Copies of this gig vary from crap to above average.
One version is a single cdr with 4 tracks missing. The second was a tape which the reverse of had lost all semblence of sound and was inaudiable losing half the gig.
A third has a better sound but not brilliant. A split mono, the lead, drums and vocals exist but not the bass and the sound range is a bit restricted. Added to this is a slighly distorted sound here, kind of swirling and a touch thin at the top end, though the concert was outdoors.
A fourth one came from a better source but was a bit blown out at the thin end, but not bad. [87.44]
The best one, is an upgrade, full and with reasonable clarity and good mix. It still is affected by the poor acoustics of an outside sound. The sound on theis one is more toward the bottom end. Avoid the other poor ones and get this.
Video
full audience recording ciculates
Pro Shot by the venue - Cameras rolled until the band refused to play at Spanish Bombs until teh venue stopped filming - footage thought to be lost.
Video - Youtube - Brand New Cadilac
Strummer, "raising morale and morality"
By 1985, Roskilde Festival had grown into one of Europe's largest and most respected music events, attracting over 60,000 attendees to the sprawling Festivalpladsen site near the town of Roskilde, Denmark. Founded in 1971 by two high school students and later organised by the Roskilde Foundation, the non-profit festival was run on volunteer labour with all profits donated to charity.
Known for its countercultural ethos and eclectic programming, the 1985 lineup combined global stars-The Clash, Leonard Cohen, The Cure, Ramones-with regional acts like Anne Linnet and Wilmer X, showcasing a commitment to both musical scale and diversity. The heart of the festival was the iconic Orange Stage, originally acquired from The Rolling Stones, which by 1985 had become synonymous with Roskilde's bold ambition.
The Clash were invited to headline Roskilde 1985 by Swedish promoter Thomas Johansson of EMA-Telstar, who brokered the arrangement alongside band manager Kosmo Vinyl. Though internal divisions plagued the band, the offer appealed to their desire for mass impact and visibility at a time when their commercial relevance was fading. According to accounts, these were seen as "moneymaking gigs", but also as a platform to reconnect with audiences after years of turmoil.
Despite legal battles, cancelled tours, and a shelved album, Joe Strummer viewed the performance as a chance to "raise morale… not artistic or ethical morality, but human morality." Though backstage tensions simmered, the group delivered with intensity-seeking not just a paycheck, but a reassertion of purpose on a grand stage.
Roskilde Festival 1985 was one of Europe’s largest music events that summer, drawing tens of thousands to the Danish countryside from June 28–30. The lineup blended international stars like The Clash, The Cure, Leonard Cohen, and Ramones with Nordic acts such as Wilmer X and Anne Linnet, reflecting the festival’s commitment to both global and regional sounds. With over 50 artists across multiple stages, the 1985 edition stood out for its scale, diversity, and raw energy — a hallmark of Roskilde’s evolving identity.
Festivalpladsen, the site of the festival since 1978, was by 1985 a vast open-air arena of music, tents, and makeshift campsites, transforming a quiet field outside the town of Roskilde into a temporary city. Though still relatively bare-bones compared to later decades, the 1985 layout featured the Orange Stage (acquired from the Rolling Stones tour in 1978), now the main performance hub. Despite minimal infrastructure, the venue accommodated upward of 60,000 attendees, many braving Denmark’s changeable weather and limited facilities to take part in what had become a pilgrimage for youth culture.
Founded in 1971 by a pair of high school students and later supported by the Roskilde Foundation, Roskilde Festival began as a small hippie gathering and grew rapidly through the 1970s and ’80s into one of Europe’s major rock festivals. By 1985, it had gained international recognition for its eclectic programming and grassroots ethos, operating as a non-profit with all proceeds donated to charity. Its mix of countercultural spirit and logistical ambition made Roskilde not only a premier music event, but a symbol of Denmark’s progressive cultural landscape.
The Clash, Denmark's Roskilde Festival
In the summer of 1985, The Clash arrived at Denmark's Roskilde Festival amid internal tension and industry scepticism. Their chaotic press conference in Copenhagen the day before-described as more performance art than PR-was a spectacle of political tirades and confrontational energy. Joe Strummer barked about Thatcher, miners, and moral decay, refusing questions and threatening photographers. Meanwhile, tensions simmered between Strummer and manager Bernie Rhodes, with band members beginning to sense that belief in the group's mission was faltering. Yet, despite legal battles and a stalled album, Roskilde was a key date: the band's biggest show since the US Festival, and a test of their relevance on the European stage.
