A burnt out first floor window shows fire damage in the house where five people died. Photograph: Getty Images
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Letter from Harlow: Reaching for utopia

After the war, Harlow was supposed to offer east Londoners the chance of a fresh start and a stab at the good life. This month, it became the place where a suspicious fire killed six members of a Muslim family.

1.
Very early on the morning of Monday 15 October, residents on the Barn Mead estate in Harlow, Essex, were woken by screams and by the sound of a man in distress. One woman looked through the window and saw that the three bedroom, end-of-terrace house opposite was on fire and a man whom she recognised as Abdul Shakoor, who is 45 and a hospital doctor, was being restrained by neighbours as he struggled to get back inside the burning building where he lived with his wife and their five children. “My children are in there,” he was shouting, “my children.”

By the time emergency support vehicles arrived, the house was filled with thick, acrid smoke and fiercely ablaze. Dr Shakoor’s wife, Sabah Usmani, who was also a doctor, and three of their children were declared dead at the scene; two other children, both severely burned, were pulled from the house alive and taken to the local Princess Alexandra Hospital, where their father worked as an endocrinologist.

Muneeb, who was nine, died later that day; his younger sister, Maheen, at the age of three the baby of the family, was transferred to the burns unit at Broomfield Hospital in Chelmsford, the county town of Essex.

Dr Shakoor, who is suffering from profound trauma and smoke inhalation, was also moved to Broomfield: his wish was to be as close as possible to his daughter as doctors fought to keep her alive. On the evening of Thursday 18 October, it was announced that Maheen, too, had died. The tragedy was complete.

Essex Police have said that the fire, which started in the downstairs lounge, spread quickly and is “being treated as suspicious”, even though no evidence has been found to suggest that an accelerant was used. Shortly after the fire started at the house that Monday morning, a Ford Focus belonging to another local resident was also set alight in the street nearby. “By the time emergency services arrived the fire [at the house] was intense which implies it had been burning for a while,” Chief Inspector Justin Smith said.

“The car wasn’t burnt out, however. We now need to understand the timings, and how long the car had been alight compared to how long the house had been alight – that is a key point.”

There have been previous incidents of arson on the Barn Mead estate and the police are describing it as “more than a coincidence” that both the house and the car should have been set alight around the same time, if not simultaneously, and within close proximity. Were the Shakoors, who were devout Muslims and of Pakistani origin, the victims of a racist attack? Or was the previous occupant of the house, which the Shakoors had been renting for less than a year, the intended victim as has been suggested? (A friend of the Shakoors, a fellow Muslim named Safia Anwar, told me that the family, who for a period lived in Saudi Arabia, had been looking for a suitable property to buy in the town. They were settled in Harlow, their children attended the local Abbotsweld Primary School, and they wanted to stay on, she said.)

2.
I know the Barn Mead area well. My paternal grandfather used to live on the estate in a modest flat that overlooked a comprehensive school. “All day they’re coming in and out, in and out,” he used to complain of the pupils. From the outside, the flat seemed to be very much as it was when I used to visit him, and it’s just a few hundred yards from where the Shakoors lived. Close to the house they rented, on some local fields, are three recreational football pitches where I sometimes used to play on Sunday mornings as a young boy.

My grandfather moved to Harlow from Forest Gate, on the edges of Epping Forest, a strange, shadowy nowhere zone where the East End thins out and merges into Essex. He was retired, his wife had died, and he was suffering from tinnitus and wanted to be closer to his only child, my father, who, like so many aspirational east Londoners, had moved as a young man to the Essex new town, where land was plentiful and new family houses were abundant and available for rent or purchase. My grandfather stayed on in Harlow long after we left the town in the early Eighties.

Many of those who came to live in Harlow in the years after the war were in one way or another in flight from history – from the inner city, from the cramped Victorian terraced streets of their childhoods, from the bomb sites and ruined buildings – and Harlow offered them a new start, a new life in a centrally planned, socially engineered, semi-rural environment. One of the consequences of growing up in a new town as I did – always so much emphasis on novelty, on newness, on the here and now – was that you felt part of a kind of utopian social-democratic experiment. The state was providing for you and those around you, nearly all of whom were of similar background. It was as if the state had a vision of what the postwar good life should be and somewhere we all fitted into it.

“The town attracted progressives, community-minded people,” Ron Bill, a local historian and Labour Party activist, told me over tea and biscuits when I visited him at home in Harlow this past week. “Frederick Gibberd [the consultant architect planner for the Harlow development] was an example of such a person. That first wave of people who came to the town in the Fifties and Sixties – many of them socialists and communists – they wanted to build something. The trouble is there wasn’t a second wave equal to the first. And their children moved away, as children do.”

Harlow doesn’t, today, feel like the optimistic town it did when I was growing up there in the Seventies, when it had such an excellent infrastructure of new houses, roads, cycle tracks, playing fields and children’s play schemes. Back then, it had an Olympic-sized swimming pool (since closed and demolished), an exceptionally well-regarded multipurpose sports centre (since sold, flattened and replaced with houses), a dry-ski slope (long gone), a skating rink (now abandoned), a velodrome (gone) and an expansive, landscaped town park through which a river flowed (now sadly neglected).

The Labour Party was powerful in the town and for many years controlled the council. The local playhouse was ambitious and sophisticated in the choice of films and plays it chose to show and put on. The large central library was superbly stocked with books and magazines, and it was there that I used to read the New Statesman and the Spectator.

It was a provincial boyhood and I yearned for greater adventure and excitement, but in retrospect – and it took me a long time to understand and accept this – I was fortunate to have lived in Harlow when I did. It offered me everything I needed, apart perhaps from a rigorous academic education; there was no local grammar school and by the mid-to-late Seventies most of the town’s eight comprehensive schools were, in ambition and attainment, becoming more like what Andrew Adonis now calls “secondary modern comprehensives”.

“Yes, some of the failures of Harlow are to do with the schools,” Ron Bill told me. “The larger problem was that the original New Towns Act of 1946 stipulated that the new town could keep its assets – from the industrial estate and the commercial side of the town centre – but this was reversed and the assets of the town went to private business and the Treasury.

“The whole aim of the new town was to give people a better life, to build family homes surrounded by green spaces. We wanted to satisfy the demands and aspirations of people – for a town swimming pool, say, or for a meals-on wheels service. But the swimming pool failed because it wasn’t being maintained properly. The sports centre was sold. There wasn’t the money to mend the ski slope. The rose beds in the town park . . . there wasn’t the funds for maintenance.

“If the industrial estate had funded the town it could have been different. But it was still lovely to be in Harlow; the corporation and council achieved a great deal. I suppose we tried for utopia but didn’t quite reach it.”

When I lived in Harlow, it felt resolutely mono-ethnic and socially narrow; there were no black boys in my year at school, and very few of Hong Kong Chinese or Indian or Pakistani origin. There were, however, several boys at the school who became members of the Inter City Firm, or ICF, the feared, ruthless and racist firm of hardcore West Ham hooligans. The National Front were active and were recruiting in the town for a while, and Ron recalls marching against them. Ultimately they were repulsed.

3.
When I spoke last week to Safia Anwar, who lives close to Barn Mead on the Woodcroft estate in Harlow, about her friends the Shakoors, she said they had been brought together by their children and shared Muslim faith. Like Sabah Usmani, Safia wears the hijab. “I saw the family every day – every day – because our children were at the same school,” she told me, in hesitant English. “They were good people and they had no trouble since they came to the town. They never spoke about any problems. We ourselves have had no problem with racism. Perhaps a little bit at the school, some of the children say things to my children . . . but this [the fire] cannot be racism.”

She paused and looked at me sadly. “My children have been asking about their friends – when are they coming back? They think the children will be back when they are better. They don’t imagine what is death.”

Woodcroft, Willowfield, Old Orchard, Five Acres: the names of what were once council or corporation estates surrounding Barn Mead are redolent of a pastoral idyll, or at least of the rural lands that were obliterated when the new town came. The actual estates, transformed by Margaret Thatcher’s right-to-buy scheme, are perhaps shabbier than I remember and many of the houses need painting and care, but the streets are clean and when I visited council workers in yellow jackets were out sweeping the roads and collecting litter. In Barn Mead a mobile police station had been set up adjacent to the Shakoors’ fire-blackened house and search officers from across the county were fastidiously going about their business, knocking on doors, looking in bins and black rubbish sacks.

“We knew from day one that this could be a lengthy investigation and at this point there are no definitive answers or explanations,” said Chief Inspector Smith. “However, we are putting a huge amount of resources into this investigation. Never in my 24 years of service have we seen this level of resources – it is unprecedented.”

4.
A house fire and suspicions of a racist attack on the estate where my grandfather once lived were what brought me back to Harlow and all the memories it stirs, back to Ron Bill’s nearlyutopia. The morning of my return I parked my car outside my grandfather’s old flat and walked around streets that, even after all these years of absence, seemed so familiar. The school he used to complain about has since been renamed and relocated, and its former classrooms and offices are desolate, fenced in and boarded up. (The school was recently featured in the Channel 4 reality series Educating Essex, the title suggesting that this large and diverse county, stretching from the rural Suffolk borderlands that Constable painted to the edges of London’s East End, is a monoculture.) The local pub, the Archers Dart at Coppice Hatch, where my grandfather bought an occasional pint, was semi-derelict, its doors and windows also boarded up. These unused buildings together with the presence of so many police on the streets gave Barn Mead the feel of an estate under siege.

5.
I eventually left later that morning, feeling pretty despondent and desperately hoping that little Maheen would pull through. The next evening, I heard that she had not.

The funerals of Dr Usmani and her five children were held on Wednesday 24 October at the Harlow Islamic Centre, by which time Essex Police were no closer to solving the mystery of the house fire.

“My children,” Safia Anwar had said, “have been asking about their friends – when are they coming back? They think the children will be back when they are better. They don’t imagine what is death.”

Jason Cowley is editor of the New Statesman. He has been the editor of Granta, a senior editor at the Observer and a staff writer at the Times.

This article first appeared in the 29 October 2012 issue of the New Statesman, Something Rotten

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