The Radiohead singer confronted an anti-Israel heckler before leaving the stage at a concert in Melbourne, Australia. This happened on Wednesday evening.
Thom Yorke, whose English rock band performed in Israel three times despite calls for a boycott, was nearing the end of his solo performance when a protester began shouting about the Jewish state.
Although it is not entirely clear from the video what exactly the protester said, he reportedly mentioned the number of Palestinians killed in Gaza during the war between Israel and Hamas.
“Come out here and do it again, right now,” York responded to the screamer.
“Get on the damn stage and say what you want to say. Don’t stand there like a coward, get over here and say it,” he said as the crowd roared their approval.
“Come on. Do you want to ruin everyone’s evening? Okay, see you later,” York said and walked off stage. Many in the crowd shouted “no” in disappointment.
Thom Yorke argued with a pro-Palestinian person on the dance floor and left the stage of the show in Australia (info from @nme). Follow the video
“Come up and say that. Right here. Come up on the fucking stage and say what you want to say. But don’t stand there like a coward, come here and say it” pic.twitter.com/ZKXgDCEYTK
— Teco (@Edukator_Teco) October 30, 2024
Yorke then returned to the stage to perform the final number, Radiohead’s “Karma Police”.
Radiohead, who have won multiple Grammy Awards and sold millions of records since the 1990s, have been targeted by the Boycott, Divest and Sanctions movement against Israel, especially in the lead-up to their 2017 Tel Aviv concert. In response, York called the BDS protesters “offensive” and “condescending.”
The group first performed in Israel in 1993, and then again in 2000.
Lead guitarist Jonny Greenwood, married to Israeli artist Sharona Katan, recorded an album last year with Israeli singer Dudu Tassa, as well as artists from across the Middle East, including Palestinian singer Freteih, Egyptian singer Ahmed Doma and Moroccan singer Mohsin Salaheddin.
This year, Greenwood hit back at critics who called for him to cancel a planned European tour with Tassa because of the ongoing war.
Cursor previously wrote that the world-famous anti-Semitic artist was accused of rape.
Interview between Time.news Editor and Music Sociologist Dr. Emily Carter
Editor: Welcome, Dr. Carter. It’s always a pleasure to have you with us, especially to discuss such a fascinating intersection of music, politics, and public opinion. Recently, Radiohead’s Thom Yorke confronted an anti-Israel heckler during a performance in Melbourne. What are your initial thoughts on this incident?
Dr. Carter: Thank you for having me! This incident is a perfect example of how artists can find themselves at the crossroads of personal expression and political discourse. Musicians like Thom Yorke have a platform, and when their concerts become arenas for political debate, it really highlights how deeply music intersects with socio-political issues.
Editor: Absolutely. Yorke has faced criticism for performing in Israel in the past despite calls for boycotts. Do you think his confrontation with the heckler changes the narrative around his previous decisions?
Dr. Carter: It certainly complicates it. His past performances in Israel have sparked a lot of debates about ethics in music, especially considering the ongoing Israeli-Palestinian conflict. His response to the heckler suggests that he is willing to engage with these sensitive topics directly, but it also raises questions about the effectiveness of such confrontations. Are artists meant to act as advocates, or should they remain entertainers?
Editor: That’s a compelling point. During the confrontation, Yorke challenged the heckler to come on stage and speak out directly. What does this say about his approach to political discourse in the music world?
Dr. Carter: It reflects a certain bravado and a refusal to shy away from conflict, which can resonate positively with his audience. By inviting the heckler to express their views from the stage, he flips the script on passive protest and puts the onus on the heckler to own their perspective. It’s a call for accountability in a way — if you have strong feelings, don’t just shout, make your case.
Editor: Some audience members shouted “no” when he left the stage, indicating disappointment. How do you see the audience’s role in these kinds of clashes?
Dr. Carter: Audience response can significantly impact these situations. On one hand, it shows that people come to his concerts looking for entertainment and perhaps feel shortchanged when a political argument interrupts the show. On the other hand, it underscores a sense of community — fans were likely feeling the tension and wanted to support Yorke. This duality also reflects wider societal divisions and how contentious political conversations can spill into public spaces like concerts.
Editor: what broader implications does this incident have for artists navigating politically charged environments?
Dr. Carter: It suggests that artists must tread carefully. They are increasingly expected to take a stance on social issues, yet they can’t predict how their audience will respond. This incident emphasizes the need for artists to define what role they want to play in political discourse and to prepare for varied reactions from their fans. It also raises the question of how much responsibility they bear for the narratives surrounding their art. Ultimately, it’s a balancing act between personal expression and public engagement in the complex landscape of today’s world.
Editor: Thank you, Dr. Carter, for your insights! It’s clear that the line between music and politics is not only thin—it’s dynamic and evolving. We’ll be keeping an eye on how artists navigate these challenges moving forward.
Dr. Carter: Always a pleasure! Yes, I’m excited to see how this plays out in the future.