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I’m delighted to announce the release, on Bandcamp, of ‘Songs of Loss and Resistance’, the new album by The Four Fathers, marking ten years of our existence as a south London-based band playing mostly original folky, rocky, reggae-inflected protest music.

The album, our third, and a belated follow-up to our second album, ‘How Much Is A Life Worth?’, released in November 2017, was recorded, sporadically, over the last six years, in sessions in July 2018, December 2019, July 2022 and January 2024, with the great Charlie Hart, a multi-instrumentalist and producer, best-known as a member of Ronnie Lane’s Slim Chance in the 1970s and ‘80s, who also plays electric piano and accordion on three of the songs. Do check out Charlie’s work if you don’t know it, as he is currently involved in two very worthwhile musical projects — the Equators, an epic collective of talented players of African-tinged jazz and r’n’b, and a revival of Slim Chance, mostly featuring musicians who played with Ronnie in the band’s bucolic heyday, following Ronnie’s exodus from the excess of the Faces.

The long genesis of the album was caused by personnel changes, the huge disruption of Covid in 2021 and 2022, and the difficulty of getting everyone together to rehearse, and, most specifically, to work on arrangements of the songs in the gaps between work commitments and, more recently, the kinds of family illnesses that begin to afflict those of us in our 50s and 60s with ageing parents.

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Please support my work as a reader-funded investigative journalist, commentator and activist. If you can help, please click on the button below to donate via PayPal.

In a world wracked by climate collapse and a uniquely shocking western-backed genocide in the Gaza Strip, reasons for believing that there is an essential goodness to humanity can be difficult to perceive, beyond the actions of brave climate activists and the millions of ordinary people who have repeatedly protested to try to bring an end to Israel’s indefensible industrial-scale slaughter of Palestinian civilians.

Ii may have been a small gesture in response, but, in its 42nd year, WOMAD, the world music festival founded by Peter Gabriel and colleagues in 1982 and located, since 2007, in the grounds of Charlton Park, a stately home in Wiltshire, brought its usual vivid and vibrant reminder that human beings, for all their failings, are also capable of great creativity and love.

I’ve been attending WOMAD every year since 2002 (with the exception of the COVID years, in 2021 and 2022, when it was cancelled) as part of Dot to Dot, a children’s workshop crew run by my wife Dot in the World of Children area, one of the festival’s great examples of inclusivity from its very earliest incarnation. As Chris Pritchard, one of WOMAD’s founders, explained in the liner notes for ‘Live at WOMAD 1982’, released last year, “A huge procession of children opened the [first] festival, wearing masks and wielding musical instruments made with the help of the teaching pack. Giant Indonesian puppets, created by Welfare State International, led them to the main stage.”

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Please support my work as a reader-funded investigative journalist, commentator and activist. If you can help, please click on the button below to donate via PayPal.

From July 27 to 30, WOMAD, the world’s biggest world music festival, once more occupied part of the 4,500 acres of land belonging to Charlton Park in Wiltshire, the ancestral home of the Earls of Suffolk since the late 16th Century, whose Grade I listed mansion stands a safe distance away from the annual invasion of around 40,000 people in search of extraordinary music from around the world.

This year, 41 years since the festival began, there were two elephants in the room. The first, designed by my wife Dot, was a delightful cartoon elephant, Khushee (meaning happiness in Hindi), a representation of a young female Indian elephant who sat in the backstage catering area, charming the artists, when she wasn’t being promenaded around the children’s area, delighting children and adults alike.

Khushee was accompanied by Oke, a cute little puppet mouse, also designed by Dot, who made his first appearance last year, when, after years of doing children’s workshops, Dot came up with the idea to, instead, create a large animal figure to draw the attention of WOMAD’s children by processing through the children’s field on a daily basis. Last year, marking WOMAD’s 40th anniversary, that creature was a lion, Zaki, based on the lion in the festival’s logo, and it was so successful that this year it was Khushee’s turn.

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On Earth Day (April 22), The Four Fathers released ‘This Time We Win’, a new online single on Bandcamp, produced by Charlie Hart, who also plays Wurlitzer piano on it.

