“The original rage was intact”: Bob Geldof on The Boomtown Rats’ comeback, even during the pandemic

"The original rage was intact": Bob Geldof on The Boomtown Rats' comeback, even during the pandemic

In early 2020, The Boomtown Rats’ yr was shaping as much as be a blockbuster. The Irish band —  led by frontman and activist Bob Geldof, who later grew to become generally known as the co-organizer of Live Aid and co-founder of the U.Okay. charity famous person group Band Aid — was releasing a brand new album, “Citizens of Boomtown,” their first album since 1984’s “In the Long Grass.” 

A documentary on the band, “Citizens of Boomtown: The Story of the Boomtown Rats,” that includes testimonials from figures similar to U2’s Bono and Sinéad O’Connor, made movie pageant rounds and aired on the BBC. A Geldof ebook, “Tales of Boomtown Glory: Complete Lyrics and Selected Chronicles for the Songs of Bob Geldof,” was additionally due.

Then got here the COVID-19 pandemic.

“The album came out on Friday, March the 13th. Friday the f**king 13th,” Geldof tells Salon. “That’s when the album comes out. We worked up to this: There’s a new book. There’s a new movie. There’s a single. There’s a great video. Here’s the album. Two hours later, lockdown. Dead on arrival. Friday the 13th. Tour canceled; promo canceled; everything canceled. Pretty typical for our luck, really.”

However, Geldof and the Boomtown Rats aren’t any strangers to raging by means of adversity and popping out the different aspect on high. As the frontman recollects, the band emerged in the 1970s during a time of worldwide financial turmoil; nearer to house, in addition they witnessed violent battle in Northern Ireland, in addition to spiritual and political corruption.

“That was the world we entered,” Geldof stated. “Of course you get the Sex Pistols in London. Of course you get the Ramones and Patti Smith, et cetera, in New York. Of course you get the Boomtown Rats in Dublin. 

“We didn’t know, obviously, each other, but it was a generational entrance into a zero economic that offered you no future. We railed against this noisily and very speedily. And in so doing, we had to change our own lives.”

Unsurprisingly, the album “Citizens of Boomtown” — which discovered Geldof working with original Rats: guitarist Garry Roberts, bassist Pete Briquette and drummer Simon Crowe — boasts no scarcity of punk and glam swagger, highlighted by the ’70s glitter homage “Trash Glam Baby” and the electro-tinged rabble-rousing anthem “The Boomtown Rats.”

As Geldof surveys the final decade of historical past and namechecks occasions similar to the international financial crash, the pandemic, and Brexit, he sees precisely how the band’s studio return suits into the image.

“Of course the f**king Boomtown Rats have to come back,” he says. “It’s the only thing that makes sense for us is to play through the confusion and chaos, to contribute to the noise of that. I really do think that’s what gives this regrouping a contemporary resonance and a validity. Other than that, in times of relative calm, it just doesn’t make sense to me.”

What was completely different — and the identical — with working with Pete, Garry, and Simon once more on this new album, versus again in the day? 

There’s each a way of pleasure and rediscovery, actually. I’ve made six or seven solo albums with Pete, in order that a part of it’s easy. We’ve been doing music for thus lengthy that there is no trepidation. 

There’s no nervousness, particularly as we’re not likely in rivalry together with your Billie Eilishes or your Ed Sheerans or Beyoncés. Back in the day, there was intense rivalry between all the contenders, of which we have been a senior member. That’s the very first thing: [This album] was for the sheer hell of it, which I feel you may hear, actually. 

But, extra to the level was, personally talking, the revelatory elements of it, in as a lot as that I hadn’t anticipated the sheer pleasure of enjoying on this band once more. When you begin and you are going by means of it, there’s entire ranges of hysteria and work. 

You’re continuously, continuously working. You’ve received no perspective on whether or not issues are good or dangerous or detached. The subsequent file needs to be greater or higher than your final one, or certainly, your contemporaries. It’s nonstop. You by no means get to actually put a body of reference round what you are experiencing. 

That wasn’t true this time. My one situation on agreeing to do that once more was that if it felt or appeared like nostalgia, then I wasn’t going to do it. If one in every of the songs simply felt old-hat and irrelevant, I merely wasn’t going to do it. If the band says, “There’s nothing going on here, this is just an exercise in nostalgia,” I’m out. 

I’ve actually received no time for . . . There’s no rearview mirror on this automobile. That’s mainly it. Nostalgia is a lie. It’s a revisionist’s rose-tinted view of a previous that didn’t exist. I did not actually need to be concerned in that.

The first time after we kind of received again collectively…. This band, together with me, began up [and] I was shocked about how thrilled I was. I simply thought, “This is f**king great.” I both by no means knew, or I’d forgotten, how highly effective this band is. It was one or the different. 

