First position: still in his first year as pope, Francis holds the post of prime importance in the Vatican but insists on living modestly. Image: Getty
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Pope Francis’s mission to cleanse the Catholic Church of luxury

This summer he told a group of young nuns and monks, “It hurts me when I see a priest or nun with the latest model car. You can’t do this.”

A new spirit is abroad in the Vatican. After a conservative pope, John Paul II, who, in his declining years seemed increasingly out of touch with the wider world, and a Vatican insider pope, Benedict XVI, who never seemed in touch with it, Pope Francis has brought life to his office. Catholicism is enjoying a bounce. Even in secular Britain there has been a rise in the numbers making confession, including some who have not confessed for decades.

What is new? Much attention has been paid to Francis’s friendly words to groups that historically have been regarded as beyond the pale by Catholic Church authorities, notably gay people and atheists. Yet this aspect of his radicalism seems the least convincing: a case of style over dogma. There has been no discernible change in the official Vatican views on same-sex relationships, birth control or female priests. A former parish priest in Melbourne, Australia, who opposed the Church’s thinking in these areas was defrocked and excommunicated only last month, apparently on direct orders from Rome. His fate should not surprise. Such views have been dear to Catholicism since Saint Paul’s time. To expect a new pope to change them, or want to do so, is a little like expecting a supertanker to turn on a penny.

What is undeniably new, though, is Francis’s desire to cleanse his Church of luxury. He is truly the Austerity Pope for this new age of austerity. He shows intense empathy for the poor, the unemployed and struggling economic migrants. Hearing of the recent terrible drownings off Lampedusa, he said “today is a day of tears” and remarked that the “world does not care about people fleeing slavery, hunger, fleeing in search of freedom”. A few weeks ago in Cagliari, Sardinia, he protested that “the world has become an idolater of this god called money”. To his credit, he backs up his views with action. He drives around Rome in an old Ford Focus and lives not in the Apostolic Palace, but in a simple house in the grounds of the Vatican. At a detention centre in Rome soon after his coronation, he washed and kissed the feet of young offenders, including a Muslim woman.

He expects the rest of the Catholic Church to follow his example. This summer he told a group of young nuns and monks, “It hurts me when I see a priest or nun with the latest model car. You can’t do this.” He added, “Just think of how many children die of hunger and dedicate the savings to them.” Last month he denounced those ambitious “airport bishops” looking out for a more prestigious diocese, whom he compared to men “who are constantly looking at other women more beautiful than their own”; and he commented, “Careerism is a cancer.”

Few would disagree that the Catholic Church is well in need of reform. It has been stained by child abuse scandals, cover-ups and murky financial goings-on. As recently as June, Monsignor Nunzio Scarano, a highranking accountant in the Vatican’s assetmanagement organisation, was arrested on charges of conspiring to smuggle €20m in cash into Italy on behalf of a wealthy shipping family. Francis is well aware of the dangers his Church faces. In an interview with the Jesuit journal La Civiltà Cattolica, in which he complained that the Church was obsessed with birth control, abortion and gay marriage, he warned that if it did not find a new balance it would “collapse like a house of cards”.

Yet Francis is by no means the first Catholic leader to try to shake corruption from the Church. Take away the old car, the posing for selfies and the Twitter feeds, and he is, in many ways, an anciently familiar figure – a new pope in town, bravely trying to clean things up from the top. How well will he do? It may be helpful to take a glance at how his predecessor reformers fared.

The most spectacular effort at sanitising the Church took place almost a millennium ago. It followed iniquities that make those of today seem modest. For two centuries the papacy was a cash cow fought over by powerful local families. Popes murdered and were murdered. In 897 Stephen VII (who was later strangled) felt such resentment against his predecessor Formosus that he had him dug up from the grave, placed in a chair and tried for illegally gaining office. Found guilty, Formosus’s corpse was stripped naked, had its three benediction fingers hacked off, was reburied in a strangers’ cemetery and was then re-exhumed and thrown into the Tiber. Two decades later an infamous power player named Theodora installed her lover as Pope John X. Theodora’s equally formidable daughter Marozia later installed her own son, who was the bastard child of yet another pope. This era culminated in the staggered reign between 1032 and 1048 of Benedict IX, a depraved and murderous teenager on his appointment who, when he grew bored with being pope, sold the office to his godfather in return for 1,500 pounds of gold, only to change his mind and seize it back.

