The current single from The The, “Cognitive Dissident,” contains a striking lyric: “Truth stands on the gallows / Lies sit on the throne.” This line, delivered with a snarl by band leader Matt Johnson over a spiralling guitar arrangement, isn’t a dig at King Charles and the British monarchy, says Johnson. Instead, it’s a broader metaphor, describing a world where the truth is frequently discredited, disregarded, and marginalised. According to Johnson, society today is marred by lie-spewing politicians and a deceitful media landscape, which has eroded trust in both institutions. Johnson believes people are not oblivious to this deception, creating a groundswell of rebellion and discontent.
The The were among the pivotal British music groups of the 1980s, gaining acclaim with albums such as “Soul Mining” and “Infected,” which skilfully combined tuneful rock with politically engaging lyrics. Despite their daring content, both “Soul Mining” and “Infected” scored positions within the UK’s top 30, citing Johnson on par with fellow songwriters Morrissey and Bono. Despite the glaring spotlight, Johnson never reveled in the fame. He was exasperated by the music industry’s political machinations and was deeply affected by his brother Eugene’s untimely death at 24, which led him to put The The on a break in 2003.
However, Johnson came back to the touring scene a few years ago and is all set to release a fresh album titled “Ensoulment” in September, set to be previewed at a Dublin event at Collins Barracks. Johnson, in a conversation from London, is vivacious and talkative. He expresses irritation when labelled as a political lyricist, stating that most of his songs are void of social commentary, with lyrics focusing on themes like love, loss, fear, anger, and happiness – spanning the wide spectrum of human emotions.
Indeed, he has a knack for diving into politics without holding back, evident in his works such as Ensoulment and songs like Kissing the Ring of Potus. It’s easy to infer that these pieces reference his perceived unequal relationship between the US and the likes of the UK and Europe. This perspective was voiced several weeks prior to Keir Starmer emerging as the UK’s prime minister. The potential change in leadership in Westminster doesn’t instil much optimism in him.
“He’s just the same. Starmer is not any different from Sunak. Receiving a knighthood at such a tender age,” he asserted. “He is a knight for God’s sake. If he achieves victory by a significant majority, he’ll turn into a dictator, that Starmer. He mirrors Tony Blair in many ways. He isn’t any different from a Conservative. The true opposition is non-existent.”
Johnson is a resilient figure. The 58-year-old battled chronic-fatigue syndrome during the peak success of The The. In 1989, he lost his brother, Eugene, to an aneurysm. His other brother, Andrew, succumbed to a rampant brain tumour in 2016, four years after the diagnosis. This was followed by the death of his father in 2018, aged 86 – around the same time when The The embarked on their first tour in 15 years. Johnson himself nearly passed away in 2020 due to a rare neck infection, requiring urgent surgery.
“Regrettably, my family has been marked by a lot of tragedies. I can only hope there are no more,” states Johnson, who credits his songwriting for helping him deal with sorrow. “I attempted to utilise it as a therapeutic tool, this music. It’s my way of expressing some profound emotions. It’s really the only way I can react to these circumstances; by trying to convert it into something constructive.”
Choosing to step back in 2003 brought no regrets for him. He certainly didn’t lament the departure from the music industry’s manipulative workings. He only grieved the lost connection with his fans.
“I’ve always somewhat distanced myself from the music business. Regarding fans – indeed, I craved the thrill of performing before a crowd. It’s a magnificent experience. I’ve been fortunate to have such a devoted and reactive audience. So yes, I did miss them.”
Johnson grew up in East London under the stewardship of his father, Eddie, a former dock labourer who evolved into a publican after engaging with the stevedores’ union. Johnson was raised amidst British leftist ideologies, a factor that doesn’t conflict with his ambivalent standpoints on Europe and the European Union.
A prominent figure within the British left-wing politics, Tony Benn, held a strong anti-EU stance. The issue at hand lies within the EU Commission which strongly mirrors the nature of the Soviet politburo. The European Commission President, Ursula von der Leyen, is a perfect embodiment of power obsession. Even though she keeps gaining positions of power, the general public, including Johnson, did not elect her. This has triggered a reaction with populist parties surfacing throughout Europe as the populace grows weary.
Johnson’s perspective on Brexit is more subtle compared to his perception of von der Leyen. Rather than presenting the public with a binary choice of ‘remain’ or ‘leave’, there should have been a ‘remain and revise’ option. Europe is home to many positive attributes, its countries and culture being things that Johnson cherishes. However, he sees some aspects of the Brussels bureaucracy as wildly relentless and disrespectful toward European citizens. In Johnson’s perspective, there is an absolute necessity for advancement, calling for a genuine democratic process.
Johnson alerts that society is on the brink of stepping unknowingly into a dystopian world, a notion that pervades his work, Cognitive Dissident. He notes a prevalent fear amongst people to voice their opinions due to the risk of public humiliation.
Drawing reference to George Orwell, Johnson comments on the ongoing, widely expanded limitations on hate speech, which seem to result in widespread offence. Expressing or even contemplating such ideas are becoming increasingly challenging – an idea which holds an Orwellian undertone. He notes that these new standards influence everyone and warns about the adverse effect it can have, causing repressed feelings that could potentially exhibit themselves in devastating manners.
His song-writing is as powerful as it gets, evinced by the potent lyrics in the 1989 release ‘Armageddon Days (Are Here Again)’. It features lyrics such as “Islam is rising / the Christians mobilising”. Johnson is often asked if he’s thought of revising these lyrics. His response is that he believes there is nothing contentious in the lyrics and he maintains it as a peace anthem. He asserts that those who may find it objectionable are potentially war aficionados.
Johnson initiated The The in 1979 and remains the solitary constant within the group. Never averse to collaborating, he happily combines musical talent and more. At the invitation of Billy Bragg, he became a part of Red Wedge – a collective of musicians linked to the British Labour Party in the 1980s. He cordially invited previous Smiths guitarist Johnny Marr to join The The, which aligned with the recording of the album Mind Bomb. Sinéad O’Connor also had a part to play in the album, lending her vocals to the song ‘Kingdom of Rain’.
Johnson sadly reminisces about O’Connor after her death, stating that although they weren’t close, they spent a fair amount of time together in the late 1980s. He had a lot of respect for her as a person and adored her as an artist. He expresses distress at both the news of her death and the emotional suffering she experienced during her lifetime.
Looking back, Johnson describes her voice as a special tool and felt emotional seeing her breathe life into his lyrics. He wrote ‘Kingdom of Rain’ with Sinead in his thoughts, and admits she was the sole choice to sing it with him. He fondly remembers collaborating with her, where he would suggest a melody and watch as she made it her own. Recognising her innate professionalism and focus, he admired her self-reliance and the unique spin she would place on her contributions.
Johnson possesses a passionate persona, his British camaraderie never failing to show through, making him a delightful companion despite the pressing discussions about modern-day dilemmas. It’s unlikely that von der Leyen will find a festive greeting from him in her post. Supporters heading towards The The’s music event in Dublin are set for an exciting experience.
Johnson states, the group with him is the same lot he had during his previous tour, the Comeback Special tour. He shares a longstanding acquaintance with many of them – an exceptional gathering of skilled and pleasant individuals. “Our teamwork always leads to an enjoyable time filled with laughter,” he avidly shares.
The The’s performance is scheduled to take place at Collins Barracks, Dublin, on Sunday, August 25th, under the series ‘Wider Than Pictures’. Their latest piece, Ensoulment, will be available from Friday, September 6th.