David Cameron and Tony Abbott at the Australian War Memorial. Photo: Mark Nolan/Reuters
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The rise of the Anglosphere: how the right dreamed up a new conservative world order

The Anglosphere has its roots in the Commonwealth tradition. But today's global world has forged a powerful unofficial alliance.

During what has been an unusually turbulent period in British politics, one of the most important and potentially enduring shifts in the mindset of those at the apex of the political system has received far less attention than it merits. This concerns the striking re-emergence on the political right of the dream of an entirely different geo­political and economic future for the United Kingdom, one that claims to relocate it in the historical trajectory and distinctive values that once made Britain great.

Among a growing number of conservative-inclined Eurosceptics, the long-standing ambition of an alliance made up of some of the leading English-speaking countries spread across the world has quietly moved from marginal curiosity to a position of respectability. The idea of the “Anglosphere” – and the policies and strategies pursued by some of the political leaders of its constituent countries – has become a source of increasing, almost magnetic influence on British conservatives. And it may well provide the governing intellectual framework for the Eurosceptic campaign to quit the European Union in a post-election referendum.

The concept of an Anglosphere reflects the long-held belief that Britain’s best interests lie in forging closer relationships (and perhaps even some kind of institutionalised alliance) with those countries that have broadly similar political structures and systems; and that also tend to cherish the values of parliamentary government, individual liberty, the rule of law and the free market. The membership list of this club varies quite considerably depending on the author but at its core are the English-speaking “Five Eyes” countries of Australia, New Zealand, Canada and the United States. Each of these was once a British colony and can readily be situated within an imaginary horizon of a group of countries united by a shared political and economic culture, nourished from the roots of British parliamentary institutions, economic liberalism and Protestantism.

But what gives the concept of the Anglosphere striking modern-day appeal for conservatives and dispels any lingering cold-war revanchist overtones is that it frames an account of how an independent UK can prosper in a global economy dominated by the rise of Asia. Liberated from the EU and allied with the rest of the Anglosphere, the argument runs, Britain could reinvent its open trading heritage, harnessing its colonial history to integrate itself into the new global economy of the Asian century.

Here are the seeds of a powerful alternative argument against the pro-European, centrist view of globalisation that has dominated the mainstream of British politics – and the Labour Party, above all – for the past quarter of a century. Importantly, this position resists a retreat to the hinterland of economic nationalism and instead constructs a new account of free-market geopolitical co-operation, anchored in the institutional alliance of the Anglosphere. In the title of an influential Conservative Free Enterprise Group pamphlet, it is Britannia Unchained.

The Britannia Unchained has deep roots in the Commonwealth tradition, which emerged as a shared point of reference after the Second World War. As Winston Churchill is said to have shouted at Charles de Gaulle before the D-Day landings, “If Britain must choose between Europe and the open sea, she must always choose the open sea!” – a remark later echoed by the Labour leader Hugh Gaitskell at the 1962 Labour party conference, when he argued that Britain would become a mere “province” in a federal Europe, bringing to an end “a thousand years of history”.

Charles de Gaulle (R) awards Sir Winston Churchill la Croix de Liberation at the Hotel Matignon in Paris 06 October 1958. Photo: AFP/Getty Images.

During the debates about membership of the European Common Market in the early 1970s, many opponents invoked the Commonwealth as an alternative trading partner and source of influence and as a community towards which Britain retained distinct obligations. Yet, by this time, arguments about Europe were being conducted against the background of a much deeper set of concerns about the prospects for the UK. Fear of the implications of Britain remaining outside the Common Market outweighed the sentimental and economic arguments mounted for the Commonwealth.

This post-imperial tradition may have weakened during these years but the dream of an Anglophone future for Britain refused to die. Instead, it migrated to the outskirts of conservative politics and re-emerged as an important feature of some of the libertarian currents that began to percolate into mainstream conservatism in the mid-to-late 1970s. In these quarters, American ideas were a major influence, especially following the emergence of a powerful set of foundations, think tanks and intellectuals in the UK that propounded arguments and ideas that were associated with the fledgling “New Right”.

In this climate, as Ben Wellings and Helen Baxendale have shown, the Anglosphere came back to life as an alternative ambition, advanced by a powerful alliance of global media moguls (Conrad Black, in particular), outspoken politicians, well-known commentators and intellectual outriders, who all shared an insurgent ideological agenda and a strong sense of disgruntlement with the direction and character of mainstream conservatism.

