might not change the world, but they make a difference and it's something we can all get involved in. Fighting injustice isn't always about big demonstrations or grand gestures.
What do you mean?
Let me give you an example. There are a couple of elderly ladies in the Midwest of the United States who annoy the hell out of people who inflict torture in Latin America. They spend all their time firing off letters to prison directors, one after another. Because they're so well-informed, their letters are often published prominently in the American newspapers. And it often just so happens that the political prisoners they mention in their letters are suddenly released, as if by magic! Thatâs what I mean when I talk about how little things can make a difference. Basically, the music we make is the same as one of their letters.
Your commitment to fighting racism is closely linked to the work of your Real World label, isnât it, which promotes world music?
Absolutely. It's given me immense satisfaction to bring such diverse musicians together from places as far apart as China, Africa, Russia and Indonesia. We've produced artists such as the Guo Brothers from China and Nusrat Fateh Ali Khan from Pakistan. I've taken so much inspiration from their work, as well as from other artists on the Real World label. The rhythms, the harmonies, the voices... I had already begun to head in that direction as early as 1982, when I organised the first WOMAD [World of Music, Arts and Dance] festival. The audience were able to take part in the event, playing on stage alongside groups from Africa. It was such a meaningful, life-affirming experience that the festival has since been held in other parts of the world, including Japan, Spain, Israel and France.
Is that why some people call you the âfather of world musicâ?
Real World and world music are commercial labels above everything else; we publish music from artists the world over so that their music can be heard the world over, on radio stations and in record stores. But I want the artists who record an album on my label to become famous in their own right. No one says âis this reggae?â any more; they say âis this Bob Marley?â. In time, I hope that no one who hears a song by one of my artists asks âis this world music?â
You've recently shown a great interest in multimedia technologies, and your interactive CD âXplora1â has really got people talking. How does all this fit in with the activities of Real World?
There's so much you can do on that CD, like choose tracks by each individual artist just by clicking on the album cover. But I want to see so much more of this kind of thing; interactivity is a great way of introducing people to music. Essentially, what Real World is trying to do is blend traditional, analogue music, if you will, with the new digital possibilities that modern technology gives us.
Are you saying that rock music itself isn't enough any more? That it needs some kind of interaction with the listener? Do you want everyone to play a part in creating the final product?
Not always. For example, I tend to listen to music in my car and I don't want to need a screen or a computer to do that. But when Iâm interested in an artist or I want to know more about them, where they come from, what they think, who they really are, thatâs when multimedia technology can offer me some relevant visual material. Basically, in the future I would like to see all CDs offering this dual functionality: you can either simply listen to them, or you can âexploreâ them. With Xplora1 , we wanted to create a little world in which people could move around, make choices and interact with the environment and the music. There's loads of things you can do on the CD. Like take a virtual tour of the Real World recording studios, get access to events like the Grammys or the WOMAD festival, listen to live tracks, learn about my career from the early days with Genesis until the present day, and even remix my songs to your heartâs content!
And also have a virtual rummage in your wardrobe, right?
Absolutely ( laughs ). You can have a rummage in Peter Gabriel's wardrobe!
All this seems light years away from your experience in Genesis. What has stayed the same since those days? Have you never wanted, for example, to do another rock opera like âThe Lamb Lies Down on Broadwayâ? Have you moved on from all that?
Good question. I think Iâm still interested in some of those ideas, but in a different way. In one way, the things I was trying to do during my final years with Genesis were linked to the idea of being multimedia. Itâs just that back then, sound perception was restricted by the technology of the time. Now, I want to go a lot further down that road.
Going back to your political and humanitarian activities, now that apartheid is over, what are your other causes célèbres? What global injustices are you looking to rail against?
There are loads. But right now, I think the most important thing is to help people get their voices heard. Everyone should be able to appear on TV or have access to means of communication such as fax machines or computers. Basically, I think we have a chance today to use network communication technology to better defend peopleâs human rights.
That's very interesting. Can you give a concrete example?
I want to set small, tangible goals. Like making sure a particular village has phone lines, twenty or thirty PCs, that kind of thing. You can set that kind of equipment up almost anywhere in the world - India, China, up a mountain, wherever... Within three or five years, the people living in these places could learn how to create, manage and process information. With just a little bit of hard work, we could transform the economies of many countries from being based on farming to being based on information. That would be a huge step.
So, what next for Peter Gabriel?
A holiday ( laughs ). Weâve been on tour for months. Weâve had the odd break, but I think I need to get away. On tour, there's always time pressure and the stress of travelling...and I don't get time to play any sport. I mean, I love to play tennis. As far as work is concerned, Iâm thinking about doing something similar to the interactive CD. I've just finished my new album, Secret World Live , which was recorded over the course of this long tour. Itâs an overview of my career to date, kind of like an anthology. The only track that hasnât been on one of my previous studio albums is Across The River . Basically, the album is also a way for me to thank all those people who have performed with me on this back-breaking tour. There's the usual suspects like Tony Levin and David Rhodes, but also Billy Cobham and Paula Cole, who accompanied me in Milan, Billy on the drums and Paula on vocals.
Do you have a dream?
I do. I wish there was already a United States of Europe.
Why?
Because it has become clear that small countries can no longer be important to the global economy. We need an organisation that protects their cultural identity and represents