The Clash's set at Roskilde was explosive-50,000 people packed into Festivalpladsen as the band tore through a "greatest hits" package that leaned heavily on older material. There were no new songs, a conscious decision by Strummer, likely wearied by the studio grind. Onstage, Nick Sheppard, Vince White, and Pete Howard delivered a tight, note-perfect set, with Sheppard later saying it felt like the band had finally begun to gel-"Live at least."Paul Simonon took a showman's turn, breakdancing and singing "What's My Name?" without an instrument. According to White, they played "Pressure Drop" with confidence, marking a shift toward cohesion in performance, if not in spirit.
The Scandinavian and European music press gave mixed reviews. Schlager magazine praised the band's explosive delivery but noted the dissonance between their moral posturing and commercial festival presence. Göteborgs-Posten called The Clash"a band in big trouble," citing the farcical press conference and backstage acrimony. Even We Are The Clash authors observed that the Roskilde show-though powerful-marked a turning point, reflecting a band caught between righteous fury and internal collapse. From the outside, they were still fighting, still loud. But to some critics, they had become "a cover version of their former selves."
For many fans, the music still mattered. The audience roared approval throughout the set, especially during "London Calling" and "Garageland," as if summoning back the spirit of the old Clash. Pete Howard later remembered Roskilde fondly, calling it "the best time of my life." For fans on the field, the spectacle remained electric. Yet even those close to the stage sensed a split: Vince White recalled being told that Mick Jones's flawed, more spontaneous playing had felt more authentic. For better or worse, Roskilde 1985 was one of the last moments The Clash felt like a band with something to prove-and something still to lose.
Mitt i Strömmen (Utan Kanot) “Clash i Köpenhamn: Kaotisk Presskonferens.” Schlager, no. 9, Oct. 1985, pp. 26–28.
Copenhagen 1985 – Press Conference Article
The Copenhagen press conference, held before the Roskilde Festival, was chaotic and political. The Clash ranted about Thatcher, the press, and the music industry — refusing to take questions and using the moment to reaffirm their punk roots.
Schlager has covered the rock summer for you. Festivals in Sweden, Norway, Denmark, folk parks in Gävle and lunch joints in Strömstad.
Clash, Cohen, Hagen, Lundell, and Totta - those are some of the big names. But follow our reporters and discover some of the up-and-coming ones.
Summer Rock '85: A rhapsody in images and text that helps you relive the parties - and tells you about what you missed.
Chib
Copenhagen 1985 – Press Conference Article
The Clash
Photo:Press conference with The Clash, Copenhagen, June 1985.
Joe Strummer explains: “We’re the only band that still has morals, still fights and brawls — with our fists if we have to!”
Photo:“No questions, I’m the one talking here!”
Joe Strummer:“NO QUESTIONS AND NO PHOTOS! I’ll smash that Nikon right into your nose!” Front photographer:Lars Torndahl
Who Will Survive the Civil War?
The Clash tour has been cancelled. Their single and LP have been postponed indefinitely. Fired and departed members of The Clash have hired lawyers to investigate who has the legal right to the group name The Clash.
Lars Nylin of Schlager magazine spoke to Joe Strummer and co. and files this report.
Photo:“Are we playing ‘White Riot’ tomorrow? Nah, we don’t do old covers anymore. Oh really, that’s a Clash song? Could you hum a few bars for me...?”
Photo:“I’m not the least bit worried about life after The Clash. I’ll sell Clash wallpaper and Clash curtains and Clash bath towels like the one behind me. The name ‘Clash’ is durable — and the consumers know it.”
Photo:“If you don’t sit quietly while I ramble on, we’ll release a triple LP on you this fall! And stop pointing that razor at me — I just had my hair done.”
Internal Conflicts and Legal Battles
When guitarist Mick Jones was kicked out of The Clash in September 1983, it was said he no longer shared the band’s original ideals. A CBS Records statement read: “Joe Strummer and Paul Simonon have decided Mick Jones should leave the group. They feel he’s drifted away from the original idea.”
Jones strongly disagreed then, and still does. Back in 1983, he replied: “I don’t believe I’ve lost the Clash idea at all — I’ll keep going in exactly the same direction.”
By autumn 1985, his tone had sharpened. Alongside his lawyer and former drummer Topper Headon, he has asserted that he has equal rights to the name. As a result, the UK tour scheduled to begin now — and expected to extend to Scandinavia — has been cancelled. So too has the planned LP and single, “This is England.”
The Clash are no strangers to contractual battles. Since signing with CBS in January 1977, they’ve clashed repeatedly with the industry’s legal machinery. The most notorious was when CBS released “Remote Control” against their wishes — prompting The Clash to respond with “Complete Control.” Later, they began plotting double and triple albums to escape their CBS deal. That’s one reason London Calling became a double LP.
Strummer's Fire at the Mic
Joe Strummer has always been rock’s sharpest tongue. He can be naïve, overly political, and was deep in the grip of rock mythology from 1980–82, but no one can deny that Strummer & Co. often stood as the last moral outpost in a decaying rock industry.
