Podcast
Culture
S&U interviews
2 min read

My conversation with... Michael Hastings

Re-Enchanting… Public Life. Belle Tindall reflects on what is (perhaps surprisingly) her favourite conversation so far.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

A man in conversation laughs and throws his head back
Michael Hastings being interviewed at Lambeth Palace Library.

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This opening paragraph may well break every rule in the Podcast Hosting Handbook, but I’d like to offer some context for my conversation with Lord Michael Hastings by putting my cards on the table for a moment. If there’s one place where I, the co-host of the Re-Enchanting Podcast, have become disenchanted; it’s politics. It’s capitalism. It’s leadership. It’s public life. 

It is for this reason that I am still surprised that our episode with Michael has become my personal favourite (and if you’ve been listening to the podcast, you’ll know that it has notably stiff competition). The conversation really has done what it set out to do, it has begun to re-enchant me. 

Michael Hastings, for those who are not yet acquainted, is a force of nature.  

He is an Independent Peer in the House of Lords, and that’s only the beginning. Allow me to mention just a few of his other current roles: he is the Chairman of the School of Oriental and African Studies, the London Chamber of Commerce, and the Industry Black Business Association. He’s the Vice President of UNICEF, a Professor at the Utah State University, an ambassador for Tearfund, and a personal mentor to hundreds of people.   

He was the BBC’s Head of Public Affairs before becoming its first Head of Corporate Social Responsibility. He was also GMTV’s Chief Political Correspondent.  

So, to sum up: Lord Hastings’ work resides in the realm of politics, capitalism, leadership, and public life.  

This was always going to be interesting. I just wasn’t sure it was going to be that enchanting. How deeply wrong I was.  

When Michael was just sixteen years old, he was asked what he wanted to do with his life, and the words he spoke that day are the exact words he still lives by now. He said,

"I want to speak up for the poor. I want to bend the power of the prosperous to the potential of the poor."  

And that, it seems to me, is exactly what he does. That is precisely why he sees such value in serving in the business sector, the commerce sector, the political sector. In those places, he is able to ‘leverage opportunity for others’. He does all that he can, in those public spaces, to bend the power of the privileged few in the direction of the poor.  

What I found even more interesting is that, the way he speaks of such things, it’s as if he sees no other way of operating in those societal spheres; he accepts no other (valid) reason why one would enter politics; no other (ethical) motivation behind economic prosperity. You could call such optimism naivety. Or, as I’ve learnt, you could call it enchantment.  

It strikes me that this conversation may just be the balm that the 65 per cent of people who have lost trust in the government need. Whether one agrees with the details of what Lord Hastings says or not, it’s certainly striking how foreign it feels to hear someone speak of service as the beginning and the end of their political and commercial aspirations. 

From the moment I met Lord Hastings on a drizzly Wednesday morning, I was utterly captivated by his warmth and immediately at ease in his presence. And, as a result, a truly inspiring encounter ensued. 

Review
Culture
Music
5 min read

I hear you: what the witnesses are saying

Belle Tindall gave herself a deadline of two hours to articulate her first impressions of Witness Me - Jacob Collier’s latest single with Stormzy, Shawn Mendes and Kirk Franklin.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Three happy men stand with the one in the middle draping his arms around his friends.
Shawn Mendes, Jacob Collier and Stormzy.

Anyone listening to BBC Radio 1 on Tuesday night at 6pm will have been treated to the very first play of Jacob Collier’s highly anticipated new single. I love those moments. I love that in our hyper-individualised society, the radio can still invite us into these communal occurrences, occasions that hide amongst the chaos and mundanity of the Tuesday evening commute.  

And Tuesday night’s occasion was as follows: we were cordially invited to be the recipients of Witness Me as it rang out over the airwaves, released into the wild, sent out in a thousand different directions.  

I was then, and still am, utterly intrigued by this song. 

After the initial listen, I decided that there has to be more to it than is immediately apparent. To borrow, and then adjust, a familiar phrase - I think there are ‘heard and unheard’ elements to be grappled with when it comes to this song. And I’ve spent this morning grappling with them on behalf of us all.  

