From Blair and Britpop to Starmer and the Oasis comeback: why character, not personality, matters

We get both the leaders and entertainers we deserve.

George Pitcher

George is a visiting fellow at the London School of Economics and an Anglican priest.

Tony Blair talks to a member of Oasis at a reception.

Number 10.

Last time we had a new Labour prime minister, there were no Partygate fears in Number 10. Quite the opposite. Tony Blair’s Cool Britannia project threw its front door open to the likes of Britpop overlord Noel Gallagher of Oasis at a bash in 1997. Inheriting a rising economy, things for New Labour, as well as for Oasis, could only get better.

This time around, Sir Keir Starmer has “tough decisions” to make, such as trying to deny a universal winter fuel allowance to most pensioners. Blair arguably never had a really tough decision to make, until his Iraq war nemesis. Since then, Oasis has turned into an unacceptable face of capitalism, as the Gallagher brothers’ reunion tour next year turns into a Ticketmaster greed-fest of “dynamic pricing”. Diabolical pricing, more like.

Starmer and Blair both aspired to usher in an era of change and renewal. The similarity of their circumstances ends there. Nearly 30 years on, Starmer is in a different world. And the transformation of Oasis is totemic of that – from the joys of Britpop to the horrors of rip-off.

That times change is axiomatic. The nineties had busts and booms; the UK’s Black Wednesday currency crisis was of the former, the snarky underclass anthems of Oasis a paradigm of the latter. Now, in the 2020s, there are only busts. Like the note left in the Treasury drawer in 2010 joked, there really is no money left now. Except, apparently, for Oasis.

Which brings us to the false idols of politics. Since personality, rather than policy, became the political trump card it’s inevitable that we would get Trump. Or someone like him.

An engaging question arises as to how the two Labour PMs were and are equipped spiritually for the times in which they lead. The spiritual state of Oasis is a linked matter, which I’ll get to in a moment.

Blair’s government famously didn’t “do God”, though it turned out he did privately, converting to his wife’s Roman Catholicism almost immediately after leaving office in 2007. Perhaps he had a priest hole in the family flat above Number 11. He consistently denied claims that he prayed with American president George W. Bush before or during the Iraq war.

Starmer doesn’t do God rather more formally, as a self-declared atheist. We can conclude that prayer is not a resource that he needs as he faces a more challenging immediate political future than Blair’s early days as PM. I only wish Starmer would appear in a T-shirt with the slogan “No Prayer, Like Blair”.

Arguably the spiritual life doesn’t matter for any leader. The job of PM is all about simple competence, mostly in money management. To paraphrase the pithy quip from Bill Clinton’s 1992 presidential campaign (on which Blair’s so strategically relied), it’s all about the economy, stupid.

So the worship is of mammon rather than God. Here the current and former PMs might care to track the career trajectory of the two Lords Gallagher of Oasis from Blair to Starmer. In 1997, they were in their pomp as authentic Mancunian working-class heroes. Today, the brothers have to make up and go back on the road to subsidise Noel’s £20million divorce settlement. A rather different demographic.

There’s perhaps no great political lesson there for political leaders, but it’s almost Faustian in its scope. See what happens when you bank only with mammon.

Which brings us to the false idols of politics. Since personality, rather than policy, became the political trump card it’s inevitable that we would get Trump. Or someone like him. It doesn’t matter, to his core vote, what he’s done or what he’s incapable of doing, Only who he is. He’s an idol, a cult image, a golden calf. Trump’s bull is sacred, whatever he does.

The UK thankfully hasn’t had one of those yet (though there were warning tremors in Boris Johnson). But it’s telling that Blair is said to have developed a messianic tendency after his premiership’s early intervention in Kosovo during the war in former Yugoslavia. At the termination of hostilities, crowds there sought to touch his clothes as he passed.

Strange that being touched should make him feel untouchable. But that’s the way of messianics. It can be the same with rock & roll stars. Live music, at its best, can offer a transcendent sense of communion. At its worst, it’s the adoration of stage idols that sends them a little mad. Or mad for it.

Oasis’s Liam Gallagher isn’t in this together with his fans anymore. He’s turned into a Marie Antoinette figure online in response to the ludicrous prices charged to watch him from Ticketmaster. He substitutes “Shut up” and “£100,000 kneeling tickets” for “Let them eat cake”.

