Weather makers

As storms break around Gordon Brown and David Cameron, politics is being shaped not by the party lea

On the evening before Gordon Brown's career-defining speech at the Labour Party conference in Manchester, he met James Murdoch, the 35-year-old who is chief executive in Europe and Asia of his father Rupert Murdoch's media conglomerate, News Corporation, and whose position includes control of the British newspaper group News International. The two men talked for nearly an hour, discussing in particular the global financial crisis. It is unprecedented for Brown to have spent so long on anything other than refining his leader's speech on the night before he delivered it. That this meeting took place when it did and for the length it did confirms what many already suspected: James Murdoch has become the most powerful figure in the British media.

Before Tony Blair became leader, Labour politicians would complain about the deep-rooted Conservatism of the British press, and with good reason. In the Eighties, only the Daily and Sunday Mirror, the Guardian and the Observer supported Labour. The Mail and Telegraph titles were robust backers of the Conservatives, as were the Daily and Sunday Express. Murdoch's market-leading publications - the Sun, News of the World, the Times and the Sunday Times - were Thatcher's cheerleaders. The Sun and News of the World continued to endorse John Major following his election victory in 1992, even as they chronicled the collapse of his fatigued and divided government. Winning the support of the Sun, in the run-up to the 1997 election, was a pivotal moment for new Labour, the culmination of a sustained campaign to woo Murdoch that began when Peter Mandelson became Labour's director of communication in 1985. This meant that a Labour administration could operate in a climate where the political weather wasn't being created by an overwhelmingly hostile press.

When Gordon Brown and his advisers first surveyed the media landscape after he became Prime Minister in June 2007, it was agreed that it was imperative they retain the support of the Murdoch titles. But there was also optimism in the Brown camp that a hostile Tory press could be neutralised. There was a feeling that old allies in the press, including the Guardian, edited by Alan Rusbridger, would embrace Brown after losing faith in Blair over the Iraq W.ar. The Guardian columnists Polly Toynbee, Jonathan Freedland and Jackie Ashley were all trenchant supporters of Brown. The Daily Mail had been vitriolic in its criticism of new Labour and of Tony Blair personally, but Brown has long enjoyed good relations with its editor-in-chief, Paul Dacre. Dacre, it is said, admires the Prime Minister's probity and moral convictions, if not his politics, and the decision to shelve the construction of several planned "super-casinos' delighted the Mail. The Daily Telegraph is broadly supportive of the Conservatives, but senior executives as well as commentators such as editor-at-large Jeff Randall and associate editor Simon Heffer are sceptical of David Cameron's social liberalism. The Sunday Telegraph is close to the Brown government; the political editor, Patrick Hennessy, is a friend of Ed Balls and he was given an exclusive interview by Brown on the eve of the Manchester conference.

Yet the tectonic plates have started to shift beneath Fleet Street. The Daily Mail leader columns still occasionally profess admiration for Brown while also fiercely denouncing his government elsewhere in the paper. Last month, the Mail also published a significant editorial in which David Cameron was acclaimed as a possible future Prime Minister. The Guardian has begun to take the Conservative revival more seriously, and Toynbee, Ashley and Freedland have turned against Brown; they now call weekly for his departure. That might explain why Brown made only a fleeting visit to the paper's late-night party in Manchester, choosing instead to spend half an hour at the rival Daily Telegraph party, where he chatted at length to its editor-in-chief, Will Lewis.

Over the summer, as the Tories built a 20-point lead in the opinion polls, the media became less sceptical of Cameron, choosing to focus instead on Brown's diminished popularity and party disunity. That became the central story around which every other political event was made to fit. In those circumstances, the Prime Minister's widely maligned press adviser, Damian McBride, deserves credit for ensuring that his employer did not receive harsher treatment from the press during his annus horribilis. McBride has been accused of briefing against members of the government, and some cabinet ministers are urging Brown to sack him, but there are some political correspondents who believe that without him the Prime Minister's position would be irrecoverable.