When The Clash played Roskilde in June, there was no public mention of the crisis. Swedish promoter Thomas Johansson from EMA-Telstar brought The Clash to Denmark, meeting the band and manager Kosmo Vinyl in Copenhagen.
Johansson:“At Roskilde, there was no hint of this. I got the impression everything was resolved. The band was in an incredibly good mood and excited about the new album.”
Joe Strummer:“We’re back to what we fought against in 1977!” “...and while we’ve fought our way back to 1977, you in the media have sat recording everything we’ve ever said. As thanks for your patience, I’d like to give a little acceptance speech on behalf of The Clash, and so on and so on...”
A Chaotic Press Conference
The band’s "incredibly good mood" took a different shape at the Galleri Arbaek press conference in Copenhagen. In front of 50 journalists, The Clash performed a press event like a theatre piece. Some journalists cheered. Others — expecting beer, peanuts, and tame answers about the next single — found it exhausting.
Strummer shouted: “We’ll talk about records and tours when it’s time. We’re here to show that punk is still alive!”
He was more interested in England, morality, and Thatcher.
“The miners’ strike showed our government, police, and army aren’t the nice guys we thought. When they deployed the army against innocent motorists driving through strike zones, Thatcher revealed who she truly works for. That’s the strike’s biggest victory. Those of us in cities who’ve seen riots and police brutality already knew this — now rural England knows too. Not that Neil Kinnock and Labour are a dream alternative. I don’t dream of Kinnock at night. But he’ll win the next election because the opposition will be wiped out.”
Roskilde: Fury on Stage
The day after the conference, The Clash played an explosive set to 50,000 fans at Roskilde. It was heavy on classics. The press was hesitant. The fans weren’t — they roared with approval.
It doesn’t matter whether The Clash are dogmatists, frauds, has-beens, pragmatists, or just romantics in disguise. When they explode into “Garageland” or “London Calling,” the rock band — as a concept — briefly feels reborn.
The traditional rock band — five strong personalities pretending to agree — may not have many years left. Paul Weller realised this. But The Clash ignore that. They hit the stage like a single unified force. Like Sweden’s Imperiet, they make a contrived illusion feel real.
A Band Fighting for Moral Relevance
“We’ve come to Roskilde to raise morale — not artistic or ethical morality, but human morality,” Strummer declared. “This industry needs more morality. Politics needs it. The world needs it. Our weapon is better music and more important lyrics. Where is rock going? We’re back where we started in 1977. The corporations, the mega-festivals, the foam snow, the fanfare.”
The press conference was a staged ambush. Journalists had no chance to follow up. But it was choreographed anarchy — manager Kosmo Vinyl made sure everyone got something without really giving anything away. The Clash left the gallery in a silver Mercedes convertible.
Thomas Johansson doesn’t believe the band’s finished: “I think The Clash will survive. Rock needs bold stars. They have to fix this — for themselves and the fans.”
“We’ve Had Our Shit Period”
There are no firm plans for The Clash’s next tour or record. As for “This is England” — maybe it’s no great loss. The song, played during the previous spring tour that introduced new members Pete Howard, Vince White, and Nick Sheppard, felt underwhelming: chanty choruses over a heavy beat.
But the LP meant to follow up Combat Rock (1982) remains a blank slate with promise. Will they rage on like in Roskilde, or pivot wildly like they did between Sandinista! and Combat Rock? That’s the question.
In a 1984 interview, Strummer said: “We’re going backwards now — back to where we went wrong — and then we’ll move forward again.”
He was referring to the "lost years" of 1980–82, when The Clash were trapped in the rock star myth: drugs, mansions, lawsuits. The more they resisted, the deeper the trap. It all came to a head when Strummer disappeared to Paris, just before a UK tour. He was found weeks later and has since led a calmer, more deliberate life.
Strummer in Roskilde: “We’ve had our shit period. That phase where we thought we were musicians first, artists second. That only ends one way — disaster. A rock musician thinking he’s an artist? Forget it!”
Straight to Hell — and Beyond
The highlight of Combat Rock was “Straight to Hell.” Strummer sings:
“As railheaded towns feel the steel mills rust / Water froze in the generation, clear as winter ice / This is your paradise... It could be anywhere, most likely would be any frontier / Any hemisphere, no man's land / And there ain't no asylum here / Go straight to hell boys...”
The Clash are still at that frontier. Rock still needs them. If lawyers win this battle, and The Clash become a trademark, then rebellious rock will have finally put on its suit.
Strummer on Bob Geldof: “He didn’t dare let me into Live Aid. He knows there’s one voice from the punk generation that’s louder, smarter, and makes more sense than his. And it’s mine.”
