Citizens of Boomtown: The Story of the Boomtown Rats
https://www.bbc.co.uk/programmes/m000jjr5
Citizens of Boomtown: The Story of the Boomtown Rats has its faults but is hugely entertaining and informative. Director Billy McGrath records and analyses both the band’s history and its music. He highlights key (sometimes iconic) footage documenting its huge success and subsequent fall from popularity. Guests include Bono, Sinead O’Connor, Dave Stewart, Jools Holland, David Mallet and Sting, as well as music writers, photographers, and historians all give their views on the history and social impact of the Rats.
I should declare my interest. I am a Boomtown Rats fan. I loved ‘A Tonic for the Troops’ when I first heard it. I loved the mix of punk rebellion with people who could actually play instruments and carry a tune. I loved the relative complexity of the lyrics.
The Boomtown Rats originated in Ireland. An Ireland that was economically grim and socially frozen. Ireland was dominated by the allied Church and State and to many young people was depressing and corrupt. All many wanted to do was escape. That was certainly true of the members of the Boomtown Rats. Added to that sense of alienation or estrangement was there disrupted family backgrounds. All in all a mix for anti-authority, questioning and rebellious positions. And that’s exactly what you got.
For me, the relationship between their Irish roots and the state of that nation was one of the most fascinating aspects of the documentary. The lyric of Banana Republic written in response to the band being banned from performing in the Republic is uncompromising. Take the chorus:
“Banana Republic
Septic Isle
Suffer in the Screaming sea
It sounds like dying
Everywhere I go
Everywhere I see
The black and blue uniforms
Police and priests”
The Irish establishment took a dim view of this song and Geldof’s earlier “denunciation of nationalism, medieval-minded clerics and corrupt politicians” in a 1977 interview/performance on Ireland’s The Late Late Show. The Irish Times described the band as “a thorn shoved into the skin of church and state”.(1)
Yet the Rats were also one of Ireland’s most successful exports for a time opening up opportunities that other Irish bands followed. And Geldof never abandoned Ireland itself whilst maintaining his criticism of the system there.
There are many ‘might have been questions’ raised by the documentary. The Rats were ahead of their time in terms of producing music videos but there was no dedicated music video channel at the time. Had there been maybe they would have broken through in the United States. If Geldof had been less abrasive and understood America and Americans better perhaps they would have done better there. As the Irish Times put it: “Geldof, for whom keeping his mouth shut did not come naturally, went out of his way to alienate US audiences by deriding the sainted Bruce Springsteen.” (2)
You can mark the end of the band at different points but I would place it when they failed to breakthrough in the United States. It didn’t help that the anthemic I Don’t Like Mondays was blocked by legal threats from being produced as a single there.
Bob Geldof kept busy. He starred in Pink Floyd the Wall (released in 1982) cast as the mentally deranged Fascist leader Pink. He brought his energy to organise the massive 1985 Live Aid charity concerts and the Xmas hit Do they know it’s Christmas? and many associated efforts for famine relief in Africa.
The Rats reunited as a part-time touring act in 2013 and in 2020, 36 years after their last release. They also produced a seventh album, Citizens of Boomtown (after which the documentary is named). Although keyboardist Johnny Fingers and early-era guitarist Gerry Cott are both absent, the Rats of 2020 — Geldof, guitarist Garry Roberts, bassist Pete Briquette, and drummer Simon Crowe – are all original members. The album received mixed reviews but the live gigs were said to be filled with energy and passion by those who attended.
In both the documentary and in an interview with Rolling Stone Geldof insists that the band’s older songs aren’t nostalgia but are relevant today:
““When I sing ‘I Don’t Like Mondays’ I’m not in 1979,” he says. “I’m in last night’s school massacre, which nobody anticipated at the time. When I’m doing ‘Rat Trap,’ it’s not for the hopelessness of the people in that abattoir I wrote it in, but hopelessness now. When I do ‘Banana Republic’ it’s not for the Irish Republic, which eventually grew up and matured. It’s for the American republic as it descends ever further into political infantilism.”
“When I do ‘Lookin’ After No. 1′ it’s not about the conditions of life in 1979,” he continues. “It’s about Google and Facebook and [Mark] Zuckerberg always on, always monitoring, collating every thought you have, every friend, every choice, packaging and selling it to a third party who in turn exploits you and your preferences. It’s utterly now. That rage, that animus propels the Boomtown Rats.” (3)
I can’t hope to cover all the informative, thought-provoking, and entertaining aspects of this documentary. It is so full. Though there are still aspects missed such as Geldof’s support for Father’s Rights and his opposition to Brexit.
I said at the start that it had flaws. There is a very contrived ‘interview’ with Bob Geldof at the beginning which I think is meant to be funny but isn’t. I didn’t make much of the rather ‘art-schooly’ of the band walking through a tunnel behind a figure wearing a gas mask and pulling a board laden with rocks. Each to their own though! It is also a little self-congratulatory but given the band, and particularly ‘Saint Bob’s’ contribution to humanitarian relief and social progress maybe we can forgive them that!
Reviewed by Patrick Harrington
(1) https://www.irishtimes.com/…/the-boomtown-rats-citizens-of-…
(2) https://www.irishtimes.com/…/citizens-of-boomtown-bob-geldo…
(3) https://www.rollingstone.com/…/bob-geldof-interview-boomto…/
Picture credit: By Author unknown; Photo courtesy Orange County Archives – https://www.flickr.com/photos/ocarchives/5486877395/, No restrictions, https://commons.wikimedia.org/w/index.php?curid=14267259
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