Is there anybody who doesn’t know the name Bob Geldof?
Along with the Sex Pistols and the Clash, Geldof and the Boomtown Rats are attributed with changing the face of music.
A significant part is due to the Live Aid concert and Geldof’s activism – which is part of the reason he’s made his way to our shores.
Geldof has a couple of dates lined up in New Zealand, coinciding with the 40th anniversary of Live Aid and the 50th anniversary of the Boomtown Rats.
The show’s called ‘An Evening with Bob Geldof: Songs and Stories from an Extraordinary Life’, and it’s a slightly different type of show than he normally performs.
Geldof told Mike Hosking that it leans more theatrical, with visuals and songs accompanying the storytelling element.
“It’s not something I’d normally do,” he continued.
“In the summer, as you said, the Rats are 50, we do all the big festivals and then we're talking off mic about, y'know, suddenly Bobby Boomtown's in the house."
"The sagacious quiet person you're listening to right now becomes something else.”
This show is set to be a bit less intense, Geldof jokingly warning people to bring a sleeping bag as the stories may go on for a while.
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Episode Transcript
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Speaker 1 (00:00):
If you believe it or can believe it. The Boomtown
Rats are marking fifty odd years in the business, and
the group wouldn't be the only thing that Bob Geldof did,
of course, that changed music all the world. It's also
the fortieth anniversary of band Aid. He put it all
together in a stage show and got a couple of
dates here. It's called an Evening with Bob Geldoff. Songs
and Stories from an Extraordinary Life, and the great Bob
Geldoff is with us. Good morning, good morning, good to
(00:22):
see you you too, mate. We were talking about health
off air and because you look amazing, because the last
time I was explaining on the show before you arrived,
last time I saw you was twenty years ago and
you didn't look a lot different then. So either you
were aging.
Speaker 2 (00:37):
You've got to say something else you look terrible to me.
I don't know, Yeah, yeah, you were.
Speaker 1 (00:41):
You were either aging poorly then and brilliantly now. I
don't know what's going on, but you look and fine
fettle and good health. But it does remind me of
in talking about health and all the performance stuff. To
do something each day, to have purpose, keeps you young
is that fair? Do you think?
Speaker 2 (00:57):
Absolutely fair? There's you know, if a human doesn't have
purpose and it can be whatever, then what's it about?
You know, there has to be some point to existence,
I guess. And the problem with unemployment is simply that,
you know, you fall into this sort of you know,
(01:17):
I don't dissitute this lethargy and you can't get up.
It's just like I woke up and now what. And
it's a very good point because I tend to do things.
If the phone doesn't ring, I get worried and I
then have some mad idea that I'll embark on. And
because I live in London, the possibility of an idea
(01:38):
happening is quite high. So two days later it's these
people ring me. Yeah, let's do that. And five years later,
I'm still involved in this thing that bored me in
the first place. I never wanted to start it. So yeah,
that's it. And I don't even know, like, you know,
I just get up and do stuff.
Speaker 1 (01:56):
That's it, And it's worked out, okay, hasn't it?
Speaker 2 (01:59):
In general? Yeah? I mean, you know, I think most
people think they get up and do a job, and
they're not particularly satisfied with the job. But imagine if
you didn't do that, you know, you can't imagine.
Speaker 1 (02:10):
Do you still enjoy performing?
Speaker 2 (02:12):
I do. It's very cathartic and it varies, like this
thing we're doing. I mean, you've read the long opening
to it. I said, why call it? Why call it
the life and extraor whatever? I said, I just call
it life WTF, you know, because you know who'd have thought? So?
I do enjoy doing this because it's why would I
(02:35):
do it? Because it was put to me just before
Christmas in Australia when I was talking about band Aid
the fortieth anniversary, and they said, why don't you tell
those stories in this sort of show thing? And I'd
seen the An Evening with stuff where you just sit
down with a guy like yourself, and I do these
interviews all the time, and I didn't want to do that.
(02:56):
And I'd seen Springsteen's One Man Show, I'd seen Bono's
One Man Show. They're both Irish. I'm Irish. We can
tell stories, and I thought I'd do it more like that,
more theatrical, with you know, visuals and songs and all that.
