Michael Franti (photograph by Imelda Michalczyk)

It’s the evening of the parliamentary vote on the Brexit deal and Michael Franti is pondering the question of whether music really has the power to change the world. He jokes that if he could sing a song to trigger a second referendum (regarding the UK’s fractuous decision to leave the European Union) then he would do it at tonight’s gig. I wistfully urge him to give it a go, before pushing him for an answer to the matter in hand. Here is a man who has dedicated his life to playing music that promotes justice, unity and hope, does he really believe music can have an impact on society?

“Is music going to make people vote Trump out of office or vote for a second referendum for Brexit? Probably not,” he sighs. “I don’t know if it can save the world overnight, but I know for sure that it can help someone make it through a difficult night and sometimes that’s what we need. Just to get into tomorrow.”

From the world political stage to the intimate fragments of an individual’s dark moments. Franti has spent his 30-year career connecting the dots to inspire people with a sense of purpose, connection and compassion, in both the broader and personal arenas. His current visit to London is to promote his second documentary, Stay Human, and a new album of songs from the film.

Franti’s artistic journey has taken him from fronting the raw political/social commentary machines of The Beatnigs in the late1980s and Disposable Heroes of Hiphoprisy in the early 1990s through the smoother, laid-back soul/funk sounds of Spearhead. His current touring schedule includes full band shows and also a vagabond folk singer incarnation, playing his acoustic guitar solo and barefoot around the world with songs that are acutely and unapologetically uplifting.

“I’ve come from being a sort of angry punk hip hop musician to, at a certain point, realising that anger is not my superpower,” he laughs. “I can get really super angry and there’s still somebody who can be more angry, more mean and more hateful than I could ever be. There was something more powerful in finding connection with people and my music has evolved in that way. It’s important to express anger, I just don’t feel it’s the most powerful state to be in and empathy, compassion and being on the side of solution-based politics is where I want to focus in my life.”

Michael Franti (photograph by Imelda Michalczyk)

Franti’s first documentary, I know I’m Not Alone (2005), saw him travel to Iraq, Israel and the Palestinian territories, to sing to and talk with people on all sides of the conflicts. This snapshot of what life was really like for them hinged on finding the underlying commonalities between each side and between all of them and us. Using home video cameras, and with minimal preparation, he admits he had little idea of how to make a film, resulting in a raw, though heartfelt and interesting film. Stay Human is an altogether different affair. A professional videographer from the action sports world, John Roderick, captured vibrant and compelling imagery of the diverse locations and characters.

“John’s used to hanging out of a helicopter and filming somebody diving off a cliff on skiis, so he can get beautiful images. I think it’s really important when you’re doing any kind of documentary, if you want to cut through, that it’s not just about talking heads.”

The film, which has won multiple awards on the film festival circuit, has a split focus. The narrative partly revolves around visits to four countries where Franti has encountered courageous individuals who have inspired him. He tells their stories sensitively – ordinary people doing extraordinary things in the face of some of life’s toughest circumstances. Working in disaster areas, struggling to break through poverty, seeking solutions to environmental crises, living through aggressive terminal illness. The challenges are profound and often bleak. The spirits of the individuals, however, are towering, engaging and humbling. Their accounts of overcoming and enduring are moving and, at times, quite astonishing.

Weaving through their stories is the unifying thread of Franti’s personal history – an idea inspired by his wife who, he says, persuaded him that opening up about his own struggles provided context. He describes being given up for adoption because his mother believed he wouldn’t be accepted by her family due to his mixed race, his struggle to fit in and his ongoing battles with depression. The revelations provide some insight into Franti’s drive, character and success. By bringing all these globe-straddling stories of challenge, survival and thriving together, he pinpoints the need for a rigorously positive mindset and direction, whatever the community, country or issue.

“There’s this battle in the world today and it’s not between left or right, or rich or poor, or black or white, or gay or straight or any religions,” he says. “The great battle that’s taking place in the world today is between cynicism and optimism. I face it every day. It’s hard to feel like the world is still worth fighting for and I get depressed.”

He points to the dismal political situation in his native US, including the current government shutdown, and the racism that has led to the ill treatment of refugee families.

“In America, we’re a nation of people who came from other countries – Europe, Asia, South America – all over, and African people who were brought as slaves and now people who are coming as diaspora from Africa, and then the indigenous population who had all the land stolen from them. So when people start saying ‘we gotta shut other people out and build these borders’, it’s like, well, you just got here a few generations ago! So you can’t really say ’this is my land and not yours’. But that’s what we do.”

