
The unsung Irishman behind Live Aid. Not Bono, not Bob, but Paddy
'Dawn, and as the sun breaks through the piercing chill of night, it lights up a biblical famine, now, in the 20th century. This place, say workers here, is the closest thing to hell on Earth.'
That place was a remote part of northern Ethiopia and the powerful opening sentences were accompanied by harrowing images of starving and crying children.
The seven-minute report was subsequently shown by 425 TV stations worldwide, bringing the crisis to global attention. In the four months after the report was broadcast Oxfam alone received a total of £12.5 million in donations.
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The emotional expression of Buerk's words have gone down in the annals of broadcast journalism. His report brought about the setting up of Band Aid and Live Aid, both of which have been a catalyst for raising millions for famine relief.
The story of the musicians coming together is well documented, but not many are aware that Buerk was briefed by a Co Down man, Paddy Coulter, who at the time was on a visit to Oxfam programmes in South Africa.
As the charity's head of communication, he took the opportunity to contact the reporter. He advised him on the drought that threatened to cause a catastrophic famine in Ethiopia, and facilitated his trip to the country.
John Hobson Coulter, who was born in 1946, grew up in Ballynahinch in mid-Down, the son of Eileen, a teacher, and Percival, a cattle dealer and butcher. He was the elder of twins and educated at Methodist College, Belfast.
In 1964 he went to Oxford to read classics at Queen's College, and like countless Irishmen before him who have settled in England, became known as 'Paddy'.
The Band Aid charity song, Do They Know It's Christmas?, was released in December 1984, entering the UK singles chart at number one remaining there for five weeks becoming the Christmas number one. Bob Geldof, who had been moved by Buerk's television report, and Ultravox's Midge Ure joined with some of the best-known performers to record the song which continued to resonate for decades.
The record led to the build-up 40 years ago to two simultaneous benefit concerts on July 13th, 1985 at Wembley Stadium and at the John F. Kennedy stadium in Philadelphia as part of a marathon transatlantic telethon. The stellar line-up of musicians in London included Paul McCartney, Phil Collins, David Bowie, Sting, Sade, and Queen, while The Who reformed for the event.
In Ireland some banks opened their branches specially for the occasion to allow people to pledge money while RTÉ covered the Live Aid show by involving television and radio personalities as well as others in the public eye.
Geldof is on record as saying that he was particularly proud of the Irish donations and the country's generous response. By 11pm on the night of the concert, more than £1 million had been raised in Ireland alone, surpassing all expectations.
The BBC has now made three hour-long documentaries about Band Aid, Live Aid, and its successor, Live 8 in 2005 which challenged leaders of the world's richest countries to address poverty in Africa.
A jukebox musical, Just for One Day, is running at the Shaftesbury Theatre in London, retelling from a modern-day perspective how the story evolved. A percentage of all ticket sales is being donated to the Band Aid Charitable Trust.
As for Paddy Coulter, he became director of the International Broadcasting Trust in London where he lobbied news organisations on a variety of issues.
He produced more than 100 programmes on development and the environment, winning a United Nations Correspondents Association gold award in 1996 for a TV series Under the Blue Flag. He also served as chairman of the international press freedom organisation Article 19.
From 2001 to 2007 Coulter was the Director of Studies for the Reuters Institute journalism programme based at Green Templeton College, Oxford. He mentored mid-career journalists from all over the world, helping inspire, reshape and transform their lives, and was noted for his insight and passion.
An accomplished journalist, he stimulated interest in the reporting of many events, including human rights causes and was a force for life with friends and connections in many countries. He died last November with warm tributes in obituaries paid to his tireless work and achievements.
Although Coulter never claimed the credit for Live Aid, he was instrumental in triggering the process that paved the way for it. He had an appetite for activism and his passionate role in speaking to journalists helped raise awareness of impoverishment, inequality and injustice in many countries.