And I really enjoy it because it's not something i'd
normally do in the summer. As you said, the rats
are fifty, we'll do all the big festivals. And then
(03:19):
we're talking off Mike about you know, suddenly Bobby Boontown's
in the house and it's lame for anyone listening. But
the you know, the sagacious, quiet person you're listening to
right now becomes something else, and that band start up,
and it must be that the music excites me and
I go absolutely nuts and I don't mean to. It's
(03:42):
not something considered and by the end of it, I'm
completely exhausted. But it's a great Catharsis. It's a great
sense of something being done. I was going to say
being achieved, but that's two grand so.
Speaker 1 (03:56):
That the show goes on. In reading you in Australia
can go for all any length of time.
Speaker 2 (04:01):
Yeah, a thing you and I did a thing in
two thousand and six with the great Malcolm MacLaren, you know,
certainly a cultural avatar of our times, you know, Vivian Westwards,
partner and designer and the Sex Pistols manager and one
of the great speakers. Yeah, and did you that some
(04:24):
did The audience asked him a question and the answer
took up forty five minutes and he never once addressed
the question. So it's a bit like that with this show.
It can it can't bring a sleeping bag, It's all
I'm saying. It could go on.
Speaker 1 (04:37):
By the way, speaking of Irish people, Colin mcgrigord, you
realize he wants to run for the President of Ireland.
Speaker 2 (04:41):
Yeah, Woody, he's creep.
Speaker 1 (04:43):
Okay, so not no vote from Bob.
Speaker 2 (04:47):
Did you see how he humiliated himself and Ireland with Trump?
You know? Awful? I mean I had so many memes
from people saying how shame they are?
Speaker 1 (04:58):
You know, did you do you from where you came from?
Speaking of Ireland? When you start out, you know, in
the meat works and the diggers and stuff, do you
appreciate what you've achieved more as opposed to have been
born into it and you've got a guitar and success
came your way, And no.
Speaker 2 (05:15):
I don't appreciate it because it's if you're living a
life as anyone listening or you know, it's sort of
a linear thing. In retrospecting, things appear inevitable. The only
thing I know is that because I was offered no choices,
Ireland was very poor. My dad had no money. I
did nothing in school, so you know, you leave and
(05:38):
you invent yourself into being. And the only thing I
know is that initially I just went for jobs where
I could get a bit of money, take me to
the next country, the next job. Something was going to happen,
and I was working towards something when out of the
blue the band started. But I would always take that
(05:59):
road left traveled, and that seemed to me to offer
the most opportunities. And even when the band was really
peaking at its height, I got distracted by something that
interested me. And if it interests me, and it's got
something to do with an interest in the past, and
I'll go down that route. So but everything spins off
(06:23):
of rock and roll, really, everything spins off of it.
Things were not great when I was a kid, so
the only avenues of possibility were suggested by you know,
John and Paul, Mick and Keith, Bob and Pete and
those people. And I clung onto that. And the message
(06:43):
seemed to be that the world was not immutable, that
change was necessary, desirable, inevitable. And because I was young
and listening to these people suggesting that rock and roll
became the rhetoric of change and indeed the platform, so
that leads you to live aid, you know that sort
of stuff, and uh, you know, retrospectively again, all the
(07:07):
other stuff spins out of that fact. That's central fact
of pop music and rock and roll, which seems, I suppose,
seemingly lame, but for me was a true a golden
thread lowered out of the purple ether of rock and
roll which I've clung on too ferociously ever since.
Speaker 1 (07:24):
A couple of quick questions before I forget, I don't
know that most people know this. What was it called
PS twenty four year company? It was planning twenty yeah, yeah,
and it got sold eventually. But did you ben survival?
Speaker 2 (07:35):
Yeah?
Speaker 1 (07:37):
See, people don't know that about you. They think band
aid and I don't like mondays, but don't put it
on my gravestone. Did you clip the ticket on it?
Did I what clip the ticket?
Speaker 2 (07:46):
You know?
Speaker 1 (07:47):
Did the money come flying?
Speaker 2 (07:48):
That was? That was that was the big payoff.
Speaker 1 (07:51):
That was the magic.
