Sister 9 Records – 25th September 2026
The Ed Shearan / Micklemore furore brought the debate about politics in music not only to a wider audience, but became headline news in all of the mainstream news media. The way it exploded was remarkable, and unusual in that it’s rare for anything concerning the arts to make more than a filler, unless it’s some glitzy red-carpet awards ceremony, where the coverage tends to be less about the arts than celebrities. This, however, was all over The BBC and Sky. Sheeran’s career strategy of making musical wallpaper, equally reliant on his personality being the equivalent of wallpaper paste, suddenly became problematic: the issue being that his ‘neutrality’ was, by default, significant of taking a side. The wrong one.
The debate has been simmering for a good few months, particularly in the US, with musicians tacitly showing support for Trump by performing at his events, or berating the likes of Bruce Springsteen for speaking at their concerts against the Trump regime, saying artists should keep politics out of music. They clearly haven’t been paying attention to The Boss’ lyrics, and have failed to grasp just how much of the music of the 60s was protest music. And what did people think Rage Against the Machine were about? Music has long provided a vital platform for political protest, and it’s a unifying force. In troubled and troubling times, it’s easy to feel isolated, distanced from society, particularly in the face of systemic oppression. To discover music which articulates your feelings is life-affirming and empowering.
LiVES are unashamedly political. I’ve been following them since they crashed their way onto the scene a couple of years ago with ‘Cancelled’ and ‘Let Them Eat Cake’, their debut album a defiant statement of angry intent. ‘Burn’ is the lead single from their upcoming second album, Ghosts, which is set for a January release. Appropriately enough, ‘Burn’ is pretty fiery They describe it as ‘heavy, dark and lyrically uncompromising,’ adding that ‘The anger hasn’t gone anywhere. It’s just been sharpened.’ It’s hard to argue.
First, that bass. Woah. It hits like a punch to the stomach, and feels like you’re standing in the room, directly in front of the amp. It’s low, dense, and menacing. The drums count in a slow build and then… BAM! Choppy guitar and vocals arrive simultaneously. ‘Come and see the villages BURN!” Peter Chisholm hollers by way of an attention-grabbing first line.
And then the tirade kicks off, and it’s clear who it’s directed at:
That man is a lunatic
It’s a game of invest and return
Guaranteed to make him rich
That man isn’t “a man” baby
That man is a demon
Pulling no punches. Telling it straight. But they’re only just warming up here as they rip into the capitalist greed which is destroying the planet, destroying our society, and, ultimately destroying our lives. Yes, all of our lives. Line by line, LiVES call it and spell it out here:
There ain’t no question of shame
(in the) Collateral damages game
The governments have subsidised
Mass murder is monetised
Every word of it is true. The truth is uncomfortable. Western governments – some in particular, and some individuals in particular – are raking in millions and more from war and manufactured market chaos. They don’t give a shit about the death toll. They don’t give a shit about anything other than their own enrichment. They’re coining it in, hand over fist, as the bodies pile up. It’s not just Trump… the elites have only one interest, and that’s self-interest.
As for the delivery… LiVES aren’t easy to pigeonhole. They have the high-octane force of The Screaming Blue Messiahs and the steely solidity and relentlessness of Unsane, only less brutal. And for all of this, they manage to pack in a hooky chorus. With ‘Burn’, they bring the perfect encapsulation of what LiVES stand for. And I, for one, stand with them.
AA
