It feels like some parts of the scene are pushing inclusion forward in the way they absolutely should be, and that makes it a very exciting and hopeful thing to be part of.

Accessibility is such an important conversation in cultural spaces. What would you want people to know about that at PMC?

Amy:

It’s something we’re very aware of, and something we know we need to improve. The reality is that PMC operates across three old buildings, and that presents some real physical accessibility challenges.

Danny:

The nature of the site means some structural changes are difficult. Things like widening access points in old buildings are not straightforward.

Amy:

So we want to be honest about that. There are definitely crucial issues around physical accessibility that still need addressing. At the same time, when it comes to other access needs, we do everything we can to support people. There are staff on site who are happy to help however they can. If someone needs a quieter space, if they’re feeling overwhelmed, or if they need support in another way, we will always try to accommodate that.

We’ve had musicians rehearse here with visual impairments, for example, and support around that has been part of making the space work for them. So in that sense, everyone is welcome, and we’ll always do our best.

But we also know that the building itself doesn’t currently work for everyone in the way it should, and that’s why accessibility is a major part of our thinking for the future.

We’re now looking at funding and feasibility around redevelopment of the site; carefully asking what improvements can be made to make it more accessible, more flexible and more useful for a wider range of people and activities.

That includes thinking about how the space could support more workshops, more groups, more community activity, and ultimately how we make sure Plymouth Music Collective is here and working for everyone, for another 40 years.

Finally, what feels most important about Plymouth Music Collective right now?

Amy:

I think what feels important is that this is a moment of possibility. We’ve got a long history behind us, but we’re also in a moment of reassessing, listening and asking what comes next. We know rehearsal and recording will always be central, but we also know there’s potential to do more to support the wider grassroots music ecology of the city in deeper ways.

Danny:

And I think the key thing is that music needs spaces like this. People need somewhere affordable, welcoming and knowledgeable; somewhere they can turn up as they are, make noise, ask questions, meet people and develop.

That’s what this place has always been for a lot of us. And hopefully it can continue to be that for a lot more people to come.