There is nothing like being in a crowd. Experiencing the rush of a chorus of voices, strangers side by side, united in passion. Be it a protest or a concert, the feeling is the same. We become a collective force. In that moment, we can change the world.
That is why the upcoming “Gigs for Gaza” are so necessary. The act of coming together in solidarity is important, and music serves as a unifying force, touching our hearts and minds in ways not many other things can. By bringing people together for a cause as urgent as the ongoing genocide in Gaza through music, artists are engaging in essential work to raise both awareness and funds. Especially when world leaders, establishment figures, and those with vast platforms remain silent.
Led by Paul Weller, formerly of The Jam, the second instalment of Gig for Gaza will include artists such as Inhaler and Primal Scream. Taking place at the Troxy in London on October 17th, all proceeds will go to Medical Aid for Palestinians and Gaza Forever, providing essentially shelter, food, water, and urgent medical care for those suffering in Gaza. Both organisations also focus on cooperating with Palestinian people to work towards the long-term development and maintenance of the healthcare system in Gaza, which is currently under insurmountable pressure. The success of the first Gig for Gaza organised by Weller last year is encouraging, as it raised more than £125,000, also donated to those attempting to provide aid for Palestinians in Gaza.
In 2023, Irish Artists for Palestine, a coalition of artists of all kinds, was the driving force behind Ireland’s own Gigs for Gaza initiative, also donating their proceeds towards medical aid. They curated a programme of 17 events that reached across the island, culminating in a Gig for Gaza in November, with some of Ireland’s most renowned contemporary folk artists, including Lisa O’Neill, Lankum, and The Mary Wallopers.
Given the ongoing genocide in Gaza, donations are essential, and the reality is that events like this encourage more donations than a callout on social media could. In our capitalist economy, it is expected that transactions involve exchange, even for a charitable cause. In the face of this, it could be argued that this form of solidarity is somewhat performative – making people feel good about themselves and allowing them to be rewarded; but, if money is being raised and people are speaking out, then we cannot undermine the small steps taken in the face of genocide. In this country, we have seen how grassroots action can take hold and how ordinary people can lend their voices and support to the cause of justice. The legacy of the Dunnes Workers acting against apartheid in South Africa in the 1980s is still a potent one, with many deriving inspiration from their strength. These gigs followed the same principle, that it is up to us to stand in solidarity with those who suffer. They were a defiant display of hope, proving that people were listening and that something, however small, could be done.
Moreover, there is a historic precedent for this initiative. While Live Aid (1985) dominates popular memory, the first modern celebrity benefit concert was the Concert for Bangladesh in 1971. George Harrison and his close friend Ravi Shankar organised the concert in the wake of famine, war, genocide, and the 1970 Bhola cyclone, which devastated present-day Bangladesh. They endeavoured to raise funds for refugees as well as raise international awareness of their plight. Performances all came from his friends, including Eric Clapton, Ringo Starr, and Bob Dylan. Harrison knew his status as a former member of The Beatles had extraordinary potential to bring awareness and encourage solidarity. The concert attracted 40,000 to Madison Square Garden in New York across two concerts and raised $250,000. While later faced with legal issues regarding taxation of the event, it taught a valuable lesson; both artistry and stardom could be transformed into a power for good in the world, with genuine consequences.
Some, like Arts Council England, argue that music and its performance are not political, that we cannot insist on artists and promoters using the platform we give them to speak out. But how can they not? By its very nature, music is political. It has long been used as a form of protest, particularly in Ireland. Both our folk and contemporary music have been used to convey essential ideas of peace, freedom, and justice. Artists such as Kneecap, CMAT, and Fontaines DC continue to use their platforms to talk about the genocide in Gaza on an international stage.
In times such as these, we cannot rely on our government to display support on our behalf. Particularly in the UK, protest against complicity in the ongoing genocide is becoming increasingly difficult, yet it remains essential for voices speaking out against the humanitarian crisis to be heard. It only makes sense for those with platforms to utilise them. Artists, venue owners, and promoters do have a responsibility to aid humanitarian causes. We do not simply exist in the world; we are a part of it, and the suffering of those thousands of miles away is our collective responsibility. We cannot shrink from showing our solidarity. And what better way to do so than through music? There is strength in collaboration between artists and audience, as well as promoters, venue owners, and crew, who make these events happen. Solidarity expressed through music has the power to make a meaningful difference, and Gigs for Gaza proves this.
