Is Bristol's music scene obliged to be political?
By Alice James, Third Year History and French
Politics took center stage in the Bristol music scene in August 2024. Over the bank holiday weekend, IDLES headlined their second charity gig for War Child, while Massive Attack held a sustainably powered concert the following day. Political statements like these are not new for either band or the city itself.
Bristol’s music history is steeped in politics, from Portishead’s 2022 War Child performance to the underground scene of the 1980s and early punk bands like The Primates. With so many of Bristol’s biggest names involved in political causes, it begs the question—why? And are artists expected to follow this trend?
Upon closer inspection, this 'trend' isn’t a trend at all. To understand politics in Bristol's music scene, a deeper question arises: what does it mean for an artist to be political? A tweet criticizing government policy, a song about class inequality, or a benefit event for a charity are all different actions. However, they can easily label an artist as political.
The intersections of politics and music in Bristol aren’t one consistent movement; they are varied actions for different causes aiming at different outcomes. The events over the August bank holiday perfectly illustrate this. IDLES headlined a benefit gig for War Child, a charity supporting children in conflict zones.
Meanwhile, Massive Attack’s concert focused on lowering the music industry’s carbon emissions. Both were political acts but completely isolated from each other.
IDLES have long spoken out on a range of social issues, while Massive Attack primarily focuses on the climate crisis outside their music. There’s no indication that IDLES felt obligated to be political due to the activism of bands before them, like Massive Attack.
If IDLES and Massive Attack represent opposite ends of the political spectrum in music, Portishead sits somewhere in between. Like IDLES, they performed at the 2022 War Child gig, raising money for the cause with the help of Friendly Records. However, unlike IDLES, politics isn’t a major theme in Portishead’s music. Their success isn’t tied to any political stance.
Involvement in political causes by Bristol’s biggest bands can create the illusion that success in the city is tied to activism. But in reality, these artists use their success to promote political causes rather than the other way around.
This shows that Bristol musicians engage in politics not out of obligation but because they want to. Portishead’s 2022 performance, their first in seven years, can’t be seen as an attempt to boost their image, as their last album came out in 2008.
For IDLES, politics is more complex. It’s embedded in their music and success, but this aligns more with the punk scene as a whole rather than being specific to Bristol. It’s hard to consider fundraising efforts as personal gain. Any band relying on ticket or record sales for charity must already have a solid fan base to make the endeavor worthwhile.
Of course, Bristol’s music scene is far more than just its biggest names. They may shape the image of Bristol’s music as politically charged, but what about the rising artists who live in their shadow? The same rules apply. Newer acts aren’t obliged to follow in the footsteps of more established artists or to be political in order to succeed.
This has always been the case, even in the early days of Portishead and Massive Attack. Bristol-based artists like Katy J Pearson, Getdown Services, and Willie J Healey are all rising stars who are thriving without engaging in political activism.
With no obligation for Bristol artists to be political, the bigger question becomes: why do so many of them choose to be? It may be due to the city’s cultural and political atmosphere, or maybe it’s just a long-running coincidence.
One factor that has spurred recent activism in Bristol is Friendly Records. The independent record shop in Bedminster has been instrumental in organizing political events. They’ve worked with War Child for years, helping put on both the 2022 and 2024 benefit gigs and raising money through record and merchandise sales.
Though they’ve only existed since 2016, Friendly Records has provided opportunities for Bristol artists to unite for political causes. Even artists like Willie J Healey and Katy J Pearson, who are less politically involved, performed at the 2022 War Child event.
Friendly Records emphasizes the importance of community. They raise money for Bristol-based charities and collaborate closely with local artists. The community that Friendly Records represents is a vital part of Bristol’s music scene. They’re part of a network of local venues, bands, and labels that support each other, celebrating the city’s independent and diverse music culture.
For Bristol’s emerging artists, music has real power. It forms communities, embraces differences, and offers support. It’s more than just music. Perhaps this is the key to understanding why Bristol’s music scene is so closely linked with political action.
Featured Image: Benji ChapmanDo you think the Bristol music scene has an obligation to be political?