Had he not contacted Michael Buerk to convince him of the crucial need to report on the Ethiopian famine, the attention of the world may have been focused elsewhere, and what was dubbed as 'the greatest show on Earth' might never have happened.
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RTÉ News
19 hours ago
- RTÉ News
Midge Ure announces rescheduling of shows due to health issue
Scottish musician Midge Ure has said it is with "great sadness and difficulty" that he has to "reschedule all shows planned from September onwards" due to a health issue that "requires urgent treatment and a period of recovery". James "Midge" Ure, 71, the frontman of electronic pop group Ultravox, whose track Vienna is among the most well-known songs of the 80s, explained that the health issue had been discovered during a recent routine check-up. The rescheduled performances include dates in Australia, New Zealand, the US and Europe. He said in a statement: "It is with great sadness and difficulty that I have to reschedule all shows planned from September onwards. During a recent routine check-up, doctors discovered a health issue that requires urgent treatment and a period of recovery. "I know many of you travel great distances, often across borders to attend the shows, and I never take that support for granted. I'm truly sorry for any inconvenience or disruption this causes to your plans. "I remain fully committed to performing all shows currently scheduled for this month and I'm looking forward to being out there with you for as long as I'm able." He reassured fans that his previously announced A Man Of Two Worlds Tour, due to take place in May and June of 2026, is "very much going ahead". Announced last month, the 2026 tour promises to offer a "rare and deeply personal concert experience" for fans by bringing together album favourites with "cinematic instrumentals". Ure's statement continued: "I'm aiming to be back on the road again as soon as possible and looking forward to getting back out there and sharing this music with you all. "My team and I are working closely with promoters to reschedule the affected dates, and we'll share updates on my Facebook page as soon as we have them. I kindly ask that you respect the privacy of myself and my family during this difficult time." He ended the statement saying: "Thank you, as always, for your understanding, patience, and unwavering support. It truly means a great deal. With thanks and love, Midge." Ure, who co-wrote Do They Know It's Christmas? for Band Aid, has also enjoyed success as part of bands like Slik, Rich Kids, Thin Lizzy and Visage.


Irish Post
6 days ago
- Irish Post
LIVE AID: 15 facts about the global charity concerts as 15th anniversary falls
THIS autumn, Bob Geldof's band The Boomtown Rats is celebrating its 50th anniversary with a new tour. This is unlikely to make international headlines. Never mind, though; for this month the world is celebrating a milestone for which Bob can take more credit than any other person on the planet: the 40th anniversary of Live Aid. After the success of their Band Aid supergroup single Do they Know it's Christmas, Bob and Midge Ure came up with an even more ambitious plan: an epic, groundbreaking pair of charity concerts which would see 70 of the world's greatest artists and bands perform over 16 hours of live music to raise money for the Ethiopian famine crisis. One concert would be held in London, the other in Philadelphia, both on July 13, 1985. Live Aid raised £40 million on the day, but this was just the beginning for Bob. Status Quo performing Rockin' All Over The World at Live Aid (Pic: Band Aid Licensing Ltd) He was destined to become the scourge of world leaders, campaigning for everything from the removal of third-world debt to ensuring all the money went to the right places. To quote Bono: 'He's just impossible to argue with. Bob Geldof is what justice looks like when it runs out of patience." Spurred on by righteous fury, wild-haired, charming, rude, passionate and ferociously intelligent, Bob redefined the role of the celebrity social crusader. White saviour complex? You're a brave man or woman if you plan on getting into that with Bob Geldof. Oh, and don't ask Bono about it either, or he'll come back with terrible stuff like 'I'm Irish. Bob Geldof is Irish. We would consider ourselves partners [with Africans] from the beginning. It is not a patronising or even paternalistic relationship that we have with our African peers, because we're Irish. We have the folk memory of famine.' Whatever your views on Live Aid today, it's impossible not to marvel at its sheer, massive ambition. It was the largest broadcast event in history, using 13 military satellites to transmit the concert to TVs across the globe. Around two billion people from 15 nations watched the show, on an estimated 84% of the world's TV sets – an intriguing figure, though surely one that's impossible to substantiate. For those assembled in Wembley Stadium, it was like England in the World Cup final and Woodstock rolled into one. The whole thing was organised in just 10 weeks from start to finish. Let's take a look at 15 fun facts and memorable moments... 