GREAT LMHR CARNIVAL 08 REVIEW IN THE INDEPENDENT
Excellent review of the Carnival in The Independent
by Nick Hasted
Monday, 28 April 2008
Another clash between rock and racism as Simonon returns to the front line
Thirty years ago, The Clash headlined the Victoria Park part of a concert which became a defining moment in Rock Against Racism’s successful stand against The National Front’s late 70’s spread. The Clash’s Paul Simonon was back yesterday, alongside Damon Albarn with their band The Good The Bad And The Queen, Hard-Fi and many more to restate the case against fascism.
Persistent rain had possibly kept the crowd below 1978’s 100,000. But the spirit in the park felt like a return to those times, as many thousands of Londoners mingled with union representatives, Socialist Worker sellers, and socially committed pop stars.
This is Hard-Fi’s only festival of 2008. “It strikes us as the most important,” explained singer Richard Archer, shortly before Suburban Knights’ rallying cry stokes the mosh pit. “Cash Machine” gives electronic ballast to their appropriately Clash-style guitar pop. The sentiment of “We Need Love” seems to embarrass the crowd, when they were asked to join in; but its vulnerable idealism suits the day.
The union leaders and politicians – Tony Benn and Ken Livingstone included – booked to speak between bands, caused many to flee, but others to stand and cheer blunt anti-Nazi statements. Hearing the reggae singer Natty describe cultural alienation over a fat fairground organ in “No Place For I And I”, or Jay Sean interrupt his sweet voiced R&B to proclaim his British Indianness, make such messages easier to swallow. The fact that a bill in which skinny indie bands such as The Paddingtons, a heaving dance tent and the grime act Roll Deep’s Wiley can co-exist in the East End heartland is perhaps anti-fascist statement enough.
The utter impossibility of the BNP raising such a crowd in London is suddenly glaring.
The ghosts of 1978 start to walk during a guest-heavy set organised by Babyshambles’ Drew McConnell. X-Ray Spex’s Poly Styrene bursts on for a joyful “Oh Bondage! Up Yours!” and though Sham 69’s Jimmy Pursey standing in on The Clash’s “White Riots” may have sent Joe Strummer spinning in his grave, it was well received and well meant. The Guillemots’ Fife Dangerfield singing Springsteen’s “Dancing In the Dark” is less contentious.
Jerry Dammers, ex-leader of Britain’s greatest multiracial group The Specials, who were inspired by Rock Against Racism, spins dub 45s, a union leader invokes Paul Robeson and Woody Guthrie, and bright sun finally appears: all fine omens for The Good, The Bad And The Queen’s climactic set. Paul Simonon saunters on like a spiv, with his pork pie hat and perfectly angled cigarette, looks out at the by-now-huge crowd, gives a short nod of approval and says: “It’s good to be back.”
Damon Albarn looks delighted to be with him. “Kingdom of Doom” and the rap-inspired “Love Song for the Collaboration” grow into a close, bugged-up cousin of The Clash’s “London Calling”. Albarn’s alternately classical and cockney piano, rumbling bass, subtle strings and a guest Arabic rapper all add to the band’s frail folk songs for the capital. The city feels better to be in, as they leave.