Reaction followed. It reached a climax under Gregory VII (1073-85) who felt such disgust towards high-living clergymen that, a little like Mao Zedong in his quest to cleanse the Communist Party of China from below, he called on low clergy, and even non-clergy, to rise up against them. As with the Chinese Cultural Revolution, violence erupted. In Italy, low clergy and non-churchmen of the pataria movement formed street gangs and attacked rich bishops and aristocrats, expelling churchmen from office. When one of the pataria leaders, an ex-soldier named Erlembald, was killed in 1075, Gregory moved to make him a saint.

However, the purge was not enduring. When later popes lost interest, bad old habits returned. This is hardly surprising. As the historian Norman Cohn once observed, “clergy constantly slipped into laxity – as any large body of human beings will tend to do”. Imposing austerity is a little like jumping in the air to defy gravity; it can be kept up for a time but eventually more profound forces will come into play.

By the 12th century the Catholic Church was back to its old ways. Those who could not stomach its power, its arrogance, its hunger for rent and tithes, and its clergymen’s luxurious lifestyle, looked elsewhere. Heresies flourished, from the Cathars and the Waldensians to those of eccentric charismatics, such as Tanchelm, who, for a few years in the Low Countries from 1112 won over many thousands of followers with his claims to be the equal of Jesus (which he backed up by having himself betrothed to a wooden statue of the Virgin Mary).

A pattern had been established, which has continued ever since: of excess and austere reaction. In the early 13th century the Church purged itself anew, notably by establishing two intensely austere monastic orders, the Dominicans and the Franciscans. Members of both took vows of poverty. Saint Francis of Assisi, the founder of the Franciscans and the present pope’s namesake and inspiration, set something of a benchmark for unworldliness. He began his preaching career half starved and semi-naked. Alarmingly for the Church, he was not even a clergyman.

In another age he might have been burned as a heretic but his timing was good. The reformist pope Innocent III saw how useful he and his followers could be and gave them his sanction. Innocent was soon proved right. Both the Franciscans and the Dominicans did wonders for the tarnished image of Catholicism and the Church. They also became heavily involved in its new heresy-smashing organisation, the Inquisition. Heresies were driven back and crushed.

By the 14th century, though, laxity had again crept back in. Popes and cardinals lived in infamous splendour in their new home, Avignon. By the end of the century the Church lost further respect when first two and later three rivals each claimed to be the true pope. Heresies abounded, culminating in an explosion of religious revolt in Bohemia, which seceded from the Catholic Church, only to be conquered and brought back into the fold.

Although the Church managed to bring itself to order for a time, excess again asserted itself with the Borgia family. This time worldliness helped bring the greatest defeat of Catholicism. Under Pope Leo X (1513-21) the enormous cost of rebuilding St Peter’s in Rome inspired an unusually venal campaign for donations. Disgusted, Martin Luther denounced the papacy. When princes backed him, Catholicism’s religious monopoly in western Europe was broken.

Yet the shock of this setback triggered one of the Church’s fiercest austerity fightbacks. At its forefront was yet another new monastic order sworn to poverty, the one through which Francis has made his own career – the Jesuits. With Jesuit help, the Church improved its image. It maintained its ascendancy in southern Europe and even regained an eastern Europe that had seemed all but lost to Protestantism, thanks to the Jesuits’ ingenious idea of offering free (Catholic) schooling to the children of the rich and powerful.

Probably we should not be surprised by the spectacle of this constant tug of war between austerity and excess. Every religion has its fault lines and this struggle reflects one of Catholicism’s deepest. It is the tension between the idealism of its very earliest days and the worldliness of its rise as a religion with power.

Under the guidance of Saint Paul in the first decades after Jesus’s death, Christianity moved into austere waters indeed. The early Christians make Pope Francis’s aspirations seem those of an idle pleasure-seeker. Saint Paul’s Christianity venerated everything that was abstemious and plain: plain clothes, plain food, meekness and, most of all, sexual abstinence. Some zealous early Christians even advocated chastity within marriage. The early Christians abhorred anything that smacked of indulgence: fine living, spicy food, flirtation and especially any kind of extramarital or unconventional sex. Simplicity and poverty were revered.

Yet even in those early days contradictions were evident. For one so keen on meekness, Paul was surprisingly keen to charm the wealthy and influential, and he converted a number of them. In the 4th century his successors hit the bullseye and won Emperor Constantine to their side, and with him the power of the Roman imperial state.

