London: “It’s 12 noon in London, 7 a.m. in Philadelphia, and around the world, it’s time for Live Aid.” This announcement on July 13, 1985, marked the beginning of a historic 16-hour music event broadcast from Wembley Stadium in London and John F. Kennedy Stadium in Philadelphia, reaching nearly 2 billion people in over 100 countries. Live Aid’s primary aim was to raise funds for famine relief in Ethiopia, becoming the largest satellite linkup and television broadcast of its time.
According to Deutsche Welle, Live Aid was orchestrated by Irish musician Bob Geldof and Ultravox’s Midge Ure, following the momentum of the 1984 Band Aid single “Do They Know It’s Christmas?” Despite its good intentions, the song has become contentious over time. Ure recalled how much of the planning for Live Aid relied on instinct and goodwill, setting a precedent for future events like Farm Aid, Live 8, and Live Earth.
Geldof, speaking in 2004, noted that Live Aid brought attention to issues not previously on the political agenda. Through the universal language of rock ‘n’ roll, the event addressed the moral outrage of people dying from famine in a world of surplus.
In hindsight, Live Aid was not without its flaws. Critics point out the lack of African and female representation, despite being a benefit for Africa. The lineup featured mostly white male artists, with only a few female performers such as Sade, Tina Turner, Madonna, and Patti LaBelle. Geldof defended the choices, emphasizing the need to draw big names to maximize donations.
In 2005, Geldof organized Live 8, aiming to influence G8 leaders to “Make Poverty History.” However, it faced similar criticisms for lack of diversity, initially featuring only Senegalese singer Youssou N’Dour. In response, the Africa Calling concert was organized, showcasing African artists like Somali singer Maryam Mursal and Beninese vocalist Angelique Kidjo.
Moky Makura, executive director of Africa No Filter, reflected on Live Aid’s portrayal of Africa. She argued that it perpetuated a flawed narrative of Africa, different from the one she knew growing up. Live Aid inadvertently became a symbol for a development approach focused on identifying and fixing challenges in poor countries, with money as the perceived primary solution.
Geldof has faced accusations of having a “white savior complex,” which he rejects. He dismissed criticisms that Live Aid reinforced a patronizing image of Africa as a continent dependent on Western aid. Despite the criticisms, Live Aid raised millions for famine relief and inspired initiatives like the US President’s Emergency Plan for AIDS Relief (PEPFAR) in 2003.
A recent documentary, “Live Aid at 40: When Rock ‘n’ Roll Took On The World,” highlights Geldof’s and Bono’s lobbying efforts that led to the cancellation of $40 billion of debt owed by 18 of the world’s poorest countries after Live 8. They also secured promises to increase aid to developing nations by $50 billion a year by 2010.
Now 73, Geldof reflects on Live Aid’s legacy, expressing doubt that its ethos can be replicated in the age of social media. He contrasts the isolating nature of technology with the communal spirit of rock ‘n’ roll. Despite this, he remains hopeful, asserting that individuals and collectives have the power to effect change.