In his major work Reflections on a Ravaged Century, the historian Robert Conquest argued that the political arrangements of the west were all increasingly deficient, the EU included. The answer was “a more fruitful unity” between the Anglosphere nations. And, in a speech to the English-Speaking Union in New York in 1999, Margaret Thatcher endorsed Conquest’s vision, noting how such an alliance would “redefine the political landscape”. What appealed most was the prospect of the UK finding an alliance founded upon deep, shared values, the antithesis of the position it faced in Europe.

Thatcher’s endorsement ushered in a period of growing respectability for this notion. Soon, it was projected to a much wider set of publics by several prominent intellectuals. In his 2003 book Empire, for example, the historian Niall Ferguson concluded that the liberal values associated with the British empire remained the lodestar for democrats around the world. For him, the principles of free trade, the rule of law and parliamentary democracy constituted the positive aspects of its legacy.

The Anglosphere: countries where the first language is English are in dark blue; countries with a substantial knowledge of the language, dating back to the British Empire, in light blue. 

In these and other high-profile arguments, a clear moral emerged: the unique political and economic inheritance of Britain made the decision to enter a union of European nations an error of epic proportions. The very survival of the values of the Anglosphere had been put into jeopardy. As the Conservative MEP Daniel Hannan put it more recently: “As the sun sets on the Anglosphere imperium, we understand with sudden clarity what it is that we stand to lose.”

For the most part, however, the idea of the Anglosphere remained on the margins in political circles until the establishment of the coalition government in 2010, since which time it has steadily forced its way into the political conversation. Speaking during an official visit to Australia in 2013, the then foreign secretary, William Hague, argued for closer ties between Britain and Australia and made reference to one of the most important, enduring political expressions of the link between them – the close co-operation enjoyed by their intelligence services and the experience of finding much common cause in relation to the US-led interventions in Iraq and Afghanistan.

In the past few years, other leading Tories have, in different ways, identified themselves with this idea, including David Willetts, John Redwood, Norman Lamont, Liam Fox and Michael Howard. During his own trip to Australia in 2013, Boris Johnson argued that when we joined the Common Market, we in effect “betrayed our relationships with Commonwealth countries such as Australia and New Zealand”.

Framing the decision to join the fledgling EU as an act of “betrayal” was an eye-catching rhetorical flourish, even by Johnson’s standards. Europe became the default option, he continued, “when the establishment was defeatist, declinist and obsessed with the idea that we were being left out of the most powerful economic club in the world”.

Notions of an organised alliance of any kind remain fanciful in the extreme. Yet the underlying impatience with a European future for the UK and a deep desire to get back to the exceptionalism that characterised Britain’s self-image in earlier times underpin the renewal of this dream. The past 70 years have generated profound and mostly unanswered questions in British politics about how a state that once saw itself as special and exemplary might make sense of its waning geopolitical position and declining economic strength.

For advocates of the Anglosphere, these painful realities and the existential angst associated with them can, it seems, be defied. Individualism, liberty and the rule of law are the normative cornerstones of this vision and are typically framed in stark contrast to the corporatist, bureaucratic and authoritarian political cultures that are widely held to prevail on the European continent.

The appeal of this idea is not just a reflection of growing disillusionment with Europe. For many, the rise of China, the increasing threat of radical Islam and the uncertainties of the global economy all make the question of locating political allies and sympathetic states much more imperative for the UK. The future of the west, some argue, may be contingent upon a closer coalescence of the Anglosphere countries.

And the European project is now often condemned as fundamentally out of kilter with the dynamics and leading technologies of the world we inhabit. Eurosceptics increasingly view Europe as an old, declining continent, riddled with regulation and saddled with debt. The Anglosphere sustains a restless desire to find a new, outward-facing, globally rooted destiny for the UK. And this vision is offered in stark contrast to the more insular ethos and instincts of the right-wing populism associated above all with Ukip.

This is an important, growing source of tension within the Conservative Party and beyond and is echoed across the political spectrum. These differences of national vision and understanding now run deep in British politics and are contributing significantly to the pressures bearing down on the unity of the two main parties. Both the outward-facing ambitions of the Anglosphere and the more inward-looking, anti-metropolitan politics of Ukip are rooted in national traditions. But for advocates of the first of these world-views, the Englishness to which they lay claim is steeped in images of the intrepid, entrepreneurial peoples of a world island, a seafaring nation committed to finding partners and acquiring influence across the globe.