The Prime Minister does not have the same close relationship with James Murdoch as he does with his father. Rupert Murdoch - and his economic adviser Irwin Stelzer - respects Brown's intellect and knowledge of global economics. Last week's conversation between Brown and James Murdoch was an attempt to bring the two closer together. Sources close to the government say that Rupert Murdoch remains important to Brown internationally, pointing out that his experience and opinion is valued by other world leaders. They believe that if Murdoch told the White House that Brown was finished, he would wield far less global influence. As it is, Murdoch urges world leaders to seek the Prime Minister's advice, particularly on economic matters, which is one of the reasons Bush granted Brown a 90-minute audience in the Oval office during an unscheduled visit to Washington last week. "Murdoch's respect for Brown's understanding of the world economy is absolutely key to his ongoing respect for him," says one source. "Murdoch's critics might argue politicians are too quick to credit him with power he does not possess, but they will continue to court him as long as he remains influential on the world stage."

In an era when ideological differences between the two parties are less pronounced, personal relationships have more currency, and No 10 has worked hard to strengthen links with the press, although it is a source of frustration for some in Downing Street that Brown does not engage with members of the so-called commentariat, many of whom enjoyed regular access to Blair. The Prime Minister is, unlike his predecessor, unwilling to spend time having coffee with commentators such as Peter Riddell of the Times or Anne McElvoy of the London Evening Standard, not because he doesn't respect or like them, but because he thinks he has more important work in hand. Blair's good and open relations with newspaper commentators and opinion formers meant he could generally rely on supportive columns, even after a terrible week. Brown has not been so fortunate.

Relations with Fleet Street executives are more cordial. The Telegraph editor Will Lewis knew Brown well when he was a young Financial Times journalist and Brown was shadow trade and industry secretary. They subsequently drifted apart, but the respect remains mutual. The Prime Minister is also friendly with Murdoch MacLennan, chief executive of the Telegraph Media Group, and a fellow Scot.

Alliances with News International remain strong, thanks in large part to the work of Sarah Brown, who, in a brilliantly executed piece of political theatre, introduced her husband's main speech in Manchester. Sarah has been described as Gordon's "secret weapon", but those close to her point out that she has been carrying out an emissarial role for some time, effectively acting as an unofficial press attaché for her husband. She hosted a recent charity dinner in New York with the Sun's editor Rebekah Wade and Wendi Murdoch, Rupert's third wife. A plan to take Wade on the Prime Minister's plane to the United States was scrapped, but the Murdoch clan's close relationship with Sarah was much in evidence on the American trip. His daughter Elisabeth Murdoch, who runs her own TV production company, delivered a glowing tribute to the Prime Minister's wife at the function, which was attended by bankers, models and actresses. Wendi was seen at a private dinner at Soho House, in the Meatpacking District of Manhattan, attended by Sarah the following night. Sarah also organised a trip with Paul Dacre to see Hamlet at Stratford, and she helped plan Rebekah Wade's 40th birthday party earlier this year. As befits a former professional public relations executive, Sarah has good relations with the editors of some of the bestselling, and most influential, women's lifestyle magazines.

Further evidence of the deep ties between the government and the Murdoch family were on display earlier this month at a party to celebrate Elisabeth Murdoch's 40th birthday, held at the country home in Oxfordshire she recently bought with her husband Matthew Freud. At the gathering, Rupert Murdoch read out a message from Gordon Brown apologising for his absence, explaining that he and Sarah were with "the other Liz" in Balmoral that weekend. Etiquette may have required the PM to visit the Queen, but there is little doubt which is the more powerful family. Other guests at the Murdoch party included Tony Blair, David Miliband, the Times editor James Harding and Will Lewis of the Daily Telegraph. David Cameron was there, too, but he is still largely on the outside, waiting in hope for an endorsement from Rupert Murdoch. That Cameron's director of com munications and planning, Andy Coulson, a former News of the World editor, is a member of Cameron's inner circle may help to change that. Steve Hilton, Cameron's director of strategy, has wide influence, but he has few direct dealings with the press and, in any event, is living in California (his wife works for Google). James Murdoch's friendship with the shadow chancellor George Osborne, whose social liberalism is consistent with his own, may ultimately have more influence on the Murdochs' position - and, by implication, that of their British newspapers - on the Tories.