Michael Franti (photograph by Imelda Michalczyk)

So how does he hope people will react to the film and how do they ‘stay human’ with the world in its current state?

“I hope that people really think about their basic values, of kindness, empathy and compassion towards other people, and then extend them throughout our politics and throughout our societies,” he responds. “One thing that unites us as humans is that we’re all born imperfect. To be human is to be observant of all that and to be able to come to grips with being your authentic self, no matter what that means. I think that the way that we stay human is to be able to find it in ourselves and then to be able to see it in others and to be able to say ‘I get you, I see what you’re struggling with and I see how really beautiful you are. I see you and I get you’. I think that in all the discussions that are out there today in the political world that that’s one I don’t hear. I hear people saying ‘let’s build a wall, let’s create more borders and let’s prevent people who are poor from getting ahead and let’s not reach out to those who are lowest economically in our societies’.”

Franti’s message of reaching out and connecting has clearly hit home with many through his music. In the film, we see multiple instances of him meeting fans and their appreciation for how his music has comforted and inspired them. His ability to connect with those around him is evident when you meet him in person – you genuinely feel like you’re being greeted by an old friend. As he says, when introducing the film screening later that evening, “there’s no one that you wouldn’t love if you knew their story”.

Circling back to Franti the musician, the London screening of the film also featured an acoustic set of songs old and new, performed with bassist Carl Young, a longtime cohort from Spearhead, and Victoria Canal, a singer/songwriter and keyboardist with an extraordinary voice, who appears on the new album.

Victoria Canal (photograph by Imelda Michalczyk)

The album of songs from the film is called Stay Human ll, differentiating it from his 2001 album Stay Human, which pivoted on the issue of capital punishment. Unusually, Franti has chosen to collaborate with other songwriters on the new album, having previously taken on the writing role along with engineering and mixing his own records.

“I’m really happy with the results because it sounds different,” he says. “When I first started in music, or even recently in music, I always thought if I write with somebody else it’s going to somehow be less of what I’m feeling personally, but I found that the opposite is true.”

He reveals that when he hits a wall with writing, having someone else there to offer ideas sends him off in a new and welcome direction, adding “it’s always a joy to just be able to focus on the words for me”.

In the post-film performance at Bush Hall, they played some of the most poignant and motivating tracks from Stay Human ll, including the soulful clarion call for healing of Flower in the Gun, the comforting hug of Nobody Cries Alone (which he describes as a motto in his household) and, my personal favourite, the riotous and blisteringly hopeful When The Sun Begins To Shine. He was also joined by Sonna Rele for her guest appearance on 11.59.

Michael Franti and Sonna Rele (photograph by Imelda Michalczyk)

However collaborative the creative process has been with this album, he’s found it’s nothing compared to the necessary multiple roles and extensive production period required of film-making. “I can write a song this afternoon and then walk onto a stage or walk onto a street corner and perform that song immediately, as opposed to with a film – you spend years and years and then someone comes and sees it once and you hope they like it! But a song can live on and it can evolve and change.”

That brings us neatly back to the power of song, which is clearly still at the heart of Franti the film-maker. Back in the late 1980s, Franti toured in support of Billy Bragg, a singular British exponent of politically infused music for several decades (who describes the Rock Against Racism movement of the late 1970s as inspiring his political and musical awakening). I draw attention to Bragg’s recent comments that he no longer believes music can change the world (acknowledging that he’s tried for many years) – now, he says, his faith rest with the audience to change the world. Franti nods and enthusiastically recalls Bragg’s influence from those early tours.

“What really struck me was his monologue in between songs that was part humour and part politics, part soul and part personal stories. He really showed me how an artist could use their storytelling not just in their songs but in between the songs and then during interviews or, in my case, making a film. You weren’t just confined to having to get on stage and shut up and sing, and it was really inspiring for me. He really was a mentor to me.”

Michael Franti (photograph by Imelda Michalczyk)

Franti’s message of motivation and community continues to uplift his audiences and, he concludes, remains the way he keeps his own spirits up and stays human.

