LOS ANGELES, CA- Since the beginning of time, passing down wisdom through storytelling has been a tradition, an oral practice that connects generations by sharing life’s struggles, joys, and lessons. Last Friday, Billy Bragg carried on that tradition—not just through his music but with the stories shared between his songs. His songwriting feels like modern-day folklore—each song a tale of working-class life, activism, and hope. On stage, he’s more than a musician; he’s a storyteller, and his narratives resonate across generations. The blend of song and story makes his performances deeply moving and connective.
Billy Bragg’s musical career spans over four decades, blending the grit of punk rock with the heart of folk. He’s never been just a singer-songwriter; he’s a voice for the working class, a beacon of activism, and a relentless storyteller. From the anthemic “A New England” to politically charged sing-a-longs like “There Is Power In a Union,” Bragg’s music feels like folklore—songs that capture the struggles and hopes of ordinary people. His melodies are a call to action, his lyrics both a protest and a plea. And, like any great storyteller, his tales bridge generations, resonating as deeply now as they did when he first began.
Before Bragg took the stage, we were treated to a beautiful performance by Raye Zaragoza. Her acoustic set captivated the entire theater, her voice both tender and powerful. Raye’s songs draw deeply from her background; with her father being Native American and her mother Japanese, they have faced significant discrimination and deculturalization—experiences that Raye has artfully crafted into her music.
Raye is not only a talented musician but also an advocate for Indigenous people, and her passion was palpable throughout her set. Her song “Hold That Spirit,” a folk anthem, felt like a call to action. She was also vulnerable, sharing her struggles with anxiety, though fortunately, she hasn’t allowed those challenges or negative experiences to hold her back. She joked about turning her anxiety into merchandise, and by the end of her performance, I felt a real connection with her—she’s gained at least one new fan in me.
Her stage presence was magnetic, and it became clear why she’s on tour with Billy Bragg. Raye mentioned how meaningful it was to tour with him and hear his stories and advice backstage. That kind of mentorship is invaluable for a young artist, and you could tell Raye was soaking it all in. I could see similarities between her and Bragg, particularly when she performed her punk-inspired song “Sweetheart,” which features the lyric “running with a switchblade in my hand”—a raw acoustic performance reminiscent of Bragg’s ballads, like “Milkman of Human Kindness.”
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As the applause for Raye faded, anticipation for Billy Bragg built up in the room. When he finally took the stage, it felt less like the start of a performance and more like catching up with an old friend. Bragg, who has been performing for over 40 years, filled his two-and-a-half-hour set with stories, jokes, and reflections. He shared how, on his first U.S. tour, he made it a point to touch both the Atlantic and Pacific Oceans, fearing it might be his only chance to see America—a fear, fortunately, proven unfounded.
Bragg’s sense of humor was sharp as ever, joking that his typical fan prefers to read a book before bed rather than listen to music. He quipped about his vintage 1960s Gibson semi-acoustic guitar “smelling like old books” and hoped the front row could stay awake during the late show. His banter was witty yet wise, touching on everything from the COVID-19 pandemic to the climate crisis, always underscored by his signature activism.
A standout moment of the night was Bragg’s cover of Woody Guthrie’s “All You Fascists Are Bound to Lose,” a fiery reminder of protest music’s long tradition. Before playing one of Guthrie’s most popular songs, Bragg shared a story about “This Land Is Your Land,” explaining how Guthrie originally wrote it in response to “God Bless America.” On one of his trips, Bragg found the original manuscript for “This Land Is Your Land,” which was initially titled “God Bless America for You and Me”—a title Guthrie later crossed out to give the song its now-iconic name. It’s stories like these that make Bragg’s shows feel so intimate.
He didn’t shy away from politics, either. Introducing his song “There’s Power in a Union,” he explained that it was written in response to “Rich Men North of Richmond,” a song he felt unfairly targeted the working class. For Bragg, music serves to unite, not divide.
The audience that night was a melting pot—kids no older than 10, young adults in punk gear, older folk fans, hippies, and anyone who appreciates good storytelling. At one point, Bragg invited the crowd to sing along to “The Milkman of Human Kindness,” seamlessly transitioning into “To Have and Have Not.” The entire theater joined in, their voices raised in unison, proving that Bragg’s message still resonates deeply with people across generations.
Bragg also reflected on his long career and the unique power of music to make people feel less alone. He shared stories about performing on picket lines over the years and how a new generation is carrying on that tradition. His visit to an Amazon union picket line reminded him of the miners’ strikes in the 1970s, where he taught the workers how to build barrel fires to keep warm—just as the miners had done decades before.
By the end of the night, it was clear that Billy Bragg isn’t just an activist, a storyteller, or a musician—he’s all of those things combined. His music has a way of making you feel connected to something larger, whether it’s the fight for workers’ rights or the simple joy of a shared melody. And with artists like Raye Zaragoza following in his footsteps, it’s clear that the torch of protest music is being passed to a new generation.
Before the night ended, Bragg mentioned that they’re collecting stories from his 40 years of touring and invited fans to share their memories by emailing billybragbook@gmail.com. If you have any stories to share, please do send them along.
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