But are we at the end of an era? The next election may be the last at which national newspapers exert such a decisive influence over the way the country votes. Although newspapers still reflect the nation's mood, and help to shape it, sales figures suggest they are no longer as powerful as they once were. The combined circulation of daily newspapers (excluding the Daily Star) has fallen from 11.3 million to 9.68 million since the last general election; the decline since 1997 is even more pronounced. Those circulation figures obviously do not take account of the growing power and influence of newspaper websites, or the startling transformations media groups have made in their online operations in the past year, but no one doubts that the information industry is fragmenting.

Unlike in the US, where sites such as the Huffington Post and the Drudge Report often break stories followed by the national media, this country has not produced a truly influential online commentator with power to set the news agenda, though bloggers such as Iain Dale and Guido Fawkes are read. They are both right-of-centre commentators, and it is notable that the left has been particularly slow to harness new technology, as Barack Obama has done so successfully in the US.

The internet has changed the news cycle, rendering front-page exclusives out of date long before they are read. Newspapers looked slow and flat-footed when they told readers last week that the US treasury secretary Hank Paulson had won support for his $700bn bailout deal hours after it was scuppered by Congress. Broadcasters, now regarded as more important than the press by No 10, still take their lead from Fleet Street, however. The BBC regularly follows Daily Mail scoops, although senior BBC sources say they uncover enough stories of their own and follow newspaper exclusives regardless of where they are published.

There is some disgruntlement at No 10 about new arrivals at the BBC, which is placing former Conservative supporters in executive roles, such as John Tate, the BBC's new director of policy and strategy, and hiring senior producers on flagship programmes in anticipation of a change in the government. Tate, who formerly ran the Opposition Policy Unit, co-wrote the 2005 Tory manifesto with Cameron. But a senior BBC News executive says the atmosphere of mutual distrust between the corporation and spin-doctors in both parties has been replaced by one of co-operation. When Cameron visited Georgia, the Tories were eager for the BBC to cover his press conference. But, instead, its camera crews and reporters were employed at the border, where Russian tanks were advancing. A polite conversation explaining that covering the conflict had to take priority was enough to assuage complaints, according to one BBC News executive, even if some programme editors tell a different story. Many describe Coulson as "a shouter" and claim he has tried to exert control over the questions Cameron is asked in interviews, though he ensured that the BBC's political editor Nick Robinson had unfettered access to the Tory leader for a Panorama special screened on Monday 29 September. There is no doubt that Coulson has professionalised the Conservatives' media operation. Senior Tories who seldom ventured into daytime TV studios now regularly appear on the GMTV sofa, for example.

With the rest of Fleet Street neatly divided along party lines, with the possible exception of Roger Alton's Independent and the Financial Times, the value of a Murdoch endorsement is magnified. Some observers believe it is inevitable that the Murdoch newspapers will ultimately support the Tories if they retain their poll lead as an election approaches, citing the old adage that Murdoch "only ever backs winners". But senior News International executives counter by saying that its four titles have never backed the same party, and a senior source at the Times insists he has little idea which party his paper, or the other titles, will come out for. Intriguingly, he adds that much will depend on who leads the Labour Party into the next election. If Brown is deposed, his successor may have to fight harder than the current Prime Minister to win Murdoch's backing.

In the meantime, the global financial crisis has provided Fleet Street with a dramatic new narrative, and boosted Brown's standing in the opinion polls. At the Conservative Party conference in Birmingham, some delegates muttered that the unprecedented turmoil in the markets might prove to be Brown's equivalent of the Falklands War: a crisis that offers an opportunity to reclaim lost credibility and restore his electoral appeal. Much has been written about the power of the Murdoch newspapers, and Rupert Murdoch's willingness to use his papers to promote and protect his commercial interests. But at a time of international emergency Murdoch is likely to support only those politicians whom he believes are best placed to deal with the crisis. Perhaps that is what Gordon Brown and James Murdoch were discussing last week.

James Robinson is media editor of the Observer

This article first appeared in the 06 October 2008 issue of the New Statesman, Perils of power

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