Thereafter worldliness came to the Church. It found itself the owner of ever more buildings and land, donated by sinners eager for help to enter paradise. By the 6th century the Church, which had previously been content to leave politics to emperors, became rather unexpectedly both a religion and a political state. When the western Roman empire collapsed, popes filled the vacuum and became rulers of Rome and its environs, princes of their very own theocratic kingdom. By the 11th century, when Gregory VII launched his cultural revolution, the Catholic Church was also Europe’s greatest landowner. The austerity Church possessed untold riches and power. Although its political power is now all but gone, the riches remain. No wonder today’s Catholic Church seems to fluctuate violently between extremes.

Will Francis have better luck than his reformist predecessors? Let’s hope so. The Catholic Church badly needs reform. He seems a likeable figure, warm and yet determined, informally open and sincere in his good intentions. He even likes Fellini films.

Yet it is far from certain how enduring his revolution will prove in the long term. If the past is anything to go by, trouble is likely to surface after his pontificate. Already he is 76. The Catholic Church has never been good at appointing radical young firebrands. Look into the future, a pope or two down the line, and it would not be surprising if lesser bad habits had begun to creep back, though one would hope that the Church’s worst abuses will have been exorcised.

This is the problem of any dictatorship elected by committee, which, when one strips away the robes and the pomp, is what the Vatican government is. Like another dictatorship elected by committee, like the government of China and like so many other authoritarian regimes of our time, the Vatican lacks transparency. It is not overseen. It is subject to laws of its own making only. Ultimately it is accountable only to itself. Such an arrangement will always tend to nurture secrecy, conspiracy and corruption. And it is commonly the fate of such regimes that they will clean up their act only when forced to do so by their own dire prospects: when catastrophic failure begins to seem a distinct possibility. This, as Pope Francis now recognises, seems to be the case with his Church.

Matthew Kneale’s “An Atheist’s History of Belief: Understanding Our Most Extraordinary Invention” has just been published by the Bodley Head (£16.99)

MATTHIAS SEIFARTH FOR NEW STATESMAN
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Moby: “The average American IQ is around 98”

Moby, the vegan king of chill-out pop, talks wealth, David Bowie’s hat and the average intelligence of his fellow Americans.

In January 2012, two women walking their nine dogs on the hill beneath the Hollywood sign found a man’s severed head wrapped in a plastic bag. His decomposing feet and hands were discovered nearby. First theories pointed to the work of a Mexican drug cartel, or the murderous Canadian porn actor Luka Magnotta. The story piqued the interest of the electronic dance music mogul Moby, who wrote about it in a New Statesman diary in May this year.

Today, the smell of cedar and pine hits you on the canyon path, which is hot, steep and sandy – an immediate wilderness in one of LA’s most exclusive areas. The Griffith Observatory shines like a strange white temple on the hill. Brad Pitt, a local resident, was doorstepped after the head was discovered: he lives near Moby on the streets of Los Feliz, near Griffith Park, where the only sounds are hedge strimmers and workmen’s radios. Moby’s 1920s mansion is all but obscured by Virginia creeper.

As we sit down at his kitchen table, Moby tells me that the body parts were found to belong to a 66-year-old Canadian flight attendant called Hervey Medellin. Shortly before Medellin’s disappearance, his boyfriend, Gabriel Campos-Martinez, had used a computer in the flat they shared to find an article titled, “Butchering of the human carcass for human consumption”. The head, feet and hands showed signs of having been frozen: the rest of the body was never found. He says it was one of those rare times in life where reality was more intriguing than the conspiracy theories.

Moby, of course, eats no meat. Fifteen minutes’ drive away in the hipster neighbourhood of Silver Lake, his vegan bistro, Little Pine, serves a variety of plant-based dishes, proceeds from which go to animal rights organisations including the Humane Society and Peta. His own music is never played there. We are meeting to talk about his new album – but, he says: “It’s 2016 and people neither buy nor listen to albums. And they certainly don’t listen to the 16th album made by a 51-year-old musician. I don’t care if anyone gives me money for this music or for live shows ever again. Once a record’s released, I couldn’t care less what happens with it. I liked making it, but I don’t care.”