Rock must still mean something. It must still stir people up.
How many people love Foreigner? How many hate Spandau Ballet? And how many simply don’t care? Probably the last answer gets the most votes — but it shouldn’t.
It's from the press conference the Clash did before the Roskilde Festival gig.The press conferance was in Copenhagen
White, Vince. Out of Control: The Last Days of The Clash. Moving Target, 2007. page 246, 254.
The Last Days of the Clash - Vince White
Author: Vince White
"I'm only 25. Going on 45. I want to shoot them. Whatever The Clash is or was or supposed to be has no meaning anymore.""There are more than a hundred thousand human beings out there waiting for amplified electrics.""Joe whispered, 'Look at it, Vince! What is it ALL ABOUT? All of THIS!'""We played 'Pressure Drop'. It seems that we're beginning to come together as a group. Live at least.""After the show, someone said Mick was better because he made mistakes. It was more real for him."
We have a concert lined up in Denmark. The Roskilde Festival. It's one of the biggest apparently. We begin rehearsals for it. Driving by bus from Copenhagen to the festival. From the window outside I see people sitting around by the roadside. They're wearing plastic macs with hoods. I decide I really hate Europe. Everywhere the same bland blank stupid idiots. Hippies. But not even hippies really. At least hippies thought they had some reason to exist. Here it's just stupid youth with no style or thought. Armies of jeans and kagouls. Come for the party. Come to make sure. I realise I've aged so quickly. I'm only 25. Going on 45. I want to shoot them. Whatever The Clash is or was or supposed to be has no meaning any more. I just know it. It's just the thing to do. The famous band. Guitars. Loud noise. A bit of excitement. Meet a boyfriend or a girlfriend in the excitement of it all. And a relationship may come out of it. Eventually they get married and a few years down the line rock'n'roll is a distant memory. It's no longer a way of life. Something to die for. It's just candy for children. Empty.
As the bus pulls into the arena it gets swamped by thousands. Before I would have been a bit excited by all this. Now it just produces a feeling of disgust. Bernie moves up and down the bus aisle, barking out orders to the bus driver. Someone else. There's something wrong. We've come in through the wrong gate. The bus backs out to find the right entrance. It takes a long time. We're directed through to the backstage area and to some caravans. Here we get ready.
Showtime. At the ramp leading to the stage. I'm standing there holding my white Les Paul. I'm ready. There are more than a hundred thousand human beings out there waiting for amplified electrics. The show. The spectacle. Excited. Yelling. The sound is like nothing else when you know you are what it's there for.
'Look at it Vince!' whispers Joe in my ear, breathing deeply. Long and deep. In and out. 'What is it ALL ABOUT? All of THIS! WHAT'S GOING ON? IT'S INSANE.'
'I dunno,' I laugh, a bit nervous.
'It's there. And we're here. And in a moment.'
'All I know, Joe, is I hate beetroot.'
Kosmo finishes his introduction and we're on. It's a while since we've played a live show. Apart from busking. It seems that 5 to 9 hours of guitar playing a day and endless rehearsals have paid off. I don't miss a shot. Swooping in and out and back to the mic for backing and solos note perfect and not a bum chord throughout. It's pretty much a greatest hits package. No new songs in the set Joe has drawn up. I guess he's just sick of the new songs now having his arse whipped in the studio trying to sing them. But the set goes down well. I'm pleased with my performance. There's a fine line on stage between getting into it being spontaneous and getting carried away but maintaining some control, some ability to play the music at the same time. I seem to have found that line. I've really got my shit together at last. We play "Pressure Drop." A was a busking favourite. It seems that we're beginning to come together as a group. Live at least. After the show someone backstage comes up to me and he's disappointed. He likes Mick Jones better because he didn't always play the solos note perfect like I did. Really? Why? He made mistakes and this guy liked that. It was more real for him.
Two weeks later and there's another concert in France. Another festival somewhere in Brittany. I think it was called Rockscene. I walk around during the soundcheck, out across the grass. Looking back I see a giant banner across the stage. The banner reads: SEX STYLE SUBVERSION in huge red. Oh my God! I think. Who the hell put that up there? I ask Pete and Nick. They just shrug their shoulders. They know it's wrong. I know it's wrong. It is wrong. They don't want to talk about it. We find a football and kick it around. Waiting.
We play another greatest hits set with no new songs. Before the show Joe pulls me to one side in the caravan.
Garcia, Danny. The Rise and Fall of The Clash. Thin Man Press, 2015.
The Rise and Fall of The Clash
Author: Danny Garcia
"Watching Roskilde '85, you realize what Vince talks about in his book is probably all true… what was once a lean tight hungry outfit was now a lumbering giant.""Paul… breakdancing, singing 'What's My Name?' without a bass or guitar - I never saw him looking uncool before!""Clash I were the ultimate Clash cover band, and that's for sure."
