Why life is good

A dangerous gap exists between our personal experience, which is mainly happy, and our view of a soc

Progressive ideology relies on the capacity of human beings to live fulfilled lives in a just and co-operative society. That people whose beliefs imply optimism seem to spend most of their time wallowing in pessimism is one reason that leftists sometimes lack personal credibility (another reason being that egalitarians so clearly enjoy being very well-off). But miserable idealists need to make a New Year resolution to look on the bright side. Pessimism is becoming an impediment to progressive politics. It is 50 years since J K Galbraith coined the phrase "private affluence and public squalor"; today, the dichotomy is between private hubris and public pessimism.

It is pessimism of a particular and pernicious kind. People are not generally negative about their own lives. In fact, we systematically exaggerate the control we have as individuals. As Malcolm Gladwell, among others, has shown, we tend to give our conscious minds credit for many reactions that are in fact instinctive. Other studies - of what we say has made us happy and what has actually increased our levels of contentment - show that we have a huge capacity to rationalise our life choices. When we are forced to make a choice between limited options, we are as likely to end up claiming the choice as our own as we would if it were unconstrained. And the more we like a future possibility in our lives, the more inclined we are to believe it will happen. The human mind is hard-wired to be personally Panglossian.

In contrast, we are unduly negative about the wider world. As a government adviser, I would bemoan what we in Whitehall called the perception gap. Time and again, opinion polls expose a dramatic disparity between what people say about their personal experiences and about the state of things in general. Take attitudes towards public services. In a recent poll, 81 per cent of respondents said that they were happy with their last visit to hospital. Yet when the same people were asked whether they thought the National Health Service was providing a good service nationally, only 47 per cent felt able to declare it was so, and most think the NHS is going to get worse.

This perception gap is not restricted to public services, as a recent BBC poll on families confirms. Some 93 per cent of respondents des cribed themselves as optimistic about their own family life, up 4 per cent from the previous time the survey was conducted, 40 years ago. Yet more people - 70 per cent, across race, class and gender - believe families are becoming less successful overall. While we apparently thrive in our own families of many shapes and forms, as social commentators we prefer to look back, misty-eyed, to the gendered certainties of our grandparents' generation.

What is true for families is true for neighbourhoods: we think ours is improving while community life is declining elsewhere. We tend to like the people we know from different ethnic backgrounds but are less sure about such people in general. We think our own prospects look OK but society is going to the dogs.

The media seem to be the most obvious cause of this phenomenon. Bad news makes more compelling headlines than good. Tabloids and locals feed off crime stories, middlebrow papers are dismayed at the chaos of the modern world and the alleged venality and ignorance of those in power, and left-leaning broadsheets enjoy telling us that global instability is endemic and envir onmental apocalypse inevitable. Mean while, the content of television programmes - from dramas to news bulletins - contributes to what the communication theorist George Gerbner called "mean world syndrome": people who regularly watch TV systematically overstate the level of criminality in society.

Yet it is too easy to blame the media; the job of commissioning editors is to give us what we want. We make our own contribution to social pessimism. In the burgeoning industry of reputation management, it is generally argued that people are much more likely to tell others about bad experiences of services than good ones (5:1 is the usual ratio). Academic research suggests that people tend to exaggerate in the direction of the general mood. Viewing our own lives positively but wider society negatively, we will tend to pass on and exaggerate evidence that supports these prejudices.

Evolutionary determinists may seek an explanation of our predilection for bad news in neurological hard-wiring; perhaps, for the survival of hunter-gatherers, warning is more important than celebrating. But it is in two of the mega-trends of modernity that more likely reasons for our social pessimism are to be found.

First, there has been the inexorable rise in individualism since the Enlightenment. As Richard Sennett brilliantly argued in The Fall of Public Man, aspects of modernity such as the power of consumer capitalism and the ubiquity of the idioms of psychotherapy have accelerated the process by which we see our authentic selves as revealed in the private and personal spheres, rather than the public and social.

Unstoppable force

Hand in hand with the rise of individualism, we have seen the decline of industrial and pre-industrial collectivist institutions, including the organised church, trade unions, political parties and municipal elites. Robert Putnam's work on social capital suggests this decline in collectivism reaches down into our social lives, with people choosing to spend less time with acquaintances and more with intimates. Putnam's more recent work controversially argues that trust levels are lower and loose social networking less common in more diverse communities.

This points to the second of modernity's mega- trends. Increasingly, we feel that we are the victims of processes set in train by human activity but no longer under anyone's control. Globalisation is the gravity of modern society: an unstoppable force that will knock us over if we try to defy it. The origins of the current credit squeeze in the US sub-prime mortgage market show a financial system that is beyond not only its managers' control, but even their capacity to chart.

Illegal immigration, terrorism and pandemics are seen as the inevitable flip side of cheap travel and consumer goods. Philosophers and policy-makers argue about how best to regulate emerging science and technology in genetics, nano technology and artificial intelligence. But can anything long delay the advance of knowledge - especially if it has commercial applications?

It is not only that we as ordinary citizens feel beset by forces beyond our control. We are ever less likely to believe in the power or authority of our elected representatives (although we much prefer our own MP to MPs in general). At a time when they have more to prove to us than ever before, our leaders are diminished by the politics of a populist consumerism. In this time of uncertainty, is it surprising that the more politically successful national leaders - think Chávez or Putin - are those who offer strong leadership in defiance of democratic constraints?