1 The famous Live Aid misquote Ingrid Bergman never said 'Play it again, Sam'; Darth Vader never said 'Luke, I am your father', and Bob Geldof never said 'Give us your f*cking money'. What he did say, in response to a TV presenter who seemed absolutely fixated on people posting in their donations, was 'F*ck the address, let's get the numbers'. The 'numbers' were duly broadcast and the phone lines went into meltdown 2 That wasn't down to Queen, though Legend has it that it was Freddie Mercury's barnstorming performance that caused the biggest meltdown of the lines, but in fact this came after David Bowie's set. Bowie was arguably the biggest star of the night, and was originally lined up to perform three songs. However, once he'd watched the scenes from Ethiopia, he made it a condition of his appearance that they'd cut the third in favour of a screening of the footage. He finished Heroes , introduced the film, 72,000 people at Wembley fell silent and the phone lines lit up. Live Aid founder Bob Geldof (PIC: BBC/Brook Lapping) 3 If you build it, they will come Bob officially announced the line-up at a press conference four weeks before the concert. The details came as news to many of the acts, who far from confirming their attendance had yet to be asked 4 Colour The Who particularly surprised… The band had broken up in 1982 and had no plans for reforming. Frontman Roger Daltrey refused to play with drummer Kenney Jones, while bassist John Entwistle refused to not play with Kenney Jones. In his memoir, The Who's Pete Townshend accuses Bob of emotional blackmail. 'When Bob sensed I might refuse to appear, he took the gloves off...'Every pound we make will save a life. Do the f*cking math. And do the f*cking show!'' They did the show, but got their revenge by over-running. When the red warning light flashed at the front of the stage to alert them that their time was up, Pete stomped on it and broke it. 5 What price Oasis? Given the current dynamic pricing which left some Oasis fans with no change from £355, it's rather sweet now to watch BBC interviewers marvelling at the long queues for Live Aid tickets – 'despite the £25 price tag!' That's still only £70 in new money. 6 From Crocodile Rock to cater, alligator Although The Hard Rock Cafe set up a free restaurant backstage, Elton John wasn't taking any risks. He rocked up with his own motorhome containing a BBQ, cooking sausages, burgers and steaks. He may not have fed the world, but he treated select acquaintances such as David Bowie and Freddy Mercury. 7 Strait outta Wembley Dire Straits just happened to be playing Wembley Arena on the same day as Live Aid. Their place in the latter's running order left them with just one hour to get to the Stadium. The two policewomen enlisted to help the band rush from the Arena had no idea who they were. Legend has it that they informed Wembley security that 'these blokes are in dire straits and they need to get out quick'. 8 Something in the Air (literally) Ah, Phil Collins: the performer none of the younger viewers wanted to see, and they got to see him twice. Straight after his Wembley set, Phil hopped into a helicopter owned by Noel Edmonds, which took him to Heathrow, from which he flew to New York via Concorde in three and a half hours. When he landed, Cher lent him her limo to get to Philadephia, where he played two of his own ballads before joining Led Zeppelin on drums. Just imagine: if Phil had been forced to rely on British Rail and Ryanair, Led Zeppelin may not have played the worst gig in its history. The band blamed Phil for not knowing the drum parts, and promptly banned the footage from all future broadcasts. 9 The other Bob didn't get the memo Bob Dylan failed to grasp the Live Aid purpose. 'He displayed a complete lack of understanding of the issues raised by Live Aid by saying, unforgivably, 'It would be nice if some of this money went to the American farmers'." Bob Geldof wrote in his memoirs. 