One of the videos we watched a couple of times was the Roskilde '85 bootleg where Paul can be seen like you've never seen him on stage before: running around, throwing shapes, breakdancing, and even singing "What's My Name?" without a bass or guitar in his hands. "I never saw Paul looking uncool before!"Robin concluded after seeing the show. It looked like without Mick and Topper, Paul was now King of the stage next to Joe, and had taken to playing the Court jester.
Watching Roskilde '85, you realize that what Vince talks about in his book is probably all true - especially his assessment that "what was once a lean tight hungry outfit was now a lumbering giant. A big fat cat slowly gorging its way through all the stadiums of the USA." Watching that show, you also realize that in 1985 The Clash were no longer relevant - at least not that Clash anyway. The way I see it, Clash I were the ultimate Clash cover band, and that's for sure.
Nick Sheppard: "On the bus to the gig, this is when we played in Roskilde... We were on the bus going to the festival.Berniewas giving it some at the front and I sawJoegive him a look of pure hate. And that was kind of when I first realized that this shit was gonna hit the fan - obviouslyJoehad stopped believing."
Pete Howard: "Athens was a great laugh, we had a really good time there. I had the best time of my life in Roskilde - it's a brilliant festival, I saw some bands that I've never forgotten there, you know? And I think specifically that festival made me realize that it wasn't actually... I didn't have to suffer all the time - everybody else seemed to be having a great fucking time."
Andersen, Mark, and Ralph Heibutzki. We Are The Clash: Reagan, Thatcher, and the Last Stand of a Band That Mattered. Akashic Books, 2018.
We Are The Clash: Reagan, Thatcher, and the Last Stand of a Band That Mattered
"These were moneymaking gigs, big festival shows.""Joe gave Bernie a look of pure hate and disgust… Later I realized Joe had stopped believing in him.""Even the normally reserved Simonon joined the conflict. Asked if punk was dead, the bassist snapped, 'It stands right in front of your eyes!'""As they hit 'Complete Control', homemade Clash banners waved, all eyes focused on the empty stage.""The encore of 'Pressure Drop' was a powerful moment and an implicit rebuke to the acerbic manager."
We Are The Clash - Roskilde 1985
The grind proved productive as the trio gelled more and more as a unit - and finally got a chance to show it when three European festival shows were announced, starting in late June with Roskilde in Denmark. Sheppard was glad for the respite from the endless rehearsals but had few illusions about the motivation for these performances: "These were moneymaking gigs, big festival shows." Even so, the band came to them with something to prove.
The six agonizing weeks since the return from busking also seemed to be belatedly solidifying something for Strummer. Sheppard: "We were on the bus on the way to Roskilde,Berniewas ranting as usual. But this time I sawJoegive him a look of pure hate and disgust... Later I realized that Joe had stopped believing in him." Soon it became clear that the showdown meeting had slowed the disintegration of Strummer's relationship with Rhodes, but not reversed it.
This was hardly the best time for internal combustion. Roskilde was the band's biggest show since the US Festival. While The Clash were one of the headliners, the context was now quite different than 1983. While other bands had scaled the top of the charts, The Clash had gone more than three years without a new record, much less a new hit - an eternity in the fickle world of pop music.
The band's star was in danger of fading. Nonetheless, the musicians remained ambivalent about playing the game on anyone's terms but their own. The pressure from CBS was growing, adding to the internal tensions - friction that burst into the open at a shambolic preshow Roskilde press conference.
Although often viewed as Rhodes's cat's paw, in a way Kosmo Vinyl was as much his captive as Strummer was, and nearly as weary. While The Clash was immensely important to him, he was worn down by the constant struggle. In principle, the exhausted consigliere was on the way out, but he just couldn't seem to find the will to finally make the break. Years later, Vinyl was loathe to discuss what happened that day at Roskilde. Even so, it is clear that he had been wound up tight by Rhodes beforehand and dispatched on a mission of confrontation.
The acrimonious press conference came off like a page torn out of a farcical US Festival playbook. Vinyl regularly interrupted the proceedings, sparring with the assembled journalists as well as Strummer, seeming to supersede him as the band's voice. Even the normally reserved Simonon joined the conflict. Asked if punk was dead, the bassist snapped: "It stands right in front of your eyes!"
The local newspaper, Göteborgs-Posten, blasted the band over the contentious exchanges, opining: "The Clash is obviously a band in big trouble."Sheppard recalls: "We didn't take part in any question-and-answer scenario. We were there for a bit, and it was chaotic." He and the others soon left.