‘This Time We Win’ is an eco-anthem that I wrote last year in response to the unfolding, man-made, global environmental catastrophe that we all face, and the powerful efforts to highlight it that have been made by the Swedish teenager Greta Thunberg and her Fridays For Future movement of striking schoolchildren, and the campaigning group Extinction Rebellion, who occupied central London a year ago.

We were planning to release it this spring, to coincide with what we anticipated would be renewed environmental activism, but what we couldn’t have foreseen was the arrival of the highly infectious novel coronavirus, COVID-19, and the complete shutdown of all significant gatherings of people, including political protests, to try and stop its spread.

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⭐⭐⭐⭐⭐– Andy’s review

At Battersea Arts Centre in south west London, an extraordinary performance is taking place over the next two weeks, which I urge you to go and see if you’re in London. The show is ‘Frankenstein’ (aka ‘Frankenstein: How to Make a Monster’), and it’s performed by the BAC Beatbox Academy, a collective of beatboxers, singers and rappers who have produced a genuinely unique and completely exhilarating show. As I suggest in the headline of this article, I can guarantee that you have never heard anything like it before.

Perhaps you think beatboxing is a little one-dimensional — men with big lungs making massive, meaty dance beats through a microphone. Impressive, but essentially a novelty, and not something you could spend much time listening to.

If that’s what you think, then ‘Frankenstein’ will blow away those preconceptions, as the BAC Beatbox Academy, which is marking its 10th anniversary this year, is expert at confounding expectations. The group first came to my attention back in 2015, when a friend suggested that my son Tyler, then 15, should audition to take part in it. Tyler had always been a sonically interested child, and had been impressed by seeing the beatboxer Shlomo at WOMAD, which eventually led to him coming up with his own beats and compositions, but it wasn’t until he went to the Beatbox Academy audition that, as he put it, he realised that he had found his people, that there were other people like him. Read the rest of this entry »

Check out The Four Fathers’ new album, ‘How Much Is A Life Worth?’ here.

Last month, I was delighted to be approached by Halldór Bjarnason, an Icelandic journalist and musician, asking if he could interview me for his website, Shouts: Music from the Rooftops!, which features interviews with musicians who make political music, including Andy White, from Belfast, Yuca Brava, “a political rapcore band from Puerto Rico”, War On Women, a feminist punk band from Baltimore, and Keyz, a 20-year old rapper from Sudan. The interview is here, and is cross-posted below.

As I noted when I posted the link to the interview on Facebook last night, the “questions, about my band The Four Fathers, and my songwriting, were very interesting — about how we got together, why we perform protest music, and whether I think there’s an audience for protest music these days.”

Introducing the interview, Halldór, noting that I am both a journalist and am musician, wrote that journalists have a responsibility to be voices for the voiceless, to hold power to account, and to be “courageous in seeking the truth.” He also noted that “[m]usicians do not bear the same responsibility exactly, although it can be argued they have a powerful voice” that often has an international reach. He also noted that, although some musicians do not manifest a “socially conscious message,” because they believe in creating music based on their emotions, “Others are more explicit in their lyrics or performance and send a strong message of protest out into the ethos in every single song,” adding, “The Four Fathers are of the latter type.”

My thanks to Halldór for taking the time to interview me, and I hope you have time to read the interview, and will check out our music if you haven’t already heard it. Read the rest of this entry »

I’m delighted to announce that today my band The Four Fathers are releasing our second album, How Much Is A Life Worth? via Bandcamp, where you can buy it on CD (which can be sent anywhere in the world), or as a download (either the whole album, or individual tracks). The CD costs £8 (about $10.67), plus postage and packing, while the download of the album costs £5 (about $6.67), with individual tracks available for $1 (about $1.33). These are the minimum prices, but you can always pay more if you want to provide us with extra financial support, to help us recoup the costs of recording and production.

The album features ten original rock and roots reggae songs — eight written by me, as lead singer and rhythm guitarist, and two written by lead guitarist Richard Clare. It follows the release in 2015 of the band’s first album, ‘Love and War,’ and continues to demonstrate a commitment to political issues, with six of the album’s ten songs being protest songs. The band also features Brendan Horstead on drums and percussion, Andrew Fifield on flute and harmonica, and Louis Sills-Clare on bass (replaced after the album was recorded by current bassist Mark Quiney).