Speaker 2 (07:52):
Yeah. We had So after live Aid, I hadn't worked
for two years because you know, trying to all do
all this stuff and focus on it and set up
the structure and the trust and the actual enabling of
you know, putting everything into place. And I was broke
because I promised that every single penny we got will
(08:12):
go to someone in need. And after we're forty years
old now I have to tell you that not a
single sandwich, cup of coffee or phone call has come
out of that money. And we do it every day.
But I was broke, and the band, because we hadn't
worked for two years, they'd gone off and done separate things.
Pete became a big producer. Some of the band played
(08:32):
with other guys. So the first thing I did was
write a book. Then I did some ads to get
some money. Then I started making solo records. But because
I've been as I say, everything spins off rock and roll,
because I've been in music for ten years, on every
TV and radio show, it was second nature to me.
(08:52):
So I set up a TV company with two friends
of mine, and again the attitude was very like the Rats,
was very punk. You know, let's turn over the apple cards.
There's got to be something underneath it, and there was.
We had a the go go, go to rock and
roll show of the nineties was the word that was ours,
(09:14):
and there was. We had the Breakfast franchise for ten years,
two hours every day, five days a week. That was
the big make or break thing. But out of the
word came there was a section called I do anything
to be on television, and you know, it got grotesque
people as people wrote in with things. And I remember
once was a lady of ninety in a bath full
(09:37):
of worms being kissed by a seventeen year old boy
and that is grotesque. And I mean it probably appeared
to your you know, disgusting sense of humor in this country.
But you know, I just thought no. So we got
called in by Channel four, which is the alternative channel
in the UK, and they said, look, there's this new
(09:58):
thing called reality television. We want you to make this edgy,
you know sort of thing. We said, what are you
talking about? He said, you know, like police cameras action
you get real footage of people being arrested and all
that stuff. And Charlie, my partner, just said, that's our reality.
And he said, so what is reality? And life is reality?
(10:18):
You're compressed into this short time period with all these
pressures put upon you. How do you deal with that?
And you know, you've got to make friends with people,
So what happens if that's artificially constructed over a short
period of time and people get to vote on whether
you know they like you or not. And so that
was Survivor. We sold it first to Scandinavia. We never
(10:41):
made it. We saw Scandava and Charlie said, look, people
will react to this very differently. You need to profile
people coming on this. And I think I can't remember
which country exactly ran at first, Sweden, Norway, Denmarks and
the first guy I think voted off killed himself. I
(11:02):
think that's what happened, and the place went nuts and
they hadn't profiled he was very vulnerable. People had, you know,
his peers had voted him off, and so I think
it was went off the air, but everywhere else bought it.
That's as sick it was, you know. So in America
turned out to be the Beatles of television. So Beyonce
(11:23):
did I'm a Survivor, Destiny's Child. Pontiac brought out the
Pontiac Survivor and yeah, we killed it and we never
made it. We franchised it.
Speaker 1 (11:33):
And the idea is the magic though, wasn't it the magic?
The idea?
Speaker 2 (11:38):
Yeah, yeah, exactly, And you know, thank God for Survivor.
You know.
Speaker 1 (11:43):
I watched you on British television last year. I felt
bad for you. When the fortieth anniversary aband out live,
I came along because I thought that it summed up
everything that's gone wrong with the world. What you did
forty years ago was a stroke of genius and was
done from the heart and for the right reasons. Forty
years later, it's a Wina thon. It's like, yeah, you
tear you're preaching to the Africans. It's like, you know,
(12:04):
let's tew. The world is changed, isn't it.
Speaker 2 (12:06):
Yeah, there were two things going on. One is you
want to keep as many people alive as possible from
starving in a world of food surplus. It's absurd. And
then there's a newer sensibility which is completely different to
what we were doing about especially from the children of
African emigrets, a pride and where they come from, and
(12:29):
they feel this is sort of shameful, you know that,
what's it? But we didn't care what sort of people
were dying. If they were Martians, if it was happening
in Yorkshire, it was happening in Wellington, I'd have done
the same exactly. And so you know, there's two separate issues.
You understand both of them, but one gets in the
way of the other. The simple act of helping them.