He is currently working his way though the stages of grief outlined by the psychiatrist Elisabeth Kübler-Ross. To denial, anger, bargaining, depression and acceptance he has added a new phase: Schadenfreude. On the night of the US election, he left the house at 6pm west coast time to watch the coverage with some friends. He checked his usual round of sites on his phone: CNN, the New York Times, the Washington Post, Nate Silver’s FiveThirtyEight, the Guardian, the Huffington Post, the BBC, politico.com. He was concerned to see that no one was calling any of the early states; with Obama’s election, exit polls suggested the victory by noon. Days earlier, Moby had been predicting humanity’s “wake-up call” in the form of the destruction of Greenland or a zoonotic virus – but not this. He is softly spoken, with a quick laugh and the kind of intelligence that seems to warm him up from the inside when he talks, but today he is angry.

“It is disturbing on so many levels,” he says. “One, that we have elected an inept racist as president. Two, just seeing how dumb and delusional so many Americans are. Because really – in terms of the subsets of people who would vote for Trump – you have to be delusional, or racist, or stupid. I am so confused as to the fact that such a high percentage of Americans are either really stupid or incredibly bigoted.”

The stupidity of Americans is, he says, a matter of “anthropological curiosity” – or simply demographics. “The average American IQ is around 98,” he notes. “So that honestly means – in a vaguely non-pejorative way – that there are a lot of really, really dumb people. The nonsense that people were spouting before the election – that Trump was a good businessman, for example? This phenomenon has been particularly egregious of late: people have an almost adversarial relationship with evidence. Climate-change deniers are another example.”

As a self-described old-timey alcoholic, Richard Melville Hall (nicknamed Moby by his father in honour of his great-great-great-uncle Herman) has a pervasive interest in neurochemistry. He uses it to explain much of the past six months in Western politics. Our failing political systems – the subject, in fact, of the album he doesn’t want to talk about – are underpinned by “a kind of delusional motivation, which is basically to ignore the countless things that are actually going wrong in the world and focus all your attention on things that are arbitrary. In the United States, you have people who have perfectly good jobs in safe communities who are obsessed about Mexico, crime and unemployment. We have these quasi-Orwellian responses to stimuli, and they come from a place of fear and scarcity. Humans are still built to amass as much wealth as possible, and fight off the enemies as quickly as possible, but the only threats are the ones we generate ourselves.”

There’s a dishcloth on the table, a few magazines, a bit of a draught and Moby in a black hoodie pouring two glasses of water.

Fear and scarcity pervade American society, he says, because social policy is an extension of corporate process and “nothing is free from the cadres of professional lobbyists”. Meanwhile the ravenous news consumption that helped drive Trump reflects a human addiction to the “neurochemical jolt” of engaging with the media.

“People have a profound and almost feral attachment to that which makes them feel good in the moment,” he says. “Without thinking of long-term consequences, does their belief give them a shot of dopamine right at this second? If so, they hold on to it. Eating junk food, voting Brexit and voting for Trump.”

 

***

 

Moby is the model of an addictive personality well-practised at controlling itself. He was a fully fledged alcoholic by his early twenties: at ten, he’d been given champagne and made himself the promise, “I always want to feel this good.” Now, he cannot touch a drink, but his modern-day addiction, he says without a beat, is his phone. Every thought is pursued to extremes. He recently released an animated video for a new song, “Are You Lost In the World Like Me?”, showing a procession of grotesque, phone-addicted cartoon characters filming a girl as she throws herself off a skyscraper and hits the ground.

The house is vaguely baronial, airy and open-plan: all dark wood and furniture polish. An Annie Hall poster in the pool house; a coyote postcard on the kitchen wall.

This particular property is a result of serious downsizing: Moby has a habit of buying very big places, doing them up and then moving out. When he was still in New York, he bought a remote mountaintop retreat in Kent Cliffs, 50 miles north of Manhattan. He created a magnificent bedroom of 1,500 square feet with ten skylights – but quickly learned he could only get a decent night’s sleep when he pulled his mattress into the cupboard. He told the New York Times that, living all alone in the big house, he “felt like Orson Welles at the end of Citizen Kane”.

He moved to LA in 2010, swapped vodka for quinoa smoothies and took the keys for another large building – the Wolf’s Lair, the turreted, 1920s Gothic castle in Hollywood once inhabited by Marlon Brando, with the swimming pool historically used for porn movies and the hidden tiki bar. He bought it for $4m and sold it for $12.5m four years later – allegedly to Banksy. He rattled around in that house, too. Right on cue, he tells me: “I felt like Orson Welles at the end of Citizen Kane.”