Followers of the band on Bandcamp — or those who have seen us live — will already know some of these songs, as six of them have previously been released online, although all of them have now been slightly remastered. Those songs are, in order of release, ‘Close Guantánamo’ (used for the ‘Close Guantánamo’ campaign that I run), ‘Dreamers’ (a song about friendship, written for a friend’s 50th birthday), live favourites ’Riot’ (about austerity and the need for social and economic justice) and ‘London’ (a lament for how the capital’s vibrancy in the 80s and 90s has been destroyed by housing greed), ‘She’s Back’ (Richard’s song about Pussy Riot) and ‘Equal Rights And Justice For All’ (my celebration of habeas corpus, which always gets a laugh when I say live that no set is really complete without a song about habeas corpus). Read the rest of this entry »

Please support my work as a reader-funded journalist! I’m currently trying to raise $2500 (£2000) to support my writing and campaigning on Guantánamo and related issues over the next three months of the Trump administration.

I wrote the following article for the “Close Guantánamo” website, which I established in January 2012, on the 10th anniversary of the opening of Guantánamo, with the US attorney Tom Wilner. Please join us — just an email address is required to be counted amongst those opposed to the ongoing existence of Guantánamo, and to receive updates of our activities by email.

Yesterday we marked a sad milestone — 250 days since the start of Donald Trump’s presidency. Across the spectrum of political life, the disaster that is Donald Trump continues to damage the US at home and to tarnish America’s reputation abroad, and, while there are too many problems to list, certain recent issues stand our for us —the persistence with which Trump continues to try to implement his outrageous Muslim ban, his racist targeting of black sportsmen for what he perceives as their lack of patriotism, and his warmongering against North Korea at the United Nations.

Islamophobia, racism and warmongering are always to be despised when they raise their ugly heads at the highest levels of government, and when it comes to our particular topic of concern — the prison at Guantánamo Bay — these signs from Trump do not bode well for our aim of seeing Guantánamo closed once and for all.

It is true that Trump has not yet managed to do anything stupendously negative regarding Guantánamo, despite threatening to do so. And so, for example, he has not officially rescinded President Obama’s executive order calling for the prison’s closure, and has not sent any new prisoners there, despite very evidently wanting to do so. Read the rest of this entry »

My band The Four Fathers have just released a brand-new online single, ‘Equal Rights And Justice For All,’ a passionate defence of habeas corpus, which is supposed to protect all of us from arbitrary imprisonment.

The song — an insistent and infectious roots reggae groove — was inspired by my work trying to get the prison at Guantánamo Bay closed down, my work opposing the use of secret evidence in the UK, and also by the 800th anniversary of King John signing Magna Carta in 2015. The key element of this document, which the barons obliged him to sign, was habeas corpus, the right to be bought before a judge to test the validity of one’s imprisonment, which, over the centuries that followed, ended up applying to everyone, and was successfully exported around the world as a hugely significant bulwark against tyranny.

See below for the song, on Bandcamp, where you can listen to it for free — or, if you’d like to support us, buy it as a download for just £1 ($1.25) — or more if you’d like. Read the rest of this entry »

Today, my band The Four Fathers are releasing ‘She’s Back’, our new online single from our forthcoming album, ‘How Much Is A Life Worth?’, which we’ll be releasing on CD soon, hopefully within the next month.

‘She’s Back’ was written by guitarist Richard Clare, first aired in 2015, and recorded in a session last year for the new album. It’s about Pussy Riot, politicized performance artists from Russia, who use punk music to get across their messages, which have involved feminism, LGBT rights and the corruption of Vladimir Putin. We recorded it in July 2016, with Richard on lead vocals and 12-string guitar, me on rhythm guitar and backing vocals, Brendan Horstead on drums, Andrew Fifield on flute and Louis Sills-Clare on bass.

The song is below, on Bandcamp, where you can listen to it, and, if you wish, download it for just £1 ($1.30). We hope you like it!

Formed in 2011, Pussy Riot gained international notoriety in 2012 after five members of the group staged a punk rock performance — a ‘Punk Prayer’ — inside Moscow’s Cathedral of Christ the Savior, which was aimed at the church’s support for Putin during his election campaign. Read the rest of this entry »