'Live Aid was about people losing their lives. There is a radical difference between losing your livelihood and losing your life. It did instigate Farm Aid, which was a good thing in itself but it was a crass, stupid, nationalistic thing to say.' He also described Dylan's performance as 'catastrophic' and 'the biggest disappointment of the evening'. Bobby D on classic crowd-pleasing form all round, then. 10 Any other disasters? Not exactly, though Bob Geldof was said to be furious (he doesn't really do 'mildly annoyed', does he?) that instead of belting out rousing, donation-extracting bangers, some performers used Live Aid as an opportunity to plug their latest singles. Ironically, it was those who got with the programme and played their old hits who went on to enjoy the biggest career boost from the show. In contrast, after performing his new song Vive Le Rock , Adam Ant gloomily watched it peak at No 50 in the charts. Should have unplugged the jukebox and given us Ant Music , Adam! 11 God save the Queen! Queen were louder, better and more magnetic than any other band that day. Already stadium-playing royalty, they knew exactly how to adjust their PA system so that Freddie's powerful voice reached the furthest edges of the crowd; added to this, the band had spent the previous three days in a studio perfecting their performance. Not originally a fan of Queen's brand of operatic pop, Bob has since named them the best act of the 16-hour show. Certainly there was no more theatrical sight than Freddie pumping his mic stand across the stage while 72,000 pairs of hands double-clapped in perfect synchronicity to Radio Ga Ga. 12 And god bless Status Quo Ah, the Quo – always guaranteed to inject a bit of laddish fun into proceedings. After locking Spandau Ballet into the loo as a jape during the Band Aid recording, Rick Parfitt and Francis Rossi turned up slightly jaded at Live Aid after partying heavily the night before. Hungover, perhaps, but not hung up on themselves. 'Nobody want[ed] to go on first', Francis told The Mirror . 'There were lots of egos. I said we would gladly go on first because everybody was arguing.' After a performance from the Coldstream Guards, the Quo marched on stage, Francis shouted 'You alright?' and kicked off with Rocking all over the World . In hindsight, of course, it was the perfect choice. 13 When Bono went Bad Bono sorely tested his fellow bandmates' patience when he jumped off stage during a performance of Bad to retrieve a girl in the crowd. This slightly bizarre stunt obliged the rest of the band to carry on jamming for what seemed like forever; it also meant they had to cut Pride (In the Name of Love), their biggest hit at the time. This, however, is not why Bono can't bear to rewatch his performance. 'It was such a bad hair day,' he says. 'One of your most famous moments of your life … and you've got a mullet'. Not just any mullet, either, but arguably the worst mullet in history. Funnily enough, in an interview before the show Bono is wearing the leprechaun-style hat he favoured at the time, but he doesn't seem to find this mortifying at all. 14 Dressed Like a Virgin Shortly before Live Aid, nude photos of Madonna had been published in Penthouse magazine. Introducing her on stage at Philly, Bette Midler made a rather heavy-handed, nudge-nudge-wink-wink allusion to this, to which the future Queen of Pop firmly responded, 'I ain't taking shit off today'. Madonna 1, Bette Midler nil, along with permanent banishment from the sisterhood. 15 And finally – yes, actually, they did know it was Christmas time after all Following Band Aid's Do they Know its Christmas , Bob Geldof came in for implying that Ethiopia was a stranger to Christianity, whereas in fact it's its biggest religion. He was duly punished for this gaffe during his first visit to the country, when he was forced to spend a whole night in a church while Ethiopians celebrated Christmas Eve. 'This bloody thing, going on for 14 hours. I mean, the mass in Ireland bored the arse off me. I knocked that on the head as soon as I could', he said. Happy 40th Live Aid anniversary, Bob. The story of the concerts and their aftermath are covered by the BBC's new three-part documentary Live Aid at 40: When Rock 'n' Roll Took on the World, now on BBC iPlayer along with over six hours of concert footage See More: Bob Geldof, Bono, Boomtown Rats, Live Aid


Irish Times
26-07-2025
- Irish Times
Bob Geldof: ‘I never read about myself. I can't stand the stupid f**king things I say'