On the one hand, these were sensible ­investments for the man who’s sold 20 million records; on the other, large impersonal spaces appealed to Moby long before he was in a position to buy them. Raised by his single mother on food stamps and welfare in Darien, Connecticut, he started his adult life squatting an abandoned lock factory, where he could ride his moped around his bedroom, piss into a bottle and read battered Star Trek paperbacks while working on early demo tapes, rather like a ragged, vegan version of the boy in the movie Big.

He was very happy in his penniless state, as he records in his memoir, Porcelain. He’d like to propose something he calls the End of Wealth – but we’ll come back to that.

In the past few years Moby has broken free from the “Beckettian purgatory of touring”. When his biggest-selling album, Play, was released in 1999, his music career was effectively “over”. Before Play, he had changed creative direction, going from progressive house to ambient to thrashy punk – to which he has just returned – and no one knew what to do with him. The only reason he hadn’t been dropped by his UK label, Mute Records, was that its owner, Daniel Miller, was “an old egalitarian socialist”.

Play sampled slave songs of the Deep South – recorded by the ethnomusicologist Alan Lomax in the 1940s – and wove them into a backdrop of cerebral chill-out. The songs of pain and emotion took on an eerie neutrality, and TV shows and ad companies came calling. He was approached by Will and Grace and Grey’s Anatomy. At that point, selling records and touring were still more lucrative than licensing a song to TV – and licensing a song to TV was still considered selling out. But Moby considers himself an ugly duckling: “If someone who was once unattractive suddenly gets asked out on loads of dates, of course they say yes a lot.” He licensed every song on Play and it became the soundtrack of the millennium.

His memoir was unusual because it concentrated on the ten-year period before he got famous. It captured his enthusiasm – and his strangeness – at its source and showed him to have a sense of humour that may have passed people by the first time round. “I’m in London! London!” he wrote. “Benny Hill, Joy Division, Peter O’Toole!” He visited the vegan café in Covent Garden.

The book is filled with money: or with the constant, practical concern of not having it. Navigating poverty is an everyday routine: he is an “alchemist” turning used beer bottles into nickels at the recycler, and thence into soya milk and oranges. In his early twenties he becomes a Christian, partly so that he can repeat the Sermon on the Mount at Bible classes in the households of Greenwich Village and “judge” the rich children.

Book two, which Faber & Faber is waiting for, is more difficult. The period of his fame and fortune in the 2000s is too much of a cliché. “Ten years ago I was entitled, narcissistic, bottoming out, alcoholic, selfish and feral. Robbie Williams has done that story, so has Ozzy and Mötley Crüe. Who wants to read that? It’s tautological.”

Instead, he has decided to write about the first ten years of his life. It will look into his relationship with his mother, who loved him but raised him in various drug dens. He was at her side when she died in 1997, but he missed her funeral, having woken late in the morning to discover that at some point in the night he must have got up and set his alarm clock three hours late. He took a taxi to the wake, worrying about the fare, and for reasons he can’t really explain, turned up cracking jokes.

He has a strange nostalgia for the kinds of friendships you have in early adulthood, when everyone is equal, “before that point when someone starts making money and they think they’ve won: they’re going to have access to a different kind of happiness”.

In 2003, when he turned 38, he was famous, wealthy and miserable. “I’ve been able to see and inhabit almost every stratum on the socioeconomic scale, from extreme poverty and obscurity to wealth and fame, and it gives me an insight into it,” he says. “Because a lot of people who experience wealth are born into it, and a lot of people who experience poverty never leave it. I can safely say that for me there has been no causal effect between increased fame and wealth and increased basic happiness and well-being.”

When Moby talks about himself, he applies many apologetic epithets: clichéd, meditating, yoga-loving, mealy-mouthed. In 2007 he developed mobygratis.com, a large online resource offering independent film-makers and film students a licence to use his music for free. If their films are commercially successful, the revenue from licence fees must go to the Humane Society. He says he wants to propose a more rational, evidence-based approach to wealth.

“We are still attached to the idea of the redistribution of wealth,” he says. “As progressive lefties, we’re all brought up to think that is a good idea. In the old days, it meant the difference between eating and not eating. Nowadays the person on $30,000 consumes twice the calories of the millionaire, and has a bigger TV and works fewer hours.

“There is an underlying assumption that if wealth were distributed more evenly then people would be happier, but there is unfortunately very little anthropological or sociological evidence to support that idea, unless there are institutions to support the basic needs of community, like food and shelter. Confusing materialism with happiness is the essence of our culture.”

