Get ready for a powerful musical alliance that’s more than just a song – it’s a statement! Damon Albarn, the visionary behind Blur and Gorillaz, has teamed up with Grian Chatten, the dynamic frontman of Fontaines D.C., and the profound poet and artist Kae Tempest for a truly soul-stirring new track titled ‘Flags’. This captivating collaboration is featured on the upcoming charity album, ‘HELP(2)’, a project dedicated to supporting children affected by war and conflict.
This isn't just another compilation; ‘HELP(2)’ is a beacon of hope, set to release on March 6th. It follows in the footsteps of its impactful predecessor, ‘Help’, released in 1995, which garnered over £1.25 million for War Child. The album promises a star-studded lineup, with previous previews including the Arctic Monkeys' first new music since 2022, ‘Opening Night’.
‘Flags’ itself is a masterpiece, driven by an upbeat yet subtly melancholic piano melody. It opens with Damon Albarn’s instantly recognizable voice, setting a reflective tone: “Now you left yourself there on the wall/ Looking up, painted on teeth, powdered concrete/ Here on earth, the sun in the sky, between my teeth/ Looking down, shaking some hand, older than mine.” Grian Chatten then takes the reins, his vocals adding a layer of poignant introspection: “The sun cries tears/ And they land inside ya/ You feel the fear where you once felt pride.”
But here's where it gets truly remarkable: the production and artistry involved are immense. Beyond the core trio, ‘Flags’ boasts contributions from music legends like Johnny Marr, Portishead’s Adrian Utley, Gorillaz’ bassist Seye Adelekan, and Ezra Collective’s Femi Koleoso. Adding an ethereal layer are a 43-piece children’s choir and a second, all-star choir featuring names like Jarvis Cocker (Pulp), Carl Barat (The Libertines), Declan McKenna, and many more.
And this is the part most people miss: the visual element is just as compelling. Academy Award-winning filmmaker Jonathan Glazer collaborated on the art direction for ‘HELP(2)’, ingeniously handing cameras to children to capture their unique perspectives. The resulting visuals include behind-the-scenes studio footage and poignant scenes from Ukraine, Gaza, Yemen, and Sudan, offering a raw, unfiltered glimpse into the world through young eyes.
Damon Albarn himself described the recording of ‘Flags’ as a “genuinely joyful two days, with a strong sense of purpose.” He was particularly moved by the decision to involve children in the filming process, stating, “it felt inspiring and directly reinforced the point we were trying to make about communicating with kids, by involving them in the process itself.”
Kae Tempest echoed this sentiment, calling the experience a “fever dream” and a “true collaboration” filled with an incredible force of will. Grian Chatten added that the opportunity to work with such talented artists for such an important cause was “really special,” noting the tangible energy for change felt in the room.
The ‘HELP(2)’ album, meticulously produced by James Ford (known for his work with Arctic Monkeys, Gorillaz, and Florence + The Machine), was largely recorded over a single week in November 2025 in close collaboration with Abbey Road Studios. The full tracklist is a testament to the music community’s commitment, featuring an incredible array of artists including Anna Calvi, Arlo Parks, Beabadoobee, Beck, Beth Gibbons (Portishead), Big Thief, Graham Coxon (Blur), Depeche Mode, Ellie Rowsell (Wolf Alice), Foals, King Krule, Nilüfer Yanya, Olivia Rodrigo, Sampha, The Last Dinner Party, Wet Leg, Young Fathers, and other members of Fontaines D.C.
Interestingly, Fontaines D.C. also contributed a cover of Sinéad O’Connor’s powerful 1990 protest song ‘Black Boys On Mopeds’ to the album, a project they described as a “unique and life-affirming experience.”
Now, here’s a point that might spark some debate: James Ford recently revealed that some artists declined to participate in ‘HELP(2)’ because they deemed it “too political.” This raises a crucial question: When does a charitable cause become too political for artists to engage with? Is it possible to separate art from activism, or is the very act of creating art for a cause inherently political? We’d love to hear your thoughts in the comments below – do you agree with the artists who shied away, or do you believe all art has a responsibility to address important issues? Let’s discuss!