This is the anatomy of social impotence. By definition, progressives argue for the possibilities of progress; but is anyone inclined to believe us? A hundred years ago, Joseph Rowntree established his charitable works after analysing the social evils of his age. When, last year, the Joseph Rowntree Foundation asked today's public for its definition of the "new social evils", the list had changed very little. Greed, poverty, crime, family and community breakdown all featured on both lists. But at a seminar to discuss the findings, advisers from the foundation and elsewhere agreed on one big shift between the late-Victorian era and today: while Rowntree had seen his evils as the unfinished business of society's onward march, today we see social patho logies as the inevitable consequences of an idea of progress that itself feels imposed upon us.

Brainier than before

And yet. There is a different story to be told about our world. It is a story of unprecedented affluence in the developed world and fast-falling poverty levels in the developing world; of more people in more places enjoying more freedom than ever before. It is a story of healthier lives and longer life expectancy (obesity may be a problem, but it is one that individuals have more chance of solving than rickets or polio). Think of how we thrive in the diversity of modern cities. Think, in our own country, of rivers and beaches cleaner than at any time since the Industrial Revolution. When you read the next report bemoaning falling standards in our schools, remember the overwhelming evidence that average IQs have risen sharply over recent decades. If you think we have less power over our lives, think of the internet, of enhanced rights at work and in law, or remember how it was to be a woman or black or gay 30 years ago.

As for the powerlessness of leaders, the Bali deal last month may leave much to be resolved, but isn't this at last a sign that nations can unite in the best interests of the planet? And should we really lose faith that human determination and ingenuity ultimately will win through? Despite the power of international finance, this is a world where it is possible to be economically successful in societies as deliberately different as those of Sweden or the United States.

We rightly worry about rogue states and terrorists with dirty bombs; but let us also remember that since Nagasaki we have managed to carry on for 60 years without anyone unleashing the power of nuclear warfare. Not only have there been three generations of peace in Europe, but when in the past has a project as grand as EU enlargement been accomplished, let alone accomplished in a decade?

Progressives want the world to be a better place. We bemoan its current inequities and oppression - yet if we fail to celebrate the progress that human beings have made, and if we sound as though the future is a fearful place, we belie our own philosophy. Instead, we need to address a deficit in social optimism that threatens the credibility of our core narrative.

There are many aspects to this; we should, for example, be making the case for a more balanced and ethical media. But my starting point is the need to forge a new collectivism. It is in working with others on a shared project of social advance that we can be reconnected to the sense of collective agency so missing from modern political discourse. It is the attitude of the spectator that induces pessimism, the experience of the participant that brings hope. The problem is not that change brings fear and disorientation (there's nothing new in this), it is that we lack the spaces and places where people can renew hope and develop solutions.

The old collectivism is dead or dying. Its characteristics - hierarchical, bureaucratic, paternalistic - are no longer suited to the challenges or the mood of the times. The institutions of the new collectivism must be devolved, pluralistic, egalitarian and, most of all, self-actualising.

For all the talk of the decline of social capital, people are doing more stuff together. Twenty-five years ago, with falling audiences, commentators assumed that the cinema and live football were dead: we would all rather stay in the safety and comfort of our new, hi-tech living rooms. But then the multiplex, the blockbuster, the all-seater stad ium and foreign players showed the problem to be no deeper than the failure to keep up with modern tastes and expectations.

Self-actualisation is the peak of Maslow's hierarchy of needs. There is evidence that more of us are trying to climb that hierarchy. It is in the crowds at book festivals and art galleries, in ever more demanding consumerism with an emphasis on the personal, sensual and adventurous. We want to enjoy ourselves, to be appreciated and to feel we are growing from the experience. Compare that to the last Labour Party, trade union or council meeting you went to.

Roll up your sleeves

The failure to provide routes to collective fulfilment means we assume that our journey is best pursued alone. In the 1970s and 1980s, new left movements at home and abroad placed emphasis on forms of political organisation and debate that were innovative, exciting and (dare I say it without mockery) consciousness-raising.

Today, there are signs of a yearning for new ways of working together. There is the growing interest in social and co-operative enterprise and the emergence of new forms of online collaboration. Gordon Brown's citizens' juries are a tentative step in the right direction, albeit without much fun or risk-taking, but generally, progressives seem more interested in bemoaning the state of the world than in rolling up their sleeves and getting to work on building the institutions of a new collectivism.

Despite the huge impersonal forces of the modern world, people are prepared not only to believe in a better future, but to work together to build it. Tackling climate change offers a fascinating opportunity to interweave stories of action at the individual, community, national and international levels. This potential will be fulfilled only when we provide spaces for collective decision-making and action that speak to the same vision of collaboration, creativity and human fulfilment that progressives claim to be our destiny.

Matthew Taylor is chief executive, Royal Society for the Encouragement of Arts, and former chief adviser on political strategy to Tony Blair

Matthew Taylor became Chief Executive of the RSA in November 2006. Prior to this appointment, he was Chief Adviser on Political Strategy to the Prime Minister.

This article first appeared in the 07 January 2008 issue of the New Statesman, Pakistan plot

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