Indeed, this liberal, internationalist idea of Britain was once much more prominent and mainstream than the kind of insularity and pessimism that Ukip espouses. Its optimism and openness to the world are what gives it political appeal for Eurosceptics who are anxious to contest the argument about what is best for Britain’s future and not get boxed into a
political retreat to a fading past.

The Anglosphere evokes a way of telling the national story and understanding Britain’s place in the world and connects contemporaries to forms of patriotic sentiment that have largely fallen out of favour in the past few decades. But while the growing unpopularity of the EU has made the Anglosphere a more important alternative ideal, at least among southern English Tories, some profound obstacles to the realisation of this dream have yet to be addressed.

The US, including many leading Republicans, remains convinced that the UK should stay in the EU. States such as Australia and New Zealand are all involved in managing their growing orientation to Asia, while anti-monarchist republican sentiment periodically animates their politics. Above all, there are important class interests lined up against Brexit, among them major multinational corporations trading in Europe and the City of London.

While the unfeasible nature of any kind of formal alliance among these countries is clear, there is a real growth in interest on the political right in the notion of the Anglosphere as an alternative political ideal and as a source of ideas – about policy, strategy and leadership. We may not be joining an alliance with Canada or Australia any time soon but our politics may be increasingly influenced by the political values and experiences of both.

The electoral successes of Stephen Harper in Canada, John Key in New Zealand and Tony Abbott in Australia have given British conservatives concrete examples of right-wing leaders to emulate. And with the rising appeal of the Anglosphere as a counterweight to Europe, there is an increasing appetite to draw lessons from these conservative cousins, rather than to look across the Channel to centrist Christian democrats. Very little is written in the UK conservative press and blogosphere about Angela Merkel’s model of leadership, despite the hegemonic status she has achieved. Instead, Anglosphere conservatives look towards those they consider to be muscular and authentically right-wing leaders, such as Harper and Abbott.

Harper is a particular source of attraction: he united a deeply divided right and proceeded to defeat his opponents, turning a precarious minority government into one with a governing majority. He is fiscally conservative, a climate sceptic and ruthless at using the office of prime minister to pursue a radical agenda without reaching into the middle ground of politics. Indeed, he has sought to weaken and then dismantle the institutions and political pillars that formed the progressive heart of the 20th-century Canadian state, bypassing public servants, marginalising parliament, challenging the courts and attacking liberal civil society organisations.

Canadian Prime Minister Stephen Harper. Photo: Cole Burston/AFP/Getty Images

Harper’s premiership is almost the complete antithesis of a centrist, inclusive modernisation project of the kind that David Cameron envisaged before the 2010 election. But its remarkable run of electoral success has given many British conservatives food for thought.

It is therefore through what political science terms “policy transfer” and the informal exchange of ideas and people that the Anglosphere is coming to political prominence, rather than the various quixotic schemes for institutionalisation that have been advanced from time to time. Given that the European question will become one of the dominant issues in British politics, whatever the outcome of the general election in May, the Anglosphere idea will play an even bigger role as a beacon for an alternative, globally conceived national project to that which is associated with an apparently sclerotic EU. The figures who have come to prominence on the Anglophone right, such as Harper and Abbott, offer intriguing models for possible leadership contenders in the Conservative Party. No wonder Boris has been busy in Australia.

The rise of the Anglosphere is both a barometer and a source of deepening disagreement on the right about the UK’s geopolitical and economic development. Yet the temptation for those on the centre left to rejoice in these kinds of disagreements ought to be set aside. For while parts of the right have assembled an ambitious and optimistic project that has the capacity to appeal to a range of social groups, the left shows few signs of forging a national project of its own that might guide it through the economic and territorial turbulence ahead.

The left has largely shed its Euroscepticism but has yet to find arguments for staying in the EU that are anything other than technocratic or tactical. With a few exceptions, it is silent on how the European project can be rescued from the historical cul-de-sac of deflation and post-democratic governance associated with Brussels and Berlin and even less certain about how membership of a reformed EU can express a bigger, compelling and value-laden vision of Britain’s future in the world.

The Anglosphere is far from being just a quirky, nostalgic idea. It is at the heart of a re-emerging political world-view. Understanding its power, reach and history is imperative for a centre left that needs a more clearly defined strategic ambition and sense of political direction if it is to do more than survive buffeting by the storms.

Michael Kenny is the director of the Mile End Institute at Queen Mary, University of London

Nick Pearce is the director of the Institute for Public Policy Research. He writes in a personal capacity

This article first appeared in the 06 February 2015 issue of the New Statesman, An empire that speaks English

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