Just change your head. Let me give you a hand
(12:51):
up here, mate. Yeah, and that's all it was exactly Mike.
Speaker 1 (12:53):
Good to see you. Yeah you too, after twenty years,
come back in another twenty Malcamist, you'll be ninety, tell
you pretty malgamist. Lovely to see you. How a good
couple of we'll give the details. Nice to see you,
Sir Bob Gelder.
Speaker 2 (13:04):
For more from The Mic Asking Breakfast, listen live to
news Talks at B from six am weekdays, or follow
the podcast on iHeartRadio.
If you believe it or can believe it. The Boomtown
Rats are marking fifty odd years in the business, and
the group wouldn't be the only thing that Bob Geldof did,
of course, that changed music all the world. It's also
the fortieth anniversary of band Aid. He put it all
together in a stage show and got a couple of
dates here. It's called an Evening with Bob Geldoff. Songs
and Stories from an Extraordinary Life, and the great Bob
Geldoff is with us. Good morning, good morning, good to
(00:22):
see you you too, mate. We were talking about health
off air and because you look amazing, because the last
time I was explaining on the show before you arrived,
last time I saw you was twenty years ago and
you didn't look a lot different then. So either you
were aging.
Speaker 2 (00:37):
You've got to say something else you look terrible to me.
I don't know, Yeah, yeah, you were.
Speaker 1 (00:41):
You were either aging poorly then and brilliantly now. I
don't know what's going on, but you look and fine
fettle and good health. But it does remind me of
in talking about health and all the performance stuff. To
do something each day, to have purpose, keeps you young
is that fair? Do you think?
Speaker 2 (00:57):
Absolutely fair? There's you know, if a human doesn't have
purpose and it can be whatever, then what's it about?
You know, there has to be some point to existence,
I guess. And the problem with unemployment is simply that,
you know, you fall into this sort of you know,
(01:17):
I don't dissitute this lethargy and you can't get up.
It's just like I woke up and now what. And
it's a very good point because I tend to do things.
If the phone doesn't ring, I get worried and I
then have some mad idea that I'll embark on. And
because I live in London, the possibility of an idea
(01:38):
happening is quite high. So two days later it's these
people ring me. Yeah, let's do that. And five years later,
I'm still involved in this thing that bored me in
the first place. I never wanted to start it. So yeah,
that's it. And I don't even know, like, you know,
I just get up and do stuff.
Speaker 1 (01:56):
That's it, And it's worked out, okay, hasn't it?
Speaker 2 (01:59):
In general? Yeah? I mean, you know, I think most
people think they get up and do a job, and
they're not particularly satisfied with the job. But imagine if
you didn't do that, you know, you can't imagine.
Speaker 1 (02:10):
Do you still enjoy performing?
Speaker 2 (02:12):
I do. It's very cathartic and it varies, like this
thing we're doing. I mean, you've read the long opening
to it. I said, why call it? Why call it
the life and extraor whatever? I said, I just call
it life WTF, you know, because you know who'd have thought? So?
I do enjoy doing this because it's why would I
(02:35):
do it? Because it was put to me just before
Christmas in Australia when I was talking about band Aid
the fortieth anniversary, and they said, why don't you tell
those stories in this sort of show thing? And I'd
seen the An Evening with stuff where you just sit
down with a guy like yourself, and I do these
interviews all the time, and I didn't want to do that.
(02:56):
And I'd seen Springsteen's One Man Show, I'd seen Bono's
One Man Show. They're both Irish. I'm Irish. We can
tell stories, and I thought I'd do it more like that,
more theatrical, with you know, visuals and songs and all that.
And I really enjoy it because it's not something i'd
normally do in the summer. As you said, the rats
are fifty, we'll do all the big festivals. And then
(03:19):
we're talking off Mike about you know, suddenly Bobby Boontown's
in the house and it's lame for anyone listening. But
the you know, the sagacious, quiet person you're listening to
right now becomes something else, and that band start up,
and it must be that the music excites me and
I go absolutely nuts and I don't mean to. It's
(03:42):
not something considered and by the end of it, I'm
completely exhausted. But it's a great Catharsis. It's a great
sense of something being done. I was going to say
being achieved, but that's two grand so.