Bob Geldof has yet to sit down to Live Aid at 40 , the BBC's gripping and expletive-filled account of how he wrangled some of the world's biggest pop stars into appearing at the era-defining 1985 charity concerts at Wembley in London and in Philadelphia . 'I never watch anything that I'm in. I never read anything about myself. I can't stand the stupid f**king things I say. I can't stand looking at my crap hair and all that sort of stuff. But I know about it and the response has been amazing. I was in Britain on the 'anniversary day',' he says, referring to Live Aid's 40th 'birthday' on July 13th. 'Even calling it the 'anniversary day' is weird to me.' Live Aid at 40 portrayed Geldof in a largely laudatory light. There were quibbles about the lyrics of the 1984 Band Aid single, Do They Know It's Christmas? Ethiopian politicians were offended by the song's title, explaining that, with their rich history of Christianity, they were perfectly aware of the birth of Jesus. [ Live Aid at 40: Bob Geldof emerges from this less sanitised version of events seeming somehow more admirable Opens in new window ] But the film's wider message was that Geldof had done something extraordinary by cajoling music's brightest lights – most famously Freddie Mercury and Queen – into coming together to raise millions for the victims of the Ethiopian Famine. He is pleased the documentary was well received, and that the anniversary hoopla has refocused attention on the plight of so many in Africa today. 'The nicest thing I read was that the greatest achievement of Live Aid was, in this world of indifference, [it] put poverty in Africa back on the agenda 40 years later.' READ MORE Geldof (73) has a reputation as a garrulous interviewer and someone prone to going off on a tangent. However, he is chatty and considered when talking to The Irish Times ahead of a performance next weekend by his group the Boomtown Rats in Co Waterford. It's possible we've caught him at a good moment. He's out on the road, leading the band on a 50th anniversary tour and playing to packed houses (a new compilation record, The First 50 Years: Songs of Boomtown Glory, follows in September). Though Live Aid and his campaigning have arguably eclipsed the Boomtown Rats' melodic punk pop, music is still his first love – and on stage, he burns with the same anger that has been a defining quality of his band since they played their debut concert on the campus of Bolton Street Institute of Technology in 1975. His rage came from his experience as a young man coming of age in the near-theocracy that was 1970s Ireland. He wasn't the only one to bristle under the dead hand of the Church – but he spoke out about it where others refused to. That need to lash out was the driving force behind the Boomtown Rats' first single, Rat Trap – inspired by his experience working in an abattoir in Dublin and observing how Catholicism and a life of narrowed horizons had beaten down and hollowed out his colleagues. He was only getting started. He and his band were more or less blacklisted from Ireland after Geldof went on The Late Late Show in 1977 and denounced 'medieval-minded clerics and corrupt politicians'. He also had a go at some nuns heckling from the audience – telling them they had 'an easy life with no material worries in return for which they gave themselves body and soul to the church'. The appearance caused a furore – even the unflappable Gay Byrne looked shocked. The Boomtown Rats would not play again in Ireland until 1980. It was a price he was happy to pay – a point he made clear in the 2020 documentary Citizens of Boomtown, released along with a well-reviewed comeback album of the same name. Bob Geldof: 'I have more or less the exact same opinion as everybody else on the disgrace, the horror of Palestine.' Photograph: Chris Hoare/New York Times Geldof performs with The Boomtown Rats at Leixlip Castle in 1980. Photograph: Paddy Whelan 'There was certainly a focused anger with me,' he says today. 'Perhaps less so with some of the others [in the band]. An inchoate undetermined rage was definitely the fuel. If there was this society that was just stuck, and there didn't seem to be any way that it could unstick itself, we would just go – along with hundreds and thousands of others. But in our going we articulated, I think, that rage – either literally in the songs or in the sound we made.' Decades on, a new generation of Irish musicians has taken up the baton – most prominently the Belfast-Derry rap trio Kneecap and Dublin/Mayo indie band Fontaines DC, who have advocated fiercely on behalf of Gaza. Does he see something of himself and the Boomtown Rats in those artists? [ Citizens of Boomtown: 'Bob Geldof drove me out of my f***ing mind' Opens in new window ] 'As I said, rock'n roll is essentially an articulation of the hitherto inexpressible. If there's something bothering you and you're inherently musical it will find its way. And it is something that seems to catch the zeitgeist. That's why these things become popular. The attitude of Fontaines and Kneecap ... there's a direct line back to Little Richard. It's corny and obvious but it's true.' The distinction, he believes, is that music is no longer at the centre of the culture of protest. It isn't that bands today care any less than their predecessors or that their fans are any less invested. But society no longer looks to music for answers in the way it once did. 'The difference is that ... this is contentious, but why not? I think that rock'n'roll as the spine of the culture was a 50-year phenomenon,' he says. 'In my lifetime rock'n roll was the arbiter of the social dialogue. The role of music has been taken by social media. Pop was our social media.' Everything changed in the early 21st century, he believes. The internet assumed dominance, and music became just another art form rather than a lightning rod for dissent and challenging the status quo. Bob Geldof and Darren Beale of The Boomtown Rats on stage at the Exit Festival in Novi Sad, Serbia, earlier this month. Photograph:'The year 2004 was when Google first made a profit. And 2004 was when this new thing appeared called Facebook. From that point on [music reverted to being] like music in the 1920s, '30s, '40s. Brilliant artists, brilliant writers, wonderful music. Fantastic songs. 'That doesn't mean music has lost all meaning. Just that it is no longer a pillar of social protest. You will always remember the feeling when you first kissed a girl, first kissed a boy. That will always be there,' he continues. '[But] it's been taken over by social media. Social media will take what a band has to say and amplify it. But then again social media is not a broad technology, it is an isolationist technology. So it has less impact. And while these bands make great music and they are fantastic bands, I'm not sure it will have the resonances that pop once had.' Geldof grew up in Dún Laoghaire, Dublin. His mother died of a brain haemorrhage when he was seven, and he was raised by his father, who managed restaurants around Dublin. The singer later attributed what The Irish Times once described as his 'premature independence' and habit of pushing back against the status quo to the absence of a mother and his father's long working hours. Having left Ireland and taken on various jobs in Cambridgeshire and Canada, he returned home and founded the Boomtown Rats in 1975. After one of their early gigs, a woman walked up and asked if she could sleep with him – an exchange he had never imagined possible in 1970s Ireland. At that moment, he understood that being a rock star could change his life. Relocating to London, the band had huge success with singles such as I Don't Like Mondays. The country myself and the Rats left was a very closed society, which ultimately led to a highly degenerate political body — Bob Geldof Geldof entered a relationship with TV presenter Paula Yates . They had three daughters and eventually tied the knot, though the marriage fell apart after Yates embarked on an affair with Michael Hutchence of INXS, with whom she had another daughter. Hutchence died by suicide in 1997. Yates suffered a fatal heroin overdose in 2000. In April 2014 there was further tragedy when Geldof and Yates's 25-year-old daughter Peaches died , also of a drug overdose. In a statement, Geldof said the family was 'beyond pain'. Geldof is widely admired, but he is not above criticism. After Live Aid, he was accused of encouraging a White Saviour attitude towards Africa. The naysayers have included Ed Sheeran who said last year that his vocals were added to a new remix of Do They Know It's Christmas? without his permission. His contribution was taken from a 2014 version of the song, and Sheeran said that, were he asked to participate today, he would decline. He quoted an Instagram post by singer Fuse ODG, who said undertakings such as Live Aid 'perpetuate damaging stereotypes that stifle Africa's economic growth, tourism and investment, ultimately … destroying its dignity, pride and identity'. Geldof and Paula Yates in 1979. Photograph: Keystone/Getty Images Live Aid: Geldof and fellow musicians on stage at Wembley in 1985. Photograph: BBC/Brook Lapping/Mirrorpix/Getty Geldof, along with his contemporary Bono, has also been attacked for staying 'quiet' about Gaza. Last year, singer Mary Coughlan said: 'We all saved the world when Bob and Bono were talking about saving the world, and I couldn't understand what was different about this situation in Gaza. Why would they would be so quiet about it?' 