It’s weird {that a} group of people make a sure sound. You may be part of the Rats tomorrow. It would nonetheless be the Rats, however the sound would’ve altered merely since you’d be in there enjoying. With this group of people, it made a really distinctive sound, which I hadn’t been conscious of as much as that time. But extra importantly, a really highly effective and indignant sound is what I believed. 


When I got here to singing these outdated songs, had there been doubt in my thoughts, I’d’ve refused to sing them. But the actuality is the reverse.

When it got here to sing “Rat Trap,” for instance — the first Rats No. 1, the first Irish No. 1, the first new wave No. 1, I’d written that in an abattoir, as a result of it was the solely job I may get. 

Long earlier than the band, I had no ambition to be in a band. It simply by no means entered my head. I had no ambition to be a singer. I by no means sang. I was simply making notes about the individuals round me, and who appeared fully trapped in [the] pompousness of the time and the zero economic system, and that they have been going to be there on this stinking abattoir for the remainder of their lives. 

I was younger. I knew I was going to get out. There was one thing on the market ready. I did not know what it was. But what struck me was the apparent metaphor now, is that this wasn’t simply an abattoir of animals — this was a kind of slaughterhouse of human desires. Years later, that turns into a track, which turns into an enormous hit all over the place. When I was singing it once more, it was for the misplaced and hopeless of at the moment. 

When I sang “I Don’t Like Mondays,” it wasn’t a couple of college capturing in 1978. It was about the bloodbath final week, or the week earlier than. When I sang “Banana Republic,” it wasn’t about the hopelessness of the Irish Republic of my youth, which has, thank God, grown up, matured, and change into a completely paid-up member of the 21st century. Now it was about the American republic and the political infantilism that that nation is sinking into beneath that vulgar idiot in the White House. 

These all had an actual relevance. When I sang “Someone’s Looking at You,” it was an enormous hit, nevertheless it wasn’t about the situations of 1979. Now it was about your always-on, supposedly-smart tv or system or laptop or Alexa monitoring you, tracing you, listening to you, conforming your option to one thing it believes you need, and packaging you and pushing you alongside others which it then sells to a 3rd get together, who can, in flip, exploit you. There’s all the time somebody you, so it grew to become about that.

It meant that the songs that survived, that the original rage was intact. Sadly, situations had modified, however the finish consequence was the identical. When I sang them, right here was this noise behind me, this huge propellant that allowed me to seek out that rage and anger once more, and make them fully modern to the now. 

[The discussion turns to a gig Boomtown Rats did in Minehead in March—just before the pandemic lockdown halted all shows—and then the group’s first show after deciding to reunite, at the Isle of Wight Festival in 2013.]

As quickly as we hit the stage and that noise begins, Bobby Boomtown was in the home. I hadn’t anticipated that: This fully completely different thought of myself all of the sudden was current once more. But I hadn’t understood that that is the man who was doing the Boomtown Rats in the previous — the ache in the ass, the loudmouth, did not give a f**okay about what he stated or did, and did not care about the penalties of both. 


The minute we have been on the stage and that noise was behind me, bang, there he was, again once more as if the years hadn’t existed. You’re residing it giant, as the English say. The place was nuts. It was bizarre seeing 14- and 15-year-old children who, clearly, their mother and father had pressured them to take heed to our albums. And there they have been mouthing these phrases [now], when their mother and father [had been] 14 and purchased the information [then]. It was very odd, however very cool. 

It’s not sufficient to only repeat these songs, irrespective of how a lot resonance they might have for you continue to. But, at the identical time, it is a drag for an viewers, as a result of when you go to see the Rolling Stones, and Mick says, “Here’s four tracks from our new album,” you type of go, “Oh, for f**k’s sake, where’s ‘Gimme Shelter’? Where’s ‘Honky-Tonk Women’? That’s what I want to hear.” Well, we’re not the Rolling Stones, so we felt extra liberty, extra freedom in that space. 

But if a track can glide into the catalog, into the dwell set, with out it seeming like there’s a lot of a change, you then get away with it. That was the expertise of Minehead. 

We solely had one new track after we regrouped for the Isle of Wight. That track was “The Boomtown Rats,” the final track on the album. That was as a result of I felt like I needed to jot down new music, however what was it? How did we get again to this man who wrote Boomtown Rats songs, Bobby Boomtown?

I wrote myself again to him. The phrases are, “I’m going to Boomtown. I’m going back to Boomtown, because that’s where I’m at.” I wrote myself again into this man. Once I was there, then it got here to me fast, after which after we did it in Minehead . . . It’s a really partisan crowd, as a result of it was different rock, and they also simply accepted all these new songs as in the event that they have been a part of the entire factor. I imply, they have been open to it. 