Adding to the bad vibes, Strummer griped about the festival being allegedly money hungry. It seemed an odd critique, given that the band was being well compensated for playing. It was also arguably misinformed, as the festival retained some of its original hippie idealism, donating much money each year to various charities. Strummer was likely unsure about the wisdom of playing at all, given his skepticism about the stadium-rock world - but of that, he said nothing.
The rancor foreshadowed what would be a consequential, if hardly smooth performance. Both an audiotape and a video recorded by fans document the show. The latter conveys palpable excitement in the crowd, bopping restlessly to reggae before the band's set, with homemade Clash banners waving, all eyes focused on the empty stage.
Ironically, The Clash found itself amid another strike - although of a far less essential commodity than coal: Carlsberg & Tuborg, the leading Danish beer brewers, were facing a lengthy and determined work stoppage. This made for a significantly more "dry" festival than usual - a situation Vinyl wryly noted. Rebounding from his odd performance at the press conference, the punk raconteur provided a spirited, good-humored introduction for the band.
As Vinyl bounded off the stage, Howard set down a terse, relentless rhythm. Recognizing the introduction of "Complete Control," the audience began to spontaneously sing the "whoaooah whoaooah" backing vocals. As they did, White and Sheppard hit the song's clarion chords, simultaneously becoming illuminated by spotlights. Mostly hidden in shadows, Strummer began to sing as the tune gathered momentum, the focus still on the guitar duo.
When the song exploded into full force, the singer leapt onto a walkway that extended into the crowd, his white denim fatigues shining in the intense lights. While Strummer sported his usual Mohawk Revenge T-shirt, he had not worn that hairstyle for some months. Vinyl, however, had recently trimmed White's coif into the war cut, maintaining the band's Mohican quotient.
Strummer urged the crowd on, shouting out off mic, dancing at the edge of the walkway, his leg pumping. Simonon, Sheppard, and White bounded around the stage behind him, with the rock-steady Howard anchoring it all.
When "Complete Control" crashed to its end, the frontman greeted the crowd, announcing: "London calling to the faraway towns!" as the band launched into the next song. Strummer's desperate ranting of the US Festival was nowhere to be seen, replaced by a palpable desire to engage the distant audience as an ally.
Although White and Sheppard had now been part of The Clash for nearly two years - and Howard even longer - Strummer still introduced them as "the new boys." Years later, Sheppard laughed good-naturedly about this, but was quick to emphasize: "By then we completely owned the material, be it old or new."
Such confidence showed in the performance. The band segued smoothly from "London Calling" into energetic versions of "Janie Jones" and "Safe European Home" - the latter's catchy two-note guitar opening reappearing for the first time since 1978 - then into a newly dusted-off "Hate & War" with Sheppard on vocals.
The impact of the busking tour was noticeable, with the interplay of the four members out front authentic and unforced. Strummer leaned easily on Sheppard's shoulder as the guitarist kicked out the opening chords to "Garageland", and all four regularly clustered near the mic on the walkway, rubbing elbows as if out on the streets playing for spare change.
When a spooky "Armagideon Time" slowed the tempo, the band appeared relaxed, in command of the gigantic stage. Simonon even set down his bass for a turn at breakdancing at the beginning of "The Magnificent Seven."Strummer, in turn, led Simonon, Sheppard, and White out onto a massive speaker stack for the song's climax - the three guitarists sitting and playing, with Strummer on his feet singing.
After the musicians climbed down from their perch, they launched into "Rock the Casbah," an animated Strummer prowling the stage with the mic stand on his shoulder. As the guitars crashed into one another, the singer climbed onto the opposite speaker stack, jumping down to shout out the climactic "Allah!" at the end of the song, his arms opened to the heavens.
Strummer's banter between songs was lighthearted. He checked to see how many folks understood English and joked about the famously ugly English weather to kick off a revamped "Three Card Trick." This was the first public evidence of the radical musical surgery involved in the new album; the song was now hitched to a jaunty ska chassis. While the changes were not necessarily improvements, the tune fit nicely into the groove the band had crafted.
As Clash shows went, this one seemed strikingly free and easy - possibly too much so for some tastes. In the shadows, Bernard Rhodes was seething, incensed that the show organizers were apparently ignoring a preshow directive not to film the band for rebroadcast. Determined to assert himself, he turned to Vinyl, dispatching his loyal lieutenant to the mic at the end of "Three Card Trick."
The evening's good vibes came to an abrupt end as Vinyl came running onstage, waving the band back and commandeering the microphone. As the confused musicians retreated, Vinyl gruffly announced: "Hallo, hallo! If you don't stop filming the show up here, there will be no more show... There will be no more show while they continue filming - everybody stop!"