While west LA is plastic surgery and gold-plated toilets, he says, his own neighbourhood is “David Lynch wearing an old T-shirt and mowing the lawn”. Among the millionaires of Los Feliz, conspicuous consumption is frowned upon. He knows several who live “incredibly austere lives. I was having tea with Jim Carrey the other day. He’s basically just giving everything away. He just realised that owning three planes was stressing him out . . .”

In his New Statesman diary, Moby said that life in LA offered him miles and miles of lavender-scented name-dropping.

“Coldplay played the Rose Bowl recent­ly,” he says. “And the Rose Bowl holds 75,000 people. It’s a struggle for me to sell 2,000. At first, I winced with a little jealousy. But then I thought, ‘If my career was at that Coldplay level, how would that actually affect my daily existence? Would it make my shoes fit better? Would it make the water pressure in my shower better?’ As long as you’ve satisfied the basic hierarchy of needs – enough to eat, clean air to breathe, bears not eating your legs – happiness is all where and how you put your attention.”

***

He goes to his kitchen cupboard and from among the colanders and measuring jugs he extracts a black velvet fedora – size seven, silk-lined, from a London company established in 1879. In green marker around the inside rim are the words “With love from David – Christmas 2005”. Bowie gave it to him over Christmas dinner that year. “It’s the hat that he wore in The Man Who Fell to Earth,” Moby says. “There’s this amazing picture of him wearing it with John Lennon and it’s clearly when he was doing a lot of cocaine.”

Moby lived on Mott Street in Little Italy and Bowie lived on Mulberry Street. “I had a little roof deck, and he had a beautiful roof terrace, and we could wave at each other.” They were neighbours and friends, worked on music together, went on tour together, had barbecues together. He says the title of Bowie’s last album, Black Star, is a reference to the 1960 Elvis Presley song of the same name “about the end of a life” (“And when a man sees his black star,/He knows his time, his time has come”).

“David had been sick for a long time,” he says. “Or ill, as you say in the UK. So, David had been ill for a long time. I was very pleased that . . . after he died, people were asking me, ‘How do you feel?’ and I’m like, ‘Actually, I’m just kind of happy that he lived as long as he did.’ Because I . . . had thought, yeah, I had thought that he was going to die a little before that. So.”

The Radiohead singer Thom Yorke lives just up the street from him in Los Angeles but Moby has never met him “as far as I know”. Apart from Bowie, he claims not to have musician friends.

“Musicians – and I’m sure you’ve encountered this many times – have a sense of self-importance that is off-putting,” he says. “It is very hard to be friends with someone who thinks that just by showing up, they’re doing something special. At the end of the day, you want to say to them, ‘You know what? You wrote a couple of good songs. Let’s put it in perspective.’”

He was born on 11 September 1965, and on his 36th birthday he watched the twin towers burning from his roof deck. He tells me that when the second plane hit and it became clear the first was no accident, he heard “the cumulative effect of ten thousand rooftops covered with people, and the weirdest scream. A scream of horror but also a scream of understanding.”

Fifteen years on, he talks about this year’s politics as a Manichaean thing. “Half the world are motivated by fear and desire to move backwards, and the other half are motivated by optimism and a desire to move forward rationally. It’s religious tolerance versus fundamentalism; it’s racism versus inclusion. I wonder if there’s a way we can make peace with that whole other half of humanity who are holding on to a non-evidence-based approach to the future. But I don’t know what it is.” He has known Hillary Clinton for two decades, was a vocal supporter of hers during the election run and released a pair of anti-Trump tracks for Dave Eggers’s music project 30 Days, 50 Songs.

He says that many celebrity Clinton backers were cautious to come out for her during the primaries “because Bernie supporters wanted to crucify you. Now Trump has united and inspired Democrats more than anything since the Vietnam War.”

The election result, he says, might just be “the equivalent of a crystal meth addict going on one last bender. Maybe this bender will finally convince Americans to stop voting for Republicans. Because they are terrible. There has always been an understanding that if everyone in America voted, there would be no Republican politicians. The reason Republicans win is that most Americans don’t vote.

“Those of us on the left who were brought up to be tolerant of people who had different opinions from us – well that’s great, ­unless the opinions are bigoted and wrong. If someone is a climate-change denier, they are wrong. If someone voted for Brexit, they are wrong. If someone voted for Trump, they are wrong. There is a lot of ambiguity in the world, but not about these things.”

The clock ticks towards 11.15am and Moby, ever punctual, is done.

“These Systems Are Failing” is out now on Little Idiot/Mute

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump