People Power - Live Aid , Mandela and Human Rights Now!

My mother just messaged me to say she's watching the re-run of Live Aid on the BBC.

"I'm looking for you in the crowd."

"But Mum, I wasn't there!!"

I'm not sure why I wasn't at Live Aid, 40 years ago today. As a committed concert-goer back then, I certainly would have been up for it. I imagine the event must have sold out quickly before I could get hold of a ticket. 

On the day, I remember I was in my car with the radio on, and hearing the now famous announcement: "It's 12 noon in London, 7am in Philadelphia and around the world it's time for Live Aid!"

I watched the day unfold on TV with friends, into the early hours of Sunday morning. I still have the audio tapes. On one of them, at the conclusion of Led Zeppelin's Stairway To Heaven, you hear DJ Mike Smith saying "Well, if you won't give us at least a quid after hearing the most requested song of all time, well, there's no hope is there?"

My Live Aid cassettes

Live Aid showed what was possible when a whole community of artists work together to benefit those much less fortunate than themselves. It also engaged a generation of 20 and 30-somethings in a way that is perhaps hard to imagine now. 

The 1980s was a politically-charged time, of deep divisions between left and right. It was the beginning of the Reagan/Thatcher-inspired age of neo-liberalism, that eroded the social contract and the power of trade unions, reinforcing the social divide and altering the landscape of the UK economy. 

As the British journalist A.A. Gill wrote, "It was the decade when the people, after 20 years of activism and raised fists, seemed to be at their most powerless... the rise of multinationals, big government and international bankers."

Using music to highlight the issues of inequality, although it was radical, also seemed quite natural at the time. 'Rock Against Racism' had evolved in the late 1970s as a reaction to the rise of the far-right National Front and the race riots that had become a more frequent occurrence. It was a time of violent confrontation on the streets, reflecting conflict not just between whites and blacks, but the police as well. 

After Live Aid, the torch was carried forward by rock stars in the fight against the apartheid regime in South Africa and many other worthy causes. Peter Gabriel wrote 'Biko' in response to the death in South African police custody of the anti-apartheid activist Stephen Biko. Sting became involved in highlighting the destruction of the Amazon rainforest. His songwriting reflected an awareness of oppression in the Soviet Union (Russians) and in South America (They Dance Alone). 

So while much is rightly being made of the 40^th anniversary of Live Aid, the humanitarian and charity events that followed it are also an important part of the story. As such, the immediate legacy of Live Aid was the string of politically-charged concerts in the late 80s, beginning with another cracker of an event music-wise, the Nelson Mandela 70th Birthday Tribute at Wembley Stadium. 

My ticket

The June 1988 concert that spurred the release from jail of Nelson Mandela, was a remarkable collection of global talent. More diverse than Live Aid and featuring many of the biggest artists of the day.

It was probably the most politically influential of any concert held in the UK. The BBC fended off resistance to the idea of giving a whole day's TV (again!), not for famine relief this time, but to support the release of a political prisoner. 

Mandela had at this point served 26 years in prison. After the 70th Birthday Tribute concert was shown around the world (except in South Africa, of course), growing domestic and international pressure made South Africa's apartheid regime unsustainable. Global banks refused to carry on lending and forced the government to back down and negotiate an end to apartheid. Nelson Mandela was released in 1990 and in 1994 he became president of South Africa. 

Here’s the list of artists who appeared at the June 1988 show:

Harry Belafonte, Sting, George Michael, Eurythmics, Al Green, Joe Cocker, Ashford & Simpson, Natalie Cole, Tracy Chapman, Midge Ure, Phil Collins, Joan Armatrading, Paul Young, Bryan Adams, The Bee Gees, Salif Keita, Youssou N’Dour, Sly & Robbie, Aswad, Mahlathini and the Mahotella Queens, UB40 and Chrissie Hynde, Hugh Masekela, Miriam Makeba, Courtney Pine, Simple Minds, Peter Gabriel, Steve van Zandt, Jerry Dammers, Whitney Houston, Stevie Wonder, Dire Straits featuring Eric Clapton, Jessye Norman. With contributions from Whoopi Goldberg, Richard Gere, Jackson Browne, Michael Palin, Harry Enfield and a particularly emotional introduction to Dire Straits by Billy Connolly. 