'Well of course I have opinions, like anybody,' he says of Gaza, adding that, as a trustee of the Band Aid Charitable Trust, his work with Africa is his primary focus. 'Whether I like it or not, I am associated with Africa. I've spent 40 years … Every day, I wake to at least 10 Band Aid emails about the latest situation. [The charity is] still building hospitals or … dealing with children Sudan. Or dealing with the ruined bodies of gang-raped women … And trying to give them some semblance of a future life. That's what I wake to every morning and have done for 40 years,' says Geldof. 'So you'll forgive me when I speak I stay focused on that where I know from whence I speak. I can literally do something about that. I have obviously more or less the exact same opinion as everybody else on the disgrace, the horror of Palestine. And, as you know, the answer to the issue of Palestine – it's not as if it's unresolvable. It is a two-state solution. And one way or the other that will ultimately occur. ' He points out that in 1984, nobody was taking a public stand about the famine in Ethiopia. He was the first musician with a platform to do so. Today, there is a chorus of voices about Gaza. 'There was an opportunity to give a focus point,' he said of Live Aid. 'There are plenty of focus points with regard to Palestine. But nothing is going to happen there until the wanton killing is stopped.' What about the argument that Ireland and Britain have flipped positions since Geldof was an angry young man? Once hidebound by religion, the Republic has blossomed into a poster child for progressive values – or so we like to tell ourselves. Meanwhile it has become voguish to paint post-Brexit UK as a wasteland of hollowed-out town centres and red-faced men in Wetherspoons complaining about refugees. [ The unsung Irishman behind Live Aid. Not Bono, not Bob, but Paddy Opens in new window ] 'I'd be wary of the starting point with regards to Britain ... It's a dynamic and creative country. Regardless of what you think, it's still the seventh biggest economy on the planet. In Ireland's case, it is transformative. I come back to what I always thought the country could be. That is not to say I don't know very well indeed the contemporary issues. I follow it rigorously and avidly. My family are in Ireland. I'm back all the time. I follow the politics etc. Having said that, the country myself and the Rats left [was] a very closed society, which ultimately led to a highly degenerate political body.' Bono makes an interesting point in the Live Aid documentary about he and Geldof, being Irish, having a folk memory of the Famine. Geldof wasn't aware of Bono's comments – as he says, he didn't watch the series. But he does wonder if being Irish did help put a fire under him. In one scene in the BBC film, he browbeats Margaret Thatcher into essentially removing VAT from Do They Know It's Christmas? He looks her straight in the eyes and talks without fear or deference – something it's hard to imagine even the most ardent English punk rocker doing. [ Live Aid spurred me into becoming a GOAL volunteer on the ground in Africa Opens in new window ] 'One of my pet theories is that punk is largely the product of the first generation of the Windrush people [ie migrants to Britain from the Caribbean] and the first generation of the 1950s mass migration out of Ireland. I don't think it's an accident you had Elvis Costello, Shane MacGowan, George O'Dowd [aka Boy George], Johnny Lydon, Morrissey, Johnny Marr, the Gallagher brothers. A very antsy attitude. Then you had the actual Irish like us. Some of us were friends some of us weren't – rivals or whatever. I always got on really well with Johnny. We always seemed to get on well with each other. Did it make a difference with Live Aid? I don't think anyone was surprised it came out of the Irish community.' The Boomtown Rats play All Together Now at Curraghmore Estate, Co Waterford, over the August bank holiday weekend. The First 50 Years: Songs of Boomtown Glory is released September 19th