Speaker 1 (03:56):
That the show goes on. In reading you in Australia
can go for all any length of time.
Speaker 2 (04:01):
Yeah, a thing you and I did a thing in
two thousand and six with the great Malcolm MacLaren, you know,
certainly a cultural avatar of our times, you know, Vivian Westwards,
partner and designer and the Sex Pistols manager and one
of the great speakers. Yeah, and did you that some
(04:24):
did The audience asked him a question and the answer
took up forty five minutes and he never once addressed
the question. So it's a bit like that with this show.
It can it can't bring a sleeping bag, It's all
I'm saying. It could go on.
Speaker 1 (04:37):
By the way, speaking of Irish people, Colin mcgrigord, you
realize he wants to run for the President of Ireland.
Speaker 2 (04:41):
Yeah, Woody, he's creep.
Speaker 1 (04:43):
Okay, so not no vote from Bob.
Speaker 2 (04:47):
Did you see how he humiliated himself and Ireland with Trump?
You know? Awful? I mean I had so many memes
from people saying how shame they are?
Speaker 1 (04:58):
You know, did you do you from where you came from?
Speaking of Ireland? When you start out, you know, in
the meat works and the diggers and stuff, do you
appreciate what you've achieved more as opposed to have been
born into it and you've got a guitar and success
came your way, And no.
Speaker 2 (05:15):
I don't appreciate it because it's if you're living a
life as anyone listening or you know, it's sort of
a linear thing. In retrospecting, things appear inevitable. The only
thing I know is that because I was offered no choices,
Ireland was very poor. My dad had no money. I
did nothing in school, so you know, you leave and
(05:38):
you invent yourself into being. And the only thing I
know is that initially I just went for jobs where
I could get a bit of money, take me to
the next country, the next job. Something was going to happen,
and I was working towards something when out of the
blue the band started. But I would always take that
(05:59):
road left traveled, and that seemed to me to offer
the most opportunities. And even when the band was really
peaking at its height, I got distracted by something that
interested me. And if it interests me, and it's got
something to do with an interest in the past, and
I'll go down that route. So but everything spins off
(06:23):
of rock and roll, really, everything spins off of it.
Things were not great when I was a kid, so
the only avenues of possibility were suggested by you know,
John and Paul, Mick and Keith, Bob and Pete and
those people. And I clung onto that. And the message
(06:43):
seemed to be that the world was not immutable, that
change was necessary, desirable, inevitable. And because I was young
and listening to these people suggesting that rock and roll
became the rhetoric of change and indeed the platform, so
that leads you to live aid, you know that sort
of stuff, and uh, you know, retrospectively again, all the
(07:07):
other stuff spins out of that fact. That's central fact
of pop music and rock and roll, which seems, I suppose,
seemingly lame, but for me was a true a golden
thread lowered out of the purple ether of rock and
roll which I've clung on too ferociously ever since.
Speaker 1 (07:24):
A couple of quick questions before I forget, I don't
know that most people know this. What was it called
PS twenty four year company? It was planning twenty yeah, yeah,
and it got sold eventually. But did you ben survival?
Speaker 2 (07:35):
Yeah?
Speaker 1 (07:37):
See, people don't know that about you. They think band
aid and I don't like mondays, but don't put it
on my gravestone. Did you clip the ticket on it?
Did I what clip the ticket?
Speaker 2 (07:46):
You know?
Speaker 1 (07:47):
Did the money come flying?
Speaker 2 (07:48):
That was? That was that was the big payoff.
Speaker 1 (07:51):
That was the magic.
Speaker 2 (07:52):
Yeah. We had So after live Aid, I hadn't worked
for two years because you know, trying to all do
all this stuff and focus on it and set up
the structure and the trust and the actual enabling of
you know, putting everything into place. And I was broke
because I promised that every single penny we got will
(08:12):
go to someone in need. And after we're forty years
old now I have to tell you that not a
single sandwich, cup of coffee or phone call has come
out of that money. And we do it every day.
But I was broke, and the band, because we hadn't
worked for two years, they'd gone off and done separate things.