Firstly – Jacob Collier, the UK’s beloved musical maestro, has crafted this song alongside grime-artist-extraordinaire Stormzy, pop-sensation Shawn Mendes and Gospel-titan Kirk Franklin. Whichever way you look at it, this is an odd grouping. As Jacob himself said, ‘this particular combination is not one that I saw coming… but it feels so right that it’s happened.’ Aside from Jacob (for whom this song is pretty in-keeping with his musical style), it really does feel as if each of the four artists involved have served something that sits beyond them as individual artists. Offering this song up, not because it wholly belongs with their individual bodies of work, but because it serves each and every listener. Jacob, speaking of this song, put it nice and simply: ‘this song is special and needs to be in the world’.  

These four artists don’t need this song, I sense that their thinking is that we need this song.  

The first two verses are offered to us by Jacob Collier and Shawn Mendes respectively, while the third is delivered by Stormzy. These verses ground the song, which has such an uncontainable feel to it, in time and place. Where Shawn sings of business, familial trauma and alcohol as a coping mechanism, Stormzy speaks of murder, loss and forgiveness. The chorus, on the other hand, is simple, vague and a little abstract. It goes like this,  

I'm with you 
I'm with you here 
You're the light I need  
In the dark I see  
I'm with you  
I'm with you here 
You are all I see 
You witness me 

Every line of this chorus is carried upon the waves of Kirk Franklin’s Gospel arrangement. Speaking of the Gospel undercurrent of the song, Jacob noted how it ‘was the fundamental, that is what breathed the most life into this song’. And while the verses are interesting, it is the chorus that I find myself grappling with. Both audibly and figuratively, the chorus lifts above the verses. 

Jacob’s working with some pretty ancient material here, he’s drawing on themes that have been thought-through and lived-out for millennia, he’s tuning into a heart-cry that’s as old as time itself. 

Who are those words above directed to? Who are they flowing from? What is it about those words that have the power to hold this whole song together? What is the unheard behind the heard here?  

Let’s begin by taking these lyrics at face value, shall we?  

On the surface, these lyrics are a celebration of, as well as a calling for, radical empathy. In that way, this song is an imaginative endeavour; it is dreaming a certain reality into being. In Jacob’s own words,  

‘In a time where there are countless divisive forces around the world, my hope is that this song can act as a reminder of the power people hold to come together and really see each other, carry each other, and bear witness to life in all its colours.’ 

In this sense, it has a touch of James’ retro classic ‘Sit Down’ about it. So, perhaps it was time for another anthem of empathy to roll around. We were made for community, for belonging and for interdependence; Jacob has always made this a primary feature of his work. And I’m grateful to him for that. I’m grateful to anyone who encourages us to stop pretending that we don’t need each other.  

So, there’s that. But there’s more to it, I’m sure of it.  

I can’t help but feel as though there’s a profound piece of theology trojan-horsing in this song. I don’t think I’m wishing it into existence; there are hints all over the place. Firstly, there’s the hearable omnipresence of the Gospel choir. Secondly, there’s Stormzy’s verse, which is an outright prayer, as he asks God to: 

Have mercy on 'em, Lord 
I know You're with them in the storm even though it's hard to see… 

Have mercy on 'em, and be with 'em 
And if grace doesn't cut it, then Your mercy will suffice 
In this cold, dark world, we just need a little light  

So, I’m not totally over-thinking this.  

In the light of these details and with the knowledge that each of the featured artists sit somewhere along the spectrum of Christianity, I’m becoming increasingly convinced that the chorus, those lyrics that hold the song together, are a prayer too. As well as a celebration of the presence of community, I think it may be an intimate acknowledgement of the presence of God - the only one who truly ‘witnesses our lives in all its colours’. You may think me crazy, but I think that Jacob and team may have just released a little theology into the world.  

God being ‘light in the darkness’, the one who ‘sees us’, the one who’s ‘with us’ – these are biblical concepts. Jacob’s working with some pretty ancient material here, he’s drawing on themes that have been thought-through and lived-out for millennia, he’s tuning into a heart-cry that’s as old as time itself. This does not dimmish the radical call for empathy that has been so praised in this song. On the contrary, the two concepts are utterly dependent on one another. Seen as this whole song could have been drawn out of a biblical book, I shall enlist one to explain further:  

‘dear friends, since God so loved us, we also ought to love one another. No one has ever seen God; but if we love one another, God lives in us and his love is made complete in us.’ 

I mean, come on - that could have been the fourth verse to this song.  

This new single is called ‘Witness Me’ – And yes, I witness you Jacob. Last night, on my commute home, I witnessed you put language to our deepest desire. I witnessed you sneak a prayer onto BBC Radio 1.