Protest Music Now: My Interview with London Student Magazine Artefact as Lead Singer of The Four Fathers

Mark Quiney, Andy Worthington and Richard Clare of The Four Fathers playing at a protest against the DSEI arms fair in London's Docklands in September 2017.Please support my work as a reader-funded investigative journalist, commentator and activist.

 

A few months ago, I was delighted to be approached by Pavel Troughton, a student at London College of Communication (LCC), part of the University of the Arts London (UAL), who was writing an article about protest music for the student magazine Artefact. I promoted it at the time via social media, but I never got round to commenting on it here, so I thought now would be a good time, as my band The Four Fathers continue to play protest music, and to try to gauge what interest there is, or isn’t, in music that challenges the political realities of modern life, via the ‘No Social Cleansing in Lewisham’ gigs I’ve been organising, our appearances with bands like the Commie Faggots, who play theatrical singalong protest music, and our recordings, available via Bandcamp.

I met Pavel Troughton at a cafe near my home in Brockley, south east London, and we had a wide-ranging discussion about the role of protest music today, which is of great interest to me, as I grew up at a significant time for protest music, as a teenager in the late 70s and early 80s, not only following punk bands, post-punk bands and the Two-Tone movement, but also drawing on protest music from the 60s and early 70s as well. 

In Margaret Thatcher’s Britain, and with the counter-culture of the 60s and 70s so comparatively recent, it was difficult not to be politicised at that time. Some of the punks pretended to be apolitical, but really that was an affectation. Of course, many musicians only pretended to be political to get laid or get rich (or both), as had also been true in the 60s and early 70s (does anyone really think the colossally materialistic hornbag Mick Jagger genuinely had any interest in being a ‘Street Fighting Man’, for example?), but political engagement and counter-cultural impulses were genuine in this period, and elements of that effortlessly survived into the 90s, when, after Margaret Thatcher’s eventual fall from grace, John Major struggled to maintain control of a country in which dissent was widespread, via the iconoclastic hedonism of the rave scene and the extraordinary pagan and anarchic energy of the road protest movement. For more on the above, feel free to check out my books Stonehenge: Celebration & Subversion and The Battle of the Beanfield, which have chapters on this period in modern British history. Read the rest of this entry »

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Andy Worthington

Investigative journalist, author, campaigner, commentator and public speaker. Recognized as an authority on Guantánamo and the “war on terror.” Co-founder, Close Guantánamo, co-director, We Stand With Shaker. Also, singer and songwriter (The Four Fathers) and photographer.
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