We did “Trash Glam Baby,” which I actually like. Trying to explain the noise in my head to the others, the sound that appeared to accompany the now, I stated, “It’s sort of like the New York Dolls meets early Roxy Music, meets Mott the Hoople.” That’s what I stated, and I feel that is distinctly so in “Trash Glam Baby, but also in “Sweet Thing” and issues like that. 

I seen that as nicely. I imply, I really like the little lyrical winks to New York Dolls and Ziggy Stardust too. I really like how, at Minehead, the band carried out “Trash Glam Baby” proper into “Looking After Number One.” That’s that testomony to the truth every part’s seamless. 


You [also] have to put it beside “She’s So Modern,” as a result of “She’s So Modern” was the third hit, and the file firm stated, “If you don’t get in The top 10, it’s over.” This was the kind of strain you have been beneath again then. I believed, “F**k.” But the factor is, we might arrived out of Dublin in the center of what we now perceive was the large contra-revolution the place the Pistols uniquely swept away the kind of irrelevant noodlings of Emerson, Lake, and Palmer [or] Yes and all these bands with no particular article. 

Seems to me the particular article is a vital factor in rock ‘n’ roll. The minute it is gone, bands appear to be shit. That’s why it is The Boomtown Rats. There was Queen. There was Emerson, Lake, and Palmer. There was Genesis. There was Yes. F**okay off. It meant nothing to our lives. 

We arrived in London, and all this has been swept apart. It was actually thrilling to be a part of this, to be a lead participant in it. What was actually wild for me, popping out of Ireland in the mid-’70s, was right here was these mad ladies in London, simply as rebels as the boys, simply as witty and acerbic and good and humorous and intelligent and wild and strong in what they have been decided to realize. There’s no query of that. It was so exhilarating to be round that. 

In [“She’s So Modern”] I wrote, “She’s so modern. She’s so 20th century. She’s so 1970s.” And that was the refrain. That was bizarre, watching 14-year-olds singing that a few years in the past in Isle of Wight. [Laughs.] 

[Geldof then recalls seeing a modern customer of a local shop that reminded him of these characters he’d used to see at King’s Road in London, which was a notorious place for rockers to buy clothing.]

She was dressed amazingly. It’s the theater of the self, like that. She was speaking to her good friend who was working at the counter at the charity store, and he or she was moaning, “Oh, it was another s**t Saturday,” and he or she had no cash anyway, and boys have been all garbage. What was taking place that night time, and did they’ve the feather boas that they’d in final week? 

She was a track. She demanded to be in a track. Now she is. Literally, she’s so 21st century. That’s what I believed — I went house and made her up instantly. She jogged my memory, I suppose, of the [New York] Dolls, who befriended us after we arrived in New York again in the day. It’s a tribute to all of them. 

There is simply one thing while you meet characters like that, whether or not it is 1979 or 2018, these individuals simply stick in your head. You need to get that down, as a result of these individuals are so singular. 

There’s one thing going on that simply strikes you as being emblematic of a second. 


You’re not pondering that; you are simply listening to this particular person. You’re overhearing them, and it is the eternally teenager. Thank God it by no means goes, as a result of out of that stew of discontent comes concepts. Ideas are the uncooked materials of change. 

For me, that is all the time been the level of rock ‘n’ roll. It now not exists, sadly, however in my time, rock ‘n’ roll was the precise backbone of the tradition. Rock ‘n’ roll was the medium whereby all concepts the place transmuted, transmitted, and mediated. Whether it was social, political, financial, cultural, all of it got here to rock ‘n’ roll from 1956 up till say 2000. That’s the rock ‘n’ roll period, after which it ends. 

Sitting at house, you are age 10, and there is no one there, and it is fucking freezing. It’s Ireland, and it is a depressing, dank, damp February, and also you’re on this fairly darkish home with simply lighting the hearth to maintain your self heat. 

The solely warmth, or the solely golden mild, is popping out of that radio station. What I absorbed from the girls and boys with guitars and pianos of the time, was this supply of an alternate universe, different prospects they have been saying. That change was mandatory and was inevitable, and was fascinating. The rhetoric of change was rock ‘n’ roll itself, and the platform of change was rock ‘n’ roll itself. 

It was like this golden thread had been lowered all the way down to me out of the purple rock ‘n’ roll ether, and I grabbed maintain of that ferociously as kind of the one supply of hope in an in any other case gloomy life. I’ve held onto that tenaciously and ferociously all my life. 

It’s nonetheless how I mediate what occurs to me and the universe by means of that prism. That’s what the Rats did — and I feel we inaugurated change, actually in our personal nation, and I do know different bands acknowledge that. 


About the author

Daniel V. Richardson

Hello, Myself Daniel V. Richardson and I'm the founders of DroidACID.com. According to my education, I am an Environmental Engineer, but my vision is something different from my education. I like blogging in a technological niche. I want to spread all the information about Tech Devices to all over the World. That's why I decided to start this blog website.

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