The NS special report - What the BBC did not tell us

Richard Webster finds flaws in a "shock" broadcast on child abuse in Wales

On Monday 25 January 1999, immediately after Newsnight, BBC2 broadcast a documentary, A Place of Safety, about sexual and physical abuse in children's homes in North Wales. Many who saw it found it one of the most harrowing programmes about abuse they had ever watched.

As the North Wales Tribunal, the longest and most costly public inquiry in British legal history, gets nearer to publishing its report, the BBC had lined up a succession of witnesses who were prepared to speak about the years and years of child abuse they said they had experienced. All of them were adults. Almost all of them were men. With one exception they spoke full-face to the camera and allowed their names to appear on screen. They spoke of beatings and of bullying by the staff who were employed to care for them, of habitual sexual assaults and of cruelty and neglect on a scale that, ten years ago, would have been beyond belief.

As the programme went on, it became clear why North Wales has now become almost a synonym for abuse. Sir William Utting, chairman of the National Institute of Social Work, said on the programme: "I think this is one of the names that will continue to resonate through childcare over the coming decades because it establishes a kind of benchmark for the combination of things that can go wrong in residential childcare . . . It will be the name that's used to terrify future generations of childcare workers."

This is now the received view of North Wales, held alike by journalists, social workers and politicians. But there is a problem with the story of North Wales. It is a problem that the BBC programme illustrated repeatedly and disturbingly.

The first witness to appear on the programme was Brian Roberts. He had been sent to Bryn Estyn, the home said to have been at the centre of a web of abuse, in 1970 when it was still an approved school. Standing in front of the buildings he said: "It was just like something out of a horror movie, the beatings, the abuse, the sexual abuse. It was disgusting." As atmospheric music played and the camera cut to a shot of crows perching on nearby tree-tops, Roberts went on to say that a man (whom he did not name) had taken him into the gym and attempted to bugger him.

What the BBC did not tell us was that Brian Roberts only made his allegation of sexual abuse after watching a television programme about Bryn Estyn in 1997. This programme, which dealt with the setting up of the North Wales Tribunal, had mentioned the conviction of Peter Howarth, the deputy head of Bryn Estyn, for sexually abusing adolescents in his care. (It did not mention that Howarth, now dead, always protested his innocence, or that some of his former colleagues still believe he was wrongly convicted.)

Roberts immediately contacted the tribunal and told them that he, too, had been sexually abused by Howarth. He then made a formal statement to this effect. At this stage it was pointed out to him that Howarth had not begun working at the school until November 1973, three years after he had left. Far from being sexually abused by Howarth, Roberts had never met him.

The next witnesses to appear on the programme were Keith and Tony Gregory. Tony described a regime where physical abuse was commonplace. He said: "You'd let it happen to you. You'd let the staff punch you in the face, or in the stomach, or throw things at you." He went on to make even more serious claims, including that he had seen Peter Howarth sexually abusing one of the residents.

What the BBC did not tell us was that Tony Gregory had also given evidence to the North Wales Tribunal. One of the allegations he had made concerned a Mr Clutton who, he said, had thrown a leather football at his face so hard that it had almost broken his nose. During cross-examination it was pointed out that, although there had been a Mr Clutton on the staff of Bryn Estyn, he had left in 1974, three years before Tony Gregory had arrived.

The next witness to appear on the programme was Steven Messham. He said that on one occasion, when he had been in the sick-bay with blood pouring from his mouth, he had been buggered by Howarth as he lay in bed. He said that on another occasion he was asked to take a hamper of food to Howarth's flat, where he was buggered by Howarth over the kitchen table.

What the BBC did not tell us was that Messham claims he was sexually abused by no less than 49 different people. He also says he has been physically abused by 26 people. In 1994 the Crown Prosecution Service declined to bring his allegations against Howarth to court. None of his allegations has ever resulted in a conviction. In 1995 one of his most serious sexual allegations was rejected by a jury after barristers argued that it was a transparent fabrication.

The next witness was Andrew Teague. Teague said he had been beaten and sexually abused by one unnamed member of staff and that he had also been sexually abused by Howarth.

What the BBC did not tell us was that, although Teague had at one point agreed to appear as a witness at the North Wales Tribunal, he changed his mind at the last moment. The tribunal declined to use its powers to subpoena him. Counsel to the tribunal, however, did read out a statement which Teague had made to the North Wales police in 1992. In this statement he made allegations of physical abuse but clearly said: "I never experienced any sort of sexual abuse by the staff." His main allegation was of serious and repeated physical abuse by a care worker, Fred Rutter. It was later pointed out to the tribunal that Teague was at Bryn Estyn between 1977 and 1978. Rutter, however, did not start working there until 1982.

The next witness to appear was Andrew Treanor. He said that he had been abused at Ty'r Felin in Gwynedd, when a member of the care staff had punched him in the face.