“It’s healing for me to play music,” he says. “There’s no greater joy for me, as an artist, than to look out into a crowd and see thousands of people come to a concert – they’re all carrying in the world with them and then, as soon as you start playing, smiles light up and people cry and they high five their friend. They hug a stranger and they sing out loud and out of tune, and they dance like no one’s watching. Then they go home and they feel different, they feel transformed, and they feel like ‘whatever happens in my life next, I got this, I can take it on’.” Franti smiles with satisfaction and adds: “That’s what gets us excited and what keeps us going”.

Stay Human is available on iTunes and Amazon for download, rental and purchase from January 25. There is an anticipated May/June release date for subscription based video on-demand platforms (including Netflix). The album, Stay Human ll is also be available from 25 January. More information about Michael Franti can be found at michaelfranti.com.

Interview and photography by Imelda Michalczyk on 15 January 2019 at Bush Hall, London.

Shepherd’s Bush Empire played host to the first night of this ten-date British tour. The Fireball-branded drum kit and equipment on stage, plus the free promotional drinks and t-shirts being handed out to the crowd at various intervals were spirited reminders of the theme of the evening.

Lost In Stereo, from Glasgow, were winners of Fireball’s Hottest Band Competition last year, and were back with a place on the touring roster for this year. The fresh-faced pop punks played a confident and tight set spanning their fledgling repertoire. Tear The Pages from their latest EP sat alongside the “first song we wrote” in one of the band member’s bedroom, called The Butterfly Effect. Clearly delighted to be on the bill, they ended with a Christmas song, which (bar The Vandals and their penchant for Christmas albums) seemed to stretch the punk ethos a little, but ’tis the season to be jolly and they certainly were.

Californian’s Face to Face followed, with the crowd swelling and the venue filling up. Frontman Trever Keith joked how it must be “a shock” to have watched a band of 20 year olds and then see four 50 year olds walk on stage. Age is but a number though, and the heavier edge, and faster, more driving rhythms were a hit with the crowd.

Face To Face, Marc Broussely

Tracks from recent album, Protection, sat alongside memorable older songs such as All For Nothing.

The Bronx, Marc Broussely

The arrival of The Bronx took the whole evening up several notches. The LA-based punk rockers threw themselves into their set with maximum power. Still riding high on their outstanding fifth album, The Bronx V, they tore through a setlist that was even-handedly drawn from across their career, with old favourites including Heart Attack American as enthusiastically received by the crowd as new songs such as Two Birds.

Vocalist Matt Caughthran proved himself to be one of the most energetic and interesting punk rock performers around at the moment, with exceptional command of the crowd.

His invitation for people to get on the stage during White Guilt was met with a sudden rush of crowd-surfing, defiantly fought off by a row of security guards. In the seasonal spirit of giving and receiving, he descended into the crowd himself – during the classic Knifeman. “The dancefloor is for dancing!” he exclaimed before spending the best part of two songs no longer visible, belting out the lyrics while consumed in a frenzied mosh pit.

The Bronx continued to exude humour and charm off stage, when Rockshot shared a few minutes with them over a shot of Fireball.

The Bronx, Marc Broussely

Back in the spotlight, the night had certainly hit its stride by the time headliners Flogging Molly strode on stage.

The Celtic-punk stalwarts ran through a solid and energetic set, taking the edge off the more hardcore feel the night had veered into.

Flogging Molly, Marc Broussely

The seven-strong band add violin, accordion and banjo to the traditional punk roll call of guitar, bass and drums featured in the previous acts. With a career spanning around two decades, they enjoy a loyal following and the status to headline such a diverse range of bands.

With a huge banner behind them proclaiming Life is Good (their most recent album title), the upbeat feel of the music and the enthusiastic response of the crowd was pleasantly heart-warming.

The proper jig-hoedown style action in the pit really took off from the jaunty The Likes of You Again onwards, and the upstairs seated audience were on their feet and clapping from early on. A sense of real camaraderie amongst the band members boosted the strength of the show.

The tour brought a good mix of bands with enough firepower to exhilarate and exhaust the audience by the end of the night. We’ll be curious to see who gets on board the Fireball tour next year…

The Fireball – Fuelling The Fire tour runs until 14 December. Live Review by Imelda Michalczyk and Photography by Marc Broussely on Sunday 2nd December at Shepherd’s Bush Empire.

Festival season has been blessed with a heatwave in the UK this year. Not something that rolls off the tongue, as any mud-bathed, Wellington-booted, festival stalwart will testify. Yet, here we are in sweltering central London, for the first of the annual BST Hyde Park concerts.

BST has played a top trump card on its first day (but don’t worry, its has plenty more up its sleeve for the remaining five days) with headliner Roger Waters of the iconic Pink Floyd. The stellar line up also includes local heroes Squeeze, who have graced us with hit after hit since the late 1970s, and tour after tour in the years since, despite an array of arriving, leaving, coming back and leaving again members.

Central to every line up of the band has been the songwriting core of Chris Difford and Glenn Tilbrook. Chris has agreed to meet up for a chat with Rockshot, backstage at BST, before their top of the bill set on the Barclaycard Stage.

However, the sun doesn’t seem to be shining quite so brightly on the interview arrangements. En route to the artist’s area to meet Chris, I’m stopped by security because our rendezvous has coincided with the headliner’s arrival, whose management prefer to clear the area for crucial ‘stepping-out-of-car’ moments. Patiently, I watch interview start time come and go, whilst I squint into the distance to try and identify the famous figure ahead. Eventually, the way is clear, and I meet Chris who shakes my hand and chats jauntily about how a founder of the PR company for the festival was responsible for kicking off his career. This seems remarkably generous for a man who’s penned some of the most incisive, witty and reflective pop song lyrics of his generation.

As we sit to begin the interview a huge electric fan and a doggedly determined member of staff with a very loud vacuum cleaner, combine to create a wind tunnel sound effect for Chris and I to yell at each other over. However, comedy obstacle elements aside, we’re ready to rock and roll.

With Hyde Park such a hallowed ground for concerts from the last several decades, I ask Chris if he’s witnessed any seminal gigs himself here.

“Yeah, I came to see Carole King a couple of years ago [BST 2016] and it was very emotional hearing Tapestry. I had tears in my eyes watching her play and sing. It was just an incredible thing.”

So, does a festival audience feel very different to one Squeeze would normally play to?

“Yeah, I think so, because at a festival people are standing and they’ve got other things on their mind. I find that when people are standing their bodies are telling them that they’re getting tired, so they have to take on board a bit more information, but when they’re sitting in a nice comfy seat then they can take in more information,” he says, smiling.

“But I think people get value for money at festivals and that’s a good thing. If you get a ticket to a festival you can see ten bands in a day if you want, so, what’s not to like about that?”

I wonder if in the 40-odd years of touring Chris has honed any pre-show rituals to get into the zone.

“No, I don’t. I’ve always heard about football players having rituals about having one sock up and one sock down, but no, I haven’t adopted any of that.”

With that sensible decision, I move on to the serious subject of Squeeze’s newest album, The Knowledge. Released in October 2017, it features a breadth of sober, and sometimes grim, subjects, from the austerity slating of Rough Ride to a cry for help for the NHS in A&E, plus a chilling story of a predatory sports coach in Final Score. Does he think it’s the band’s most overtly political album yet, with these songs really tackling some of the most important and difficult themes of contemporary Britain?

“Yeah, I mean it’s the birthday of the NHS this week and that’s a very important thing to talk about. Glenn crafted the idea of us putting those songs on the album – he’s very good at observing what’s going on and making other people aware of it.”

The Lewisham and Greenwich NHS Choir has sung with Squeeze a few times, which Chris puts down to their proximity to Glenn’s homestead of Blackheath. He describes the choir as having become close friends. “They’re lovely people and it’s gloriously emotional when they are on stage.”

When it comes to what’s next for Squeeze, apparently it’s way too early to predict the next recording stage for the band.

“No, no, I don’t even know what the next album is or where it belongs or if there will be a next album. I don’t know if there’s a trajectory for that.”

With World Cup fever currently sweeping the nation, I feel compelled to ask the ‘are you a football fan/are you following the World Cup’ question. After all, one of my favourite Squeeze songs is the powerful Walk Away, and I’m not sure how autobiographical it is, but there’s a mention of being ‘wrapped up in my football scarf’. So Chris, are you a fan of the beautiful game?

“Well, I was when I wrote that song, but I’m not any more particularly. I mean, who’s not inspired by the World Cup – it’s quite good fun and brings people together, a community that we lack in this country, and it combines all of that.”

So back to tonight – what will the set be like?

“There will be a smattering of new songs from The Knowledge, I think it’s three, one from [the previous album] Cradle To The Grave and the rest is hits.”

No new material then? Chris shakes his head. “No, a festival is not a place to preview new music. Unless you want people to drift off. [Laughs] Hyde Park is a short set and we’re on before Roger Waters and so a lot of people have got that in mind. I just want them to go away feeling like they’ve had a nice experience.”