Emotions ran high from the very start of the show. Sting had been persuaded to appear, even though he had a gig that night somewhere in Europe. Credit to him for going on early and getting the concert off on the right note, with his tribute to the Mothers of the Disappeared, ‘They Dance Alone’.

George Michael also went on early in the show and bravely chose to cover Stevie Wonder’s Village Ghetto Land.

Unfortunately for Stevie, and for us, the hard drive for his keyboards went missing just as he was about to take the stage. His scheduled performance was scrapped and Tracy Chapman stepped forward with her guitar and played Fast Car. Apparently, her record sales went stratospheric after this. 

Simple Minds came on and pumped up the audience with Waterfront and Alive and Kicking. 

The day would not have been complete without Jerry Dammers and an augmented Special AKA performing Free Nelson Mandela, with Ndonda Khuze on vocals. As the carnival vibes were ramped up, the crowd chanted "The Whole World Is Watching!!"

The Specials were the poster boys for the 2-Tone movement, which along with Rock Against Racism, was a reaction to the rise of the far-right National Front and the race riots that had become more frequent in the late 1970s, just as The Specials were getting to Number One on the charts with Ghost Town.  

"For me, it was no good being anti-racist if you didn't involve black people, so what The Specials tried to do was create something that was more integrated," said Dammers.

It was a time of violent confrontation on the streets, reflecting conflict not just between whites and blacks, but the police as well. A disproportionate number of black men died in custody in those years, and still do.

The country was falling apart, said Dammers. "You travelled from town to town and what was happening was terrible. In Liverpool, all the shops were shuttered up, everything was closing down. Margaret Thatcher was closing down all the industries, throwing millions of people on the dole.

"You could see the frustration and anger in the audience. In Glasgow, there were these little old ladies on the streets selling all their household goods, their cups and saucers. It was unbelievable. It was clear that something was very, very wrong."

Dammers wasn't afraid to use his platform to confront people on the issues of the day. He tapped into their frustration and lack of hope with songs that addressed them directly. Songs like Too Much Too Young, Rat Race, Stupid Marriage and Racist Friend.

Whitney Houston's appearance on the bill at the Free Nelson Mandela concert was perhaps seen as tame, but she won the audience over with the sheer power of her voice. After a few of her trademark vocal somersaults, we all looked at each like, wow, this girl can sing. It was a phenomenal performance, in less than ideal conditions for her, in the open air with the temperature dropping.

Then Stevie Wonder appeared suddenly. No keyboards, just standing at the mike calling out the key changes to the band. He didn't stay long. It fell a bit flat, to be honest. 

Night fell and Billy Connolly come on to introduce Dire Straits. He told us that when the band's album went to number one in South Africa, rather than take the royalties, they said send the money to Amnesty International.

"It must break the hearts of those shits, to sign the cheque every year and send it off. And as result, the boys are banned in South Africa, which is a compliment. Ladies and gentlemen, with a happy heart and a tear in either eye...Dire Straits". 

The band sounded immaculate, augmented by Eric Clapton, and as Dire Straits played Brothers In Arms, I've rarely witnessed such a charged atmosphere at a show. Maybe this clip gives some sense of what it was like. Mark Knopfler was clearly affected by it. 

"Best birthday party we've ever been to," he told the audience.

Jessye Norman sang Amazing Grace at the finale. The perfect end to a special day. 

The second Nelson Mandela concert, in April 1990 also at Wembley, was notable less for the music (although it was another bumper list of artists) but most of all because Mandela was there in person.

That remains one of the most thrilling and inspiring moments of my life. After 27 years in prison, he walked out on the stage to a massive ovation. It seemed to last a long time - in fact it was only about 6 minutes - before he was able to speak. 

Nelson Mandela on stage at Wembley

The Anti-Apartheid movement had been galvanised by that first Wembley concert, to increase the pressure on the South African regime to release Mandela. And here we were, two years later, to welcome him back. It may seem crazy to believe a pop concert could really make that much difference. But here was the proof. 

The Human Rights Now! concerts in September 1988, held around the world and featuring Bruce Springsteen, Sting, Peter Gabriel, Youssou N'Dour and Tracy Chapman, were another example of how rock musicians put themselves forward as advocates for political change and awareness. This time, they didn't just turn up to Wembley and plug in, they took it out on the road and worked it. South America, Africa, Asia and points in between. Again, it was inspiring and engaged a new generation in the fight for freedom and equal rights.

My ticket

Here's Bruce Springsteen getting the crowd jumping in Argentina.

As the decade came to a close, the fall of the iron curtain across Eastern Europe and the release of Mandela were the culmination of this new sense that people did have the power to force change. 

Oppression and inequality haven't gone away, but events such as this gave us the belief that change can happen when people come together to show their opposition and resistance. 

Bruce is still out there making a stand, but there aren't too many of the new generation using their platform in protest. If ever there was a time for these stars to raise their voices in protest, surely the moment is NOW!

IF YOU LIKE MY BLOG, PLEASE HIT THE FOLLOW BUTTON ON THE SIDE PANEL THANKS

Also on this blog:
2-Tone and possibly my best gig ever

Queen's 1976 Free Concert in Hyde Park

Memories of the Reading Festival, 1975

Five Days of High Drama at the Isle of Wight, 1970

From Pinner to LA - Elton's Big Breakthrough, 1970

My Woodstock 50th Anniversary Diary

A Wizard, A True Star - my all-time favourite album

Blonde On Blonde - Bob Dylan's Artistic Peak in the 1960s

 Joni Mitchell - The Hissing of Summer Lawns

Queen’s famous 1976 free concert in Hyde Park

London's Hyde Park - 18th September 1976 – it's the sixth anniversary of Jimi Hendrix's death and I am at a free concert by Queen, who had recently hit the big-time with their classic single Bohemian Rhapsody and the album ‘A Night At The Opera’.

This was Queen in their flamboyant pomp, with Freddie Mercury prancing round the stage in a white leotard, calling everyone darling.

The fact that it was a free concert brought this corner of the West End of London to a standstill for the day. I well remember the crowds at Marble Arch and all along Park Lane. Despite the crowds, there was not much trouble, save for a brief fight down at the front during the show that got Steve Hillage very angry, for a hippie.

Queen wanted to cement their fanbase after the success of Bohemian Rhapsody, so they hit upon the idea of a free concert. The Rolling Stones had done one in 1969 and there were a few others, notably Blind Faith's first show in the UK that same year. 

Queen playing '39 at Hyde Park

In 1976 Richard Branson was developing the Virgin Records roster. He saw this as a good opportunity to promote the brand so Virgin agreed to help organise the concert and into the bargain Branson got to feature some of his acts, namely Steve Hillage and Supercharge.

Kiki Dee was also on the bill, fresh from her number one hit duet with Elton John. Elton wasn't available though, so at Hyde Park Kiki duetted with a life-sized cardboard cut-out.

A review of the show

Albie Donnelly, the lead singer of Supercharge - a big fella with a beard - got one of the biggest cheers of the day when he bounced on stage wearing - you guessed it - a white leotard.

I’d seen Steve Hillage live as part of Gong at Hammersmith Palais the previous year, playing their Flying Teapot music. I had both of Steve’s solo albums up to that point, Fish Rising, which featured most of the classic Gong band minus Daevid Allen, and L, which featured Todd Rundgren’s Utopia. His live band at Hyde Park included ex-Jethro Tull drummer Clive Bunker and a bass player called, naturally, Colin Bass. They played a really good set, topped off with Hillage’s version of the Beatles’ song ‘It’s All Too Much’.

Steve Hillage at Hyde Park

There was a darkly comic moment during his set, when a fight broke out down at the front. We were sat close enough to the stage to have a decent view but without getting involved in the melee closer to the stage, where people were jostling for position.