What the BBC did not tell us was that in 1992 the North Wales police took a statement about a similar incident from a young woman who had been in care with Treanor. In her statement she recalled that Treanor had been arguing with a member of staff: "Following the argument Treanor came to join us by the steps to the loft. He had a bruise on his face from an earlier incident . . . We were talking about it and Andrew decided to start hitting himself on his face by this bruise to cause a more serious injury. He then said he would make a false allegation against the ex-army member of staff to get him dismissed. We all agreed to go along with his story, although we all knew Andrew had not been assaulted at all."

The next witness did not appear under his real name, and was filmed in shadow. He told of how, some ten years ago, he had been sexually abused by Stephen Norris, the officer in charge of Cartrefle children's home. His testimony was detailed and convincing. There is a wealth of evidence to indicate that the sexual abuse he described (and which he complained of at the time) did indeed happen. Norris, who had previously worked at Bryn Estyn, subsequently pleaded guilty to sexual offences against boys in his care and has served two prison sentences.

Partly because of Norris's conviction there can be no question at all that some sexual abuse and some physical abuse did take place in care homes in North Wales during the 1970s and 1980s. But equally, after all the evidence which has now emerged, there should be no doubt that a substantial number of false allegations have also been made. If the selection of witnesses who appeared on A Place of Safety is in any way representative, then the programme itself would seem to indicate that the proportion of false allegations may be startlingly high.

By far the most disturbing feature of the programme, however, was that the journalists who worked on it failed utterly to discharge the most basic duty of all journalists - the duty to investigate.

The real question raised by the programme is not whether every detail of the complaints made in it was true or false. It is whether the witnesses it featured should have been relied on by responsible journalists. At least five of the first seven witnesses who appeared had in the past made serious allegations of abuse that were demonstrably false. In some cases they had tried to uphold their allegations even when the details of their complaints had been shown to be impossible. Brian Roberts, for example, after having learnt that he could not have been abused by Peter Howarth, said that he had mistaken the identity of the staff member involved. The trouble, he said, was that "we never knew the staff directly by their names, it was either Sir or Miss". According to those who knew Bryn Estyn at the time, Roberts' account of an institution whose staff had no names bears no relationship to reality.

In most cases the amount of research needed to uncover the unreliability of the witnesses who appeared on A Place of Safety was minimal. In the cases of Roberts, Gregory and Teague, for example, all the BBC needed to do was consult the relevant portions of the transcript of the North Wales Tribunal. Yet even this piece of elementary journalistic research, which would have taken hours rather than days, appears to have been too much for them. The result was a programme that undoubtedly shocked many who saw it but which is actually far more shocking as an example of the low level to which some television journalism has fallen.

The low standards of this BBC programme are all the more worrying in view of the planned publication, later this year, of the report of the North Wales Tribunal. This report was referred to in the programme. Steven Messham, the man who claims he has been abused by more than 70 different people (and who also frequently appears on Channel 4 News), spoke of the promise made by Gerard Elias QC that the tribunal would "leave no stone unturned in its search for the truth". Messham went on to suggest that this was not so because the tribunal had failed to give proper consideration to the idea that a paedophile ring had organised a network of abuse in North Wales care homes.

What the BBC did not tell us was that other observers have criticised the tribunal from a quite different point of view. In particular they point out that, although considerable doubt surrounds the conviction of Peter Howarth, the tribunal has explicitly declined to consider this question. The tribunal says that it is bound by the doctrine of res judicata, which prevents it from investigating matters that have already been brought before the courts. This may well have been a legally correct decision. But the effect of the ruling is to prevent Howarth's barristers from challenging the soundness of his conviction.

In other words, one stone must remain unturned. And since the stone in question is nothing less than the foundation stone on which the entire North Wales story has been built, there are those who hold the view that the tribunal has not been able to conduct a proper inquiry at all.

The North Wales Tribunal has cost the taxpayer an estimated £15 million, but if this expenditure is unprecedented, so too is the difficulty of the task it faces. No amount of money can buy access to the truth and we must hope that the tribunal will not end by wholly or partly endorsing a received view of the story of North Wales that is fundamentally false.

But in view of the doubts that surround the story of North Wales - doubts that A Place of Safety, by its choice of witnesses, inadvertently illustrated - it is extremely important that the report, when it eventually appears, is thoroughly examined. For that to happen it is essential that the report is scrutinised by journalists who have themselves researched the story in depth, and whose appetite for sex, sensation and scurrility does not overpower their capacity to judge between what is true and what is false.

On this front, the only reassuring news to have emerged since the broadcast of A Place of Safety is that the tribunal report is now unlikely to appear until the summer. This gives journalists both in the BBC and in other media throughout Britain at least three more months to research the story thoroughly themselves. If we are to judge by the quality of journalism apparent in the BBC's A Place of Safety, they will need all this time and more.

Richard Webster is the author of "The Great Children's Home Panic" (Orwell Press, 1998). He is currently writing a book about North Wales

This article first appeared in the 19 February 1999 issue of the New Statesman, We are richer than you think

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 IQ 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