Glen Matlock, Viv Albertine and Rat Scabies revisit the music, clothes and disgusting spitting in a likable documentary marking half a century of British punk

As the majority of them ease into their eighth decade, the overlords of British punk rock get yet another celebratory runout, gently reheating material that has become familiar over the years but never loses its appeal. A subculture that passed almost immediately from tabloid-triggering menace to picture-postcard caricature, punk may have passed into legend as a joyless and even squalid diversion in music and fashion history, but its surviving spokespeople recall their participation in it all with no little enthusiasm, even if they’ve clearly said it a thousand times already. No doubt it is the gen alphas among us who will benefit most; you’d expect their jaws to drop and eyes to roll at some of the stuff deemed perfectly acceptable in the late 1970s: women’s-breasts T-shirts, amateurish pancake makeup, and all that disgusting spitting. (“I didn’t mind it going in my mouth,” says the Damned’s Captain Sensible at one point, out-disgusting everyone.)

There’s a good spread of voices on offer; at least one member of most of the era’s big acts puts in an appearance with Glen Matlock (the Sex Pistols), Rat Scabies (the Damned), Terry Chimes (the Clash), Steve Severin (Siouxsie and the Banshees), and Hugh Cornwell (the Stranglers) leading the way. (The latter, though affable enough, is easily the least impressed as to punk’s actual achievements, which is a valuable corrective.) The original punk wave had little space for women (despite the sense that blows were being struck for equality) and that’s the case in the film as well: Gaye Advert (the Adverts) and Viv Albertine (the Slits) get a bit of time on camera though inevitably get a bit lost in it all. Due recognition, however, is paid to designer Vivienne Westwood as punk’s true founding spirit; Sex, the King’s Road boutique she ran with Malcolm McLaren, was a crucible of the British punk scene. Don Boyd, who produced the Pistols’ movie The Great Rock ‘n’ Roll Swindle along with the late Jeremy Thomas, says she “was punk and is punk … it came from her”.

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Adam Briggs has never been one for subtlety – in his lyrics, his punchlines or his activism. In person, the man has a huge presence. He speaks with deliberation, his voice resonating even without a microphone. Whether in front of a crowd of 80,000 or eight people, Briggs is comfortable being the focus.

“I can’t hide,” he says. Not that he wants to.