Anyway, a fight broke out and Hillage actually stopped playing to remonstrate with the offenders: “Stop fucking fighting! I don't care if we don't play another note.” I was rather shocked to hear this long-haired hippie get so irate. 

The bad vibes at the front didn’t spoil the party for everyone else, but it was clearly still a bit volatile down there as Queen took the stage. Well into their set, with cans being thrown, (presumably not at the band!) Freddie was told by the Police to instruct the audience to stop throwing stuff.

The view from Roger Taylor's drumkit

They had come on stage at dusk in their white androgynous costumes with lacey sleeves, smoke bombs and dry ice going off. After the customary guitar fanfare, they opened with 'Ogre Battle' from Queen II. The music was loud and leaned on the progressive/fantasy stylings of the time.

In 1976, Queen’s set was a mixed bag of heavy rock, acoustic ballads, mini-opera and music hall pastiche. People who only know Queen for ‘We Will Rock You’ or Live Aid wouldn’t recognise this early version of the band. How different it all was.

Visually more engaging than anything else that day, there was a sense that this was a really big event for the band, getting this level of support from a British audience.

Brian May has said that Hyde Park was one of the most significant gigs of their career. “There was a great affection because we'd kind of made it in a lot of countries by that time, but England was still, you know, we weren't really sure if we were acceptable here. So it was a wonderful feeling to come back and see the huge crowd and get that response.”

Punk rock would soon put paid to all that.

Like many of the bands who came of age in the early to mid 1970s, Queen's image changed radically in the post-punk era. Ten years later, post Live Aid, Queen's career gained a second wind and they became belatedly - if not hip - then at least more credible than they were in the mid-70s. 

"Is this man a prat?' asked the NME

No, it wasn’t hip to like Queen back then. For the record, though, this is the only time in their career when I actually bought their albums – Queen II being a particular favourite. 

There is video footage of the Hyde Park concert. I bought a pirated DVD of it in Japan several years ago. The quality is poor and it transpires that the master recording has deteriorated to the extent that an official release is now highly unlikely. My DVD includes some silent footage of the band backstage and a clip of Steve Hillage’s set.

This is the best footage available of Queen's show, that marries the original video with a separate audio source.

Despite the poor visuals, the audio track is still largely intact, and as a snapshot of the time, it’s fascinating to revisit for anyone who was there. 

The concert ended abruptly owing to a strict curfew. Queen were prevented from playing their usual rock 'n' roll medley as a second encore. The show had over-run its allotted time and the police were adamant that the show must NOT go on. 

The police went so far as to threaten the band that if they went on again, they would be arrested. I imagine Freddie didn't fancy being locked up in a leotard. 

The stage was dark for ages before any announcement was made to the crowd. Finally, DJ Bob Harris had the thankless task of announcing to the crowd that Queen would not be coming on again. The main power was cut and plunged 150,000 people into darkness. Not a great way to end the day.

Queen’s Hyde Park Set List: Overture / Ogre Battle / Sweet Lady / White Queen / Flick of the Wrist / Medley: You’re My Best Friend, Bohemian Rhapsody, Killer Queen, March of the Black Queen / Bring Back That Leroy Brown / Brighton Rock / Son & Daughter / ’39 / You Take My Breath Away / The Prophet’s Song / Stone-cold Crazy / Keep Yourself Alive / Liar / In The Lap of the Gods.

A week later this advert appeared in the UK music papers

IF YOU LIKE MY BLOG, PLEASE HIT THE FOLLOW BUTTON ON THE SIDE PANEL THANKS

Also on this blog:
2-Tone and possibly my best gig ever

Memories of the Reading Festival, 1975

Five Days of High Drama at the Isle of Wight, 1970

From Pinner to LA - Elton's Big Breakthrough, 1970

My Woodstock 50th Anniversary Diary

A Wizard, A True Star - my all-time favourite album

Blonde On Blonde - Bob Dylan's Artistic Peak in the 1960s

 Joni Mitchell - The Hissing of Summer Lawns