Pete became a big producer. Some of the band played
(08:32):
with other guys. So the first thing I did was
write a book. Then I did some ads to get
some money. Then I started making solo records. But because
I've been as I say, everything spins off rock and roll,
because I've been in music for ten years, on every
TV and radio show, it was second nature to me.
(08:52):
So I set up a TV company with two friends
of mine, and again the attitude was very like the Rats,
was very punk. You know, let's turn over the apple cards.
There's got to be something underneath it, and there was.
We had a the go go, go to rock and
roll show of the nineties was the word that was ours,
(09:14):
and there was. We had the Breakfast franchise for ten years,
two hours every day, five days a week. That was
the big make or break thing. But out of the
word came there was a section called I do anything
to be on television, and you know, it got grotesque
people as people wrote in with things. And I remember
once was a lady of ninety in a bath full
(09:37):
of worms being kissed by a seventeen year old boy
and that is grotesque. And I mean it probably appeared
to your you know, disgusting sense of humor in this country.
But you know, I just thought no. So we got
called in by Channel four, which is the alternative channel
in the UK, and they said, look, there's this new
(09:58):
thing called reality television. We want you to make this edgy,
you know sort of thing. We said, what are you
talking about? He said, you know, like police cameras action
you get real footage of people being arrested and all
that stuff. And Charlie, my partner, just said, that's our reality.
And he said, so what is reality? And life is reality?
(10:18):
You're compressed into this short time period with all these
pressures put upon you. How do you deal with that?
And you know, you've got to make friends with people,
So what happens if that's artificially constructed over a short
period of time and people get to vote on whether
you know they like you or not. And so that
was Survivor. We sold it first to Scandinavia. We never
(10:41):
made it. We saw Scandava and Charlie said, look, people
will react to this very differently. You need to profile
people coming on this. And I think I can't remember
which country exactly ran at first, Sweden, Norway, Denmarks and
the first guy I think voted off killed himself. I
(11:02):
think that's what happened, and the place went nuts and
they hadn't profiled he was very vulnerable. People had, you know,
his peers had voted him off, and so I think
it was went off the air, but everywhere else bought it.
That's as sick it was, you know. So in America
turned out to be the Beatles of television. So Beyonce
(11:23):
did I'm a Survivor, Destiny's Child. Pontiac brought out the
Pontiac Survivor and yeah, we killed it and we never
made it. We franchised it.
Speaker 1 (11:33):
And the idea is the magic though, wasn't it the magic?
The idea?
Speaker 2 (11:38):
Yeah, yeah, exactly, And you know, thank God for Survivor.
You know.
Speaker 1 (11:43):
I watched you on British television last year. I felt
bad for you. When the fortieth anniversary aband out live,
I came along because I thought that it summed up
everything that's gone wrong with the world. What you did
forty years ago was a stroke of genius and was
done from the heart and for the right reasons. Forty
years later, it's a Wina thon. It's like, yeah, you
tear you're preaching to the Africans. It's like, you know,
(12:04):
let's tew. The world is changed, isn't it.
Speaker 2 (12:06):
Yeah, there were two things going on. One is you
want to keep as many people alive as possible from
starving in a world of food surplus. It's absurd. And
then there's a newer sensibility which is completely different to
what we were doing about especially from the children of
African emigrets, a pride and where they come from, and
(12:29):
they feel this is sort of shameful, you know that,
what's it? But we didn't care what sort of people
were dying. If they were Martians, if it was happening
in Yorkshire, it was happening in Wellington, I'd have done
the same exactly. And so you know, there's two separate issues.
You understand both of them, but one gets in the
way of the other. The simple act of helping them.
Just change your head. Let me give you a hand
(12:51):
up here, mate. Yeah, and that's all it was exactly Mike.
Speaker 1 (12:53):
Good to see you. Yeah you too, after twenty years,
come back in another twenty Malcamist, you'll be ninety, tell
you pretty malgamist. Lovely to see you. How a good
couple of we'll give the details. Nice to see you,
Sir Bob Gelder.
Speaker 2 (13:04):
For more from The Mic Asking Breakfast, listen live to
news Talks at B from six am weekdays, or follow
the podcast on iHeartRadio.
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