Sarajevo Bosnia 1992. The Realness Ball NYC. Trump’s AI Gaza. #BlueAvianMessage. Purchasing tickets for Massive Attack’s Co-op Live Manchester concert, I didn’t realize I was also signing up for a cinematic exposé of socio-political corruption-one that would transport me to the edge of Gaza as well as the past enterprises of urban media. Faced with a uniquely unfiltered display of reality, Massive Attack opened the floodgates to my emotional experience of their music and media as a whole.
My dad has been a Massive Attack fan for longer than I’ve been alive, and recently we saw them together; enriching to say the least. As we journeyed from Sheffield to Manchester, we blasted songs that my father had listened to when he was my age, and I recalled the many CDs and album posters that remain scattered around my grandparents’ house. Like with any concert, I was prepared to depart with a renewed conception of the duo; a polished image I could conjure when “Karmacoma” plays on the playlist I shuffle while doing dishes. But after leaving Manchester’s Co-op Live arena, I felt I had gained more than a face to the name of Massive Attack.
Opening with Palestinian band 47Soul, Massive Attack immediately used their platform to not only give a smaller band recognition, but also allow vulnerable international voices to be heard. This idea seems to encompass an important maxim of the group, and every song traced back to the idea that vital perspectives have been lost amidst the jungle that is the internet.
Massive Attack does not take their displayed morals with a grain of salt, and almost cancelled the show hours before, due to a disagreement with the venue. The group posted, perturbed, to their Instagram story after discovering Co-op Live’s partnership with Barclays, a bank that invests heavily in arms companies, announcing their reluctance to perform that night. However, by our luck, they used this opportunity to raise awareness around the disturbing amount of large corporations that fund the Gazan genocide.
Backing images displaying the destruction of Gaza.
Vocally, the Bristol group has dedicated famous songs like “Safe from Harm” to the Palestinian people, but their performance explores much more than this modern genocide. In particular, “Take it There” hit hard with devastating imagery of child labor in the Democratic Republic of Congo, highlighting the grief which had only subconsciously manifested in my previous interpretation of the song. In other words, the song’s edgy tone gained emotional depth when paired with a pleading message, which Massive Attack did not back away from conveying.
Another notable display of digital collage occurred during “Teardrop”; while the Cocteau Twins’ Elizabeth Fraser delivered heavenly vocals, Massive Attack juxtaposed the scene with an array of heavy visual effects. Mostly clips from social media, news, and cinema; the screen displayed disco, cultural traditions, AI creations, and zoological experiments within seconds. However, these overwhelming clips were not meaningless. On the contrary; flashing sentences like “Taylor Swift’s new music video sends powerful message..” or “Simon Cowell calls for Melania’s divorce…” relayed the group’s point that important events get lost amid the clutter of trivial headlines. Additionally, during “Group 4”, the group displayed a satirical message regarding conspiracy theories, aiming to expose them as a numbing distraction to real global issues.
Elizabeth Fraser performing ‘Teardrop’ with Massive Attack.
These deep dives into the nature of mainstream media evoked various reactions from the crowd. Some heckled, urging Massive Attack to ‘just get to the music’. Others, moved by the display, chanted ‘Free Palestine’ in support. Still, some were disturbed by what they thought was a callous display of violence and real-life conflict. Responding to this, Massive Attack posted to their Instagram page, settling concerns about their intentions.
“Massive Attack categorically reject any suggestion that footage or reportage used as part of an artistic digital collage in our live show seeks to glorify or celebrate any featured subject. To isolate a single section of reportage from the artistic context within which it sits- a digital array that spans a wide variety of issues and themes (and explores how they are reported and presented via mainstream and social media) including war, insurgency, climate emergency, corporate tax avoidance and the mineral exploitation of global south nations, and includes a multiplicity of highly controversial current and historical political figures-is tantamount to a wilful device to create conditions for misinterpretation or distortion”.
Satirical messaging accompanying Massive Attack’s cover of ‘ROckwrok’ by Ultravox.
Overall, from lights to screenplay and featured artists, this show was a visual, auditory, and, frankly, philosophical feast. While it may have been a moral struggle for Massive Attack to perform this show, it seemingly motivated a more passionate delivery of their vital message. Bridging the gap between politics, art, and media, Massive Attack achieved a truly powerful and memorable night.
Find Maia on Instagram at @mmaiamaxinee.
Maia Cardew is a student at the University of Wisconsin-Madison pursuing undergraduate degrees in English and Psychology, along with hosting a radio show on WSUM 91.7 FM. Check out her work in fingers comma toes (Rust Issue), and hopefully more soon!