He and his brother are warnings of what can happen in so short a period between the ascendancy of Blair and that of Starmer. True, pop stars aren’t as dangerous as someone such as Trump. But they do show us that we get both the entertainers and the leaders we deserve.

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Sustainability

17 October 2024

4 min read

What’s the point of celebrating the harvest?

We reap what we sow: a once young man’s guide.

George Pitcher

George is a visiting fellow at the London School of Economics and an Anglican priest.

A soot stained burnt-out harvester sits in a recently harvested field.

A burnt-out harvester, Lonesome Farm, Oxfordshire.

Nick Jones.

I plan next week to visit a small nursery school, called Young Haymakers, for their Harvest celebration where toddlers to five-year-olds will sing songs about tractor wheels going round and round, with vigorous manual actions as they shake, shake, shake the apple tree.

We’ll have a Harvest snack at tiny tables, a prayer and then they’ll give me the Harvest gifts from their families for those who may be hungry.

It is, of course, a delight, one of the happiest duties of a parish priest and I’ll miss it terribly as I hand it over to a new Rector. But, while I take nothing away from the sheer joy of thanksgiving of these children for the fruits (and vegetables) of this harvest and for those who farm them, I can’t help but wonder what Harvest, as a festival, really means for grown-ups.

The metaphor has been just too rich to avoid this season. We reap what we sow – and we witness that from Ukraine to Gaza and Lebanon, from Sudan to a United States that teeters on the brink of self-destruction as the world’s beacon of democratic values.

One might add to this sorry list the longer-term grim gathering-in from the world’s reliance on fossil fuels, a failed harvest of biblical-scale abomination as we destroy our planet’s natural capacity to host us. Truly, we have sown a wind and, in so many areas of human endeavour, we look like we reap a whirlwind (literally, in the case of weather crises such as Hurricane Milton).

There are prophetic voices that cry out in our human wilderness, from those who foresee the demise of the US at the hands of a shallow nationalism to those few on the political stage who predict an all-out war in the Middle East as the only possible conclusion to the escalation of revenge attacks between Israel and its neighbours.

The ancients saw famine and failed harvests as judgments for their sin, their divergence from the divine will. It’s unlikely that our world is going to accept such culpability any time soon. To do so would require a humility that we have lost, along with losing our religion.

We need to be careful of ascribing too much of a prophetic voice to Young. This was, after all, a fairly bombed-out singer-songwriter of the start of the Boomer generation.

Setting aside the reaping of whirlwinds from millennia ago, I’m going to invoke a popular folk song from a little over half a century ago. I do so because, in 1972, we lived in a more innocent world, before we knew how industrialisation could destroy our human species and when a western hegemony in democracy was taken for granted. Little did we know the precipice on which we were perched.

The song is by the folk-rock colossus Neil Young and is called, appropriately enough, Harvest. It is, lyrically, one of his more obscure works and to listen to it now is to struggle to get past a strangulated hippy voice that verges on self-parody.

But it repays the effort. Young’s lyrics are infused with religious reference and imagery, but no claim should be made for his affirmation of the Christian faith. Nonetheless, we’re entitled to view art through the prism of what informs us and, as such, Harvest yields its fruits. Young may well be singing about his lover, but it’s in love that all truth is explored.

Listen to it. Young’s Harvest opens with the lines “Did I see you down in a young girl’s town/ with your mother in so much pain?” Through a scriptural lens, this sounds like the pain of incarnation, the sharing of Mother Mary’s agony in visceral human experience.

It continues: “Will I see you give more than I can take”; for the confessing faithful, we’re at the foot of the cross here. “Will I only harvest some?”; we can, all of us, only harvest a little of the mystery of that event. “As the days fly past, will we lose our grasp?”; of course we will – time is finite. “Or fuse it in the sun?”; an uncanny pre-echo of climate change worthy of Nostradamus.

We need to be careful of ascribing too much of a prophetic voice to Young. This was, after all, a fairly bombed-out singer-songwriter of the start of the Boomer generation. But it’s also true that we should be careful of where we look for prophetic voices.

For Young, the Harvest is indeed a cruel and painful event, which we can only understand in part. We do indeed reap what we sow, but there may be purpose to be found in that. And the Harvest is indeed bitter, but in it we may glimpse a plan: “Dream up, dream up, let me fill your cup/ With the promise of a man”.

Or, okay, it’s just a song, harvesting a good deal of cash for its writer and singer. I’m no big fan of Young. But it might just have told me more about the Harvest than singing All Things Bright and Beautiful.