Here’s a controversial opinion about Billy Bragg: the man has a beautiful voice. On Mid-Century Modern, a track from his most recent studio album, 2021’s The Million Things That Never Happened, his mahoganied lower register fills Edinburgh’s palatial Usher Hall with warmth. If the loveliness of the delivery knocks you momentarily sideways, the song’s sentiment swiftly grounds you. “Freedom’s just another word for acting with impunity,” Bragg croons.
He performs “Way Over Yonder in the Minor Key,” a song with lyrics by Woody Guthrie and music co-written with the band Wilco around 1998. Accompanied by mandolin and keyboards, Bragg sings about a boy who gets into trouble with a girl’s mother due to his smooth talking. The chorus boasts “There ain’t nobody that can sing like me,” which Bragg delivers with a serious tone, not a hint of humor.
Ever since his debut in the 1980s, there have been few British pop singers as easily identifiable and divisive as Bragg. Coming from east London, the young musician refused to change his accent. The punk movement had made accents from the Thames estuary popular; Bragg’s relatable, nasal voice demonstrated that Barking was capable of producing both balladeers and automobiles. And if his voice was considered grating, it likely revealed the listener’s underlying prejudices.
A potential observation is that Bragg’s developed writing style showcases his deeper and smoother voice. His ongoing tour features The Roaring Forty, a collection of his guitar-driven activism spanning four decades, in various forms. It seems that tonight, some of his earlier songs may have been performed in a lower key. However, his devoted fans would not be bothered by this change – and even if they were, the night ends with a rendition of his 16-minute debut album, Life’s a Riot With Spy vs Spy, including the original guitar he used to record it.
Although his delivery has become softer over the years, that is not the only aspect of his voice. The true beauty of Bragg’s voice has been present since the 1980s. Some may say that you haven’t truly experienced the bard of Barking’s singing until you’ve heard him sing in Spanish.
One of the most unexpected moments of the evening is a short video clip from the 80s in Nicaragua, shown as part of a 40-minute film highlighting Bragg’s career. In the clip, he sings “Nicaragua Nicaraguita,” the unofficial anthem of the Sandinistas who overthrew dictator Somoza in 1979. This song was later recorded on Bragg’s 1990 album “The Internationale.” His performance is sincere and eloquent, without the usual self-consciousness often seen when English speakers attempt to sing in a foreign language. It shows his heartfelt solidarity.
Bragg’s incredible singing voice is an added surprise for tonight’s performance, but in all other aspects, he stays true to himself. He performs a mix of protest songs and love songs from his entire discography. The audience is seated, which may be due to the age of his fans, but it dampens the energy as one person tries unsuccessfully to get everyone on their feet. Bragg also takes time to explain his songs, share jokes and anecdotes, and clarify any past statements he has made.
The book “The Wolf Covers Its Tracks” concludes with a declaration to “stop the invasion of Gaza!” which is met with enthusiastic agreement. Bragg then discusses his brown suede “shacket” (a combination of a shirt and a jacket), admitting that he had to search it up after reading it in a review. He even confirmed the meaning with his personal style advisor, Paul Weller, imitating his voice as a joking East End gangster.
Bragg’s 1991 tune, “Sexuality,” has been revised to align with present-day attitudes. He croons, “I won’t reject you just because you identify as ‘they’,” and adds, “If you stay, I’m confident we can determine the appropriate pronoun.”
Bragg’s X feed remains a steadfast harbour in defence of trans rights, a stance he expands on tonight. He has refashioned Sexuality as a song of “allyship with our trans and non-binary siblings”, in part to get “geezers my age” up to speed.
The speaker is concerned about the use of biological determinism by anti-trans activists. They believe this argument has been used by the patriarchy for centuries to oppress women. They feel a sense of responsibility to stand up for their trans siblings and encourage others to do the same. They also support the safety of girls and women in their designated spaces, but also believe that trans women should be able to feel safe in those spaces as well.
Bragg clarifies that the danger faced by women, girls, and trans women originates from a common source – male violence. This is the issue that we should be actively addressing and fighting against every day, even if it means constantly engaging in online debates and discussions.
The Roaring Forty tour is not simply a journey down memory lane. Recently, Bragg composed a song titled Rich Men Earning North of a Million as a response to the viral song Rich Men North of Richmond by American singer Oliver Anthony. Anthony’s song expressed frustration towards the challenges faced by average individuals and placed blame on the wealthy elite. However, it also made derogatory remarks about overweight individuals on welfare and gained popularity among conservatives.
Bragg’s response makes it clear that the true adversary is wealthy men. And his proposed solution remains unchanged after four decades: there is strength in solidarity within a union.
Source: theguardian.com