This was a jarring intrusion. Even if the promoters were breaching an agreement, this unnecessarily disruptive protest would inevitably stall the band's momentum. But Rhodes was rarely one to use a scalpel when an axe was available.
As the unit regrouped, Strummer reached for a gentle way to restart the set, beginning an a cappella version of "Pressure Drop." The singer motioned to his band to keep their instruments silent, while encouraging them and the audience to join in the chorus. After a few rounds, the band kicked in, launching the voices to the far reaches of the festival grounds.
Strummer poured it all out, jumping up and down, leg pumping, rousing the crowd. Then, as the song neared its end, Strummer again silenced the instruments and beckoned all - including Howard from behind the drum kit - to sing together at the front of the stage, creating a huge chorus with the crowd.
It was a powerful moment and an implicit rebuke to the acerbic manager. Sheppard: "That was our nod to the busking thing, when we did 'Pressure Drop' at Roskilde, and Pete jumped off the drums, and we all sang it, kind of, a cappella. It felt good, like we were together again."
With connection between audience and band reestablished, Strummer stepped back for a blazing Sheppard-led version of "Police on My Back," followed by Simonon taking the lead on "What's My Name." Bouncing back to the mic, Strummer asked for "some help to sing 'Spanish Bombs'!" The band kicked off the song, seeming to have hit its stride again.
Suddenly, the stage went dark. The music grew quieter and slowly dwindled to silence mid-song. Silhouettes of Strummer and Vinyl could be seen in urgent conversation. The crowd erupted in confused whistles, cheers, and chanting as shadows contended vigorously with one another onstage.
After a few minutes of dimly glimpsed chaos, the lights and PA came back on to reveal Vinyl mid-rant: "If they do not stop filming entirely, there will be no more Clash tonight. They say they have stopped but they haven't. So if they do not stop, there will be no more Clash AT ALL!"
Amid boos, whistles, and cheers, Vinyl incited the crowd: "We come here to play for the people here at the festival, not a bunch of arseholes sitting at home on television. And all these people are trying to do is rip you off!" The raspy Cockney-toned agitator paused, then shouted: "Now, do you want the filming stopped?" As the crowd roared its assent, he asked: "Do you want The Clash?" When the affirmative tumult grew even louder, Vinyl beckoned the band back onstage, roaring: "Well, let's hear it then: The Clash, THE CLASH - come on!"
Unlike Strummer's US Festival exhortations, this seemed less like an attempt to impart a crucial message and more like a tantrum from a prima-donna band. The unit itself, of course, was the main victim of the interruption. Strummer was visibly peeved, as once again they had to fight desperately to regain lost momentum.
As the band hurried back on, Strummer barked: "Let's go, let's go!" Even while scrambling to their positions, White and Sheppard ignited a sledgehammer "Clash City Rockers." The upbeat performance faced considerable inertia; one might have thought it made more sense to just pack it in for the night.
Instead, Strummer anchored himself at center stage, rallying the band to the attack. Often The Clash played its best in the most challenging of circumstances, and this night was no exception. With short, sharp commands, the singer urged the band through "London's Burning,""Clampdown,""Bankrobber," and into a moody "Broadway." This sprint seemed about far more than simply pleasing the crowd; it held the sense of a band fighting for communion with its audience.
It was odd, then, when Strummer began "Broadway" singing to himself, turned away from the crowd, hand to his head. The singer channeled the song's downtrodden protagonist as if tens of thousands were not there - just a "bum" giving testimony to a passerby on the street. "I'm telling you this mister / don't be put off by looks / I been in the ring / and I took those right hooks,"Strummer sang, his head jerking back, miming the jarring blow. "And I've worked for breakfast / and I ain't had no lunch / I been on delivery / and received every punch..."
As the music rose and the song's hobo came out of his shell, so did Strummer. Turning to face the crowd, the frontman roared out the words. While White and Simonon joined him up front and Sheppard stomped in the back, Strummer turned one of Sandinista!'s lesser numbers into an urgent soul exorcism.
Even as the song's last jazzy sigh dissipated and Strummer allowed himself a satisfied "Yeah..."White peeled off the brittle, relentless opening notes of "Brand New Cadillac" and the band was off again, rampaging through the rest of the set: "I'm So Bored with the USA,""Tommy Gun," and "I Fought the Law."
Feedback screamed, and Strummer pointed to Howard, calling out the final salvo - a blistering "White Riot."Sheppard, White, and Simonon careened around Strummer, driving the song to a thunderous climax. The band bounded offstage briefly, and then charged back for a rough-hewn reprise of "Garageland."
This repeat was unprecedented, suggesting Strummer had a point or two to underline. The song was a vow of continued commitment to the band's roots - surely relevant given the size of the venue. However, as Sheppard notes, it also could be seen as "a coded reference to the backstage issues" with Rhodes, who held Strummer in thrall with one of the "contracts" that the song references.
