In reflecting on the monumental impact of Live Aid, Irish musician Bob Geldof noted that four decades later, these historic concerts instilled a belief that “the individual was not powerless” and that anyone could effect change in the world.
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Geldof, alongside Midge Ure, organized two unforgettable concerts—one at London’s Wembley Stadium and the other at Philadelphia’s JFK Stadium—with the goal of raising crucial funds for famine relief in Ethiopia.
The stages were graced by an array of legendary artists, including Queen, David Bowie, U2, Elton John, Madonna, and The Beach Boys, all of whom contributed to the concerts’ landmark status.
During an appearance on RTÉ’s Six One News, Geldof reminisced about the chaos of organizing the events, admitting he felt “panic, exhaustion, and worry.” He shared, “We had no contracts with any of these guys. We weren’t paying them anything. Would they show up? Would people give us money? We now know that a week later, in today’s money, we raised $485 million.” This figure underscores the concert’s remarkable success and its ability to unite people for a common cause.
According to estimates, approximately 1.9 billion people from around the globe tuned in to witness Live Aid, making it one of the largest charitable events in history. Geldof emphasized how this initiative paved the way for subsequent dialogues, particularly during the 2005 G8 summit in Scotland, where “the boys and girls with guitars and pianos” managed to sway the world’s political leaders toward substantial commitments, including debt forgiveness for the poorest African nations and doubling aid.
“Live Aid gave people an air of possibility,” Geldof reflected. “It showed that the individual was not powerless in the face of human monstrosity, that the world was not immutable, and that change was possible.” However, he was also candid about the limitations of music and celebrity: “Pop stars can’t resolve the wars and poverty we see today.” Describing the situation in Palestine, he said, “It’s beyond disgusting. But pop music can’t resolve that. We must work toward practical solutions.”
Geldof explained that organizing Live Aid was more straightforward in the face of a famine affecting 32 million people. The objective was to generate urgency and mobilize a political lobby to initiate change. “It’s far more difficult with what seems to be an intractable situation in Palestine. One: just stop killing. Two: implement a two-state solution. That’s what’s been called for for years. It’s not difficult, but pop music and concerts will not achieve that.”
The prospect of staging another Live Aid seems unlikely to Geldof. “It wouldn’t work this time,” he remarked, pointing to the rise of social media and the shifting cultural landscape. “The rock’n’roll age probably ended around 2005. Between 1955 and 2005, rock’n’roll was the spine of culture, influencing political, economic, social, theological, and philosophical discourse. Now, social media shapes these conversations. While we still have phenomenal artists and music today, its cultural influence has changed.” He likened this evolution to music from the 20s, 30s, and 40s, stating, “It’s become personal rather than a societal driving force.”
Ultimately, Geldof encapsulated a profound truth: moments tied to music—like a first kiss—remain cherished personal memories, yet music itself no longer holds the social weight it once did. “As a determinant of society, I’m less convinced,” he concluded.
Edited By Ali Musa
Axadle Times International – Monitoring.