I ask Chris to play curator for a moment and ask him to divulge his ideal festival line up.

“Oh, that’s a really difficult question. The Arctic Monkeys probably, Justin Currie, I don’t know…”

Having put him somewhat on the spot, I end with surely the most vital question of the day. How do Squeeze keep Cool for Cats in this weather?

“I just don’t think there is a way to keep cool in this weather, you just have to be in the weather. I know that in four weeks’ time I’ll look back to this day and go oh my god, that was lovely!”

When it’s all gone?

Chris nods. “When it’s freezing cold and I’m in Scotland.”

With that, we laugh and I leave him to enjoy the heat spell and prepare to entertain the masses.

Check out Rockshot’s review of the day, including photos of Squeeze’s set.

You can find Squeeze’s upcoming tour dates at www.squeezeofficial.com.

Interview and photography of Chris Difford by Imelda Michalczyk on 6 July 2018.

[socialpug_tweet tweet=”Cool For Cats? “I just don’t think there is a way to keep cool in this weather, you just have to be in the weather.” ” display_tweet=”” style=”2″]

The extraordinary film, exploring the re-emergence of the enormously talented Johnson, considers the struggle to connect with one’s inner creativity (and disperse procrastination) in a world that brutally severs our deepest external connections. Weaving throughout the scenes is Johnson’s recital of John Tottenham’s epic poem of the title, which seems, at every turn, to mirror the songwriter’s predicament, provocative insights and dark humour. 

Ultimately, the film contends with tragedy – showing how the intense emotions of losing his older brother become a catalyst for stirring him back into productivity. A path that has brought The The to London for a three-night run at a triangle of differing venues for their ‘2018 Comeback Special’ tour. I caught the The Inertia Variations at the ICA this week, after witnessing two (out of three) of the band’s hometown shows.

The Royal Albert Hall show was a spectacular start to the highly anticipated week of events, but from the very opening, the tone unexpectedly changed key, with Johnson’s announcement that his father passed away just two days previously. Poignantly, he explained that his father was planning to be at the show and it was clearly a difficult choice to continue with the tour.

There was a tangible billowing of empathy from the crowd. However, the dedication of the show to his father, coupled with the air of expectancy from fans, some of whom would not have seen The The live before their long hiatus, heightened the energy in the room. 

Slow burning Global Eyes, from the NakedSelf album, opened a set drawn from across the band’s career, while familiar 1980s singles Heartland and The Beat(en) Generation were delivered surprisingly early. This latest incarnation of the band features musicians familiar from previous The The tours – James Eller on bass, DC Collardon on keyboards and Earl Harvin on drums, while newcomer Barrie Cadogan joins on guitar.

The group was initially in silhouette against a giant screen, which later showed a montage of footage, including extracts from the Infected video epic and personal family photos and videos. Johnson, in his now deeper, soothing and actorly voice asked that no one watch through their iPhone. The one person allowed to look through the lens is long-time video collaborator Tim Pope, who was filming the show for future release.

Songs written for lost loved ones were grouped together, with back-to-back renditions of last year’s new track, the graceful We Can’t Stop What’s Coming, 1993‘s powerful Love Is Stronger Than Death and the sombre Phantom Walls from 2000, respectively for his older brother Andy, his younger brother Eugene and his mother.

The heat rises for the heavier inflections of Dogs of Lust and Infected and the more delicate pop sweetness of This Is The Day. Johnson good-humouredly bats away the shouted out song requests from the crowd, indicating that they’ll be sticking to their setlist. 

The encore of the lilting True Happiness This Way Lies, the staggering glory of Uncertain Smile and the clarion call of Lonely Planet sends me away uplifted, after a musical journey searching for meaning, facing fears, reaching for love and striving to find peace. 

With more touring planned for the autumn and the prospect of new material, it looks promising that Johnson’s new productive streak will keep running. 

I’m reminded of a moment at the end of The Inertia Variations. Poet Tottenham delivers to Johnson a tumbling, deriding dismissal of poetry, which is both hilarious and fierce, and ends with an admission that, despite his attempts, he hasn’t been able to stop himself writing poetry. The struggle continues for everyone…

Live review and photography by Imelda Michalczyk of The The at Royal Albert Hall in London (words) on 5 June 2018 and The Troxy in London (photography) on 7 June 2018.