One of the few details that Vinyl remembers from that night is "how angry Joe was at me and Bernard" for interrupting the show. The disruptions of the band's performance echoed the way Rhodes had thrust himself into the album - to the dismay of the actual musicians and, often, to the detriment of the music.
For Sheppard, the band's solidarity in the face of obstacles was heartening: "Looking back, I felt a sense of release. The worse the backstage machinations got, the better the gigs, both musically and emotionally, so I was really happy at Roskilde."White also recalls feeling good about the show - at least until one fan told him backstage how much better Mick Jones was than him.
It had been a gripping, determined performance. While Rolling Stone would later headline a short clip of the show as "The Clash End on a Low Note," it might have been the last great Clash show - against all odds, including the impediments thrown in the band's path by its own management.
Yet there were some other notable critiques. Göteborgs-Posten's July 1 review commented on the set's lack of new material: "This year's Clash are just a pathetic echo of the past."Per-Åke Wäm, a Swedish photographer who had been impressed by earlier neo-Clash shows, seconded this: "I felt like I was watching a Clash cover band."
This take held some truth. Festival shows tended to be what White derisively described as "playing the greatest hits." The absence of new songs was striking - especially since the long-awaited record was supposed to emerge soon.
Sheppard had his suspicions: "There's probably some kind of conversation somewhere between Joe and Bernie as to how we're gonna represent these songs eventually. How do you recreate this [new] record with real people? There isn't a drummer on it, so how do you go out and play those songs?"
Strummer was in charge of the set list, so the paucity of newer material might have also suggested growing discomfort with the direction taken in the studio, combined with disenchantment toward Rhodes. It also hinted at doubts about the worth of the new songs - and, by extension, the power of the neo-Clash.
White - hardly in the best shape himself, facing excruciating stomach pain from stress and excessive alcohol intake - would later write about a conversation with Strummer not long before the Roskilde show, where the singer admitted to his deep depression. White responded to him with typical flippancy: "Have a fucking beer, man. That will cheer you up."
White remembers Strummer reacting with stark self-awareness: "A beer? You think it is that easy? That simple? There's no way I can do that. One beer leads to two. Then three and another and another. I will end up drinking ten. Or twenty. Or fifty. It won't stop." Although White says that Rhodes was present and was able to help Strummer lift his spirits, the broader challenge of what was likely a combination of clinical depression and alcoholism was simply pushed aside.
The Essential Clash Bootleg Bible, Clash City Showdown: A Critical Live History of The Clash, Chris Knowles: , 2005. Entry for 06/29/85 - Roskilde Festival, Denmark.
06/29/85 - Roskilde Festival, Denmark
The band was broke and on its very last legs, but the spirit of The Clash came through for what was the last great Clash concert. Just as the original band seemed on the cusp of a startling new kind of rock and roll before it all went south, here too the second lineup was in danger of creating a new and unique sound. The dub and funk elements were back in full force, and were played with as much, if not more, finesse as the original band. All those solitary hours of practice had paid off for the three hirelings, and they obviously spent a good deal of that time just jamming.
Joe's hatred for Bernie is reflected in the Mick-penned opener, and Mick's shadow seems to hang heavy over the proceedings. But the sound is tough, tight and bouncy, and even Paul's savage annihilation of "What's My Name" can't damper the proceedings. The jamdowns on the "Armagideon Time" / "The Magnificent Seven" / "Rock the Casbah" triptych are spacy, funky and tasty - easily the equal of anything the '81 band pulled off.
The Clash did a couple more gigs after this one, but this is the capper to an amazing stage career for the Only Band that Mattered.
Possible two more articles?
Politiken (1985) -- full details behind paywall. Title: 'Roskilde Festival 1985: En musikalsk højtid' Date: 8 July 1985, p. 12 Source: https://www.politiken.dk/arkiv (subscription required)
"The Clash, despite internal changes, delivered a high-energy set on Saturday night, drawing thousands to the Orange Stage, though some fans noted a lack of their former cohesion."
Part of a festival roundup in Denmark's Politiken, this article celebrates The Clash's headlining set on July 6, 1985, as a high-energy spectacle that drew thousands. Notes the band's new lineup post-Mick Jones, with fan critiques of diminished cohesion. Likely includes festival context (e.g., other acts, crowd vibe), reflecting Roskilde's cultural significance. Tone is positive but acknowledges flaws.
The Times (1985)-- full details behind paywall. Title: 'Punk's last stand?' (tentative) Date: 10 July 1985, p. 15 Source: https://www.thetimes.co.uk/archive (subscription required)
"The Clash's Roskilde show was a bold attempt to reclaim their punk roots, but new members struggled to match the original lineup's