Ed Sheeran Regrets Use of His Vocals on Unauthorized Band Aid Song

Ed Sheeran confirms he was a victim of the unauthorized use of his vocals in the new, 40th anniversary remake of Do They Know It’s Christmas?, one of the most known charity singles ever recorded in 1984. Now that more time has elapsed, Ed Sheeran discusses this project and how his perception of it has changed with time.

In his Instagram post, Sheeran noted he would have “respectfully” declined the request if consulted, quoting British-Ghanaian rapper Fuse ODG’s critique of how foreign aid campaigns often do more harm by perpetuating terrible narratives about Africa.

Ed Sheeran
Harald Krichel, CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0, via Wikimedia Commons

Sheeran originally contributed to the 30th-anniversary version of the song in 2014 alongside prominent artists like Coldplay, Sam Smith, One Direction, and Rita Ora. The upcoming “ultimate mix,” blending vocals from various versions of the track, features his voice alongside Sting’s from the 1984 recording.

“My consent wasn’t sought for this new Band Aid 40 release,” Sheeran said. “If I had been asked, I would have graciously declined to have my voice used.”

The singer further added: “Ten years on, I view the whole story that unfolds with this – eloquently put by @fuseodg. This is my position and I hope it’s a step forward. Love to all x.”

Criticism of Band Aid Legacy  

Fuse ODG, who refused to record for Band Aid 30 in 2014, has also been vocal on his criticism of such campaigns. He argued in his post that Band Aid and other similar campaigns only continue to mar the image of Africa instead of helping her.

“I refused to participate in Band Aid because I realized the harm initiatives like this cause to Africa,” he added. “While they might garner sympathy and donations, they continue to create damaging stereotypes that are a constraint on African economic growth, tourism, and investment. It’s costing the continent trillions and destroying its dignity, pride, and identity.”

The rapper clarified that charity work should empower Africans to rewrite their own stories to achieve a sense of dignity and growth rather than sympathy. He encouraged the development of partnerships that promote Africa as an attractive investment destination and tourism destination, as opposed to dependency on stale, stereotypical imagery.

The 40th-anniversary release will bring the contributions of different eras of the song, as it will feature icons like Boy George, George Michael, and Paul McCartney. Besides these legendary stars, popular contemporary stars like Harry Styles, Sam Smith, and Rita Ora will also be featured. This remixed version is set to premiere on November 25-the date for the original recording’s anniversary.

As the song’s raised millions over the years, its treatment of Africa as a continent in need of salvation by Westerners has drawn consistent criticism. The argument is that the lyrics continue “colonial tropes,” providing a simplistic and patronizing portrait of the continent.

In short, as one writer, Indrajit Samarajiva, encapsulated in 2023 when he described the campaign as “more about making white people feel good than helping anyone.”

Sir Bob Geldof

The co-writer with Midge Ure, Sir Bob Geldof, made hard defense for the project. Over the various critiques, he recalled that concrete actions the campaign has made over the years prove good intentions.

“This little pop song has kept hundreds of thousands if not millions of people alive,” Geldof declared. He pointed to the recent initiatives from Band Aid, referencing earlier aid to refugees who were fleeing violence in Sudan as well as feeding children in Ethiopia.

“Those bedraggled women who weren’t raped and killed, their hysterical children, and any male over 10 who survived the massacres. will sleep safer, warmer, and cared for tonight because of that miraculous little record,” he said.

Geldof even called out those who alleged that he was perpetuating colonial stereotypes with: “‘Colonial tropes,’ my arse.

Clearly, Band Aid’s philanthropic successes cannot be denied, but broader talks resound with a changing desire to reimagine how global aid is approached. Sheeran and Fuse ODG eloquently speak to the need for moving the narrative toward dignity, empowerment, and mutual respect.

Getting into the ambit of the impending 40th anniversary, it is unmistakable that the legacy of Do They Know It’s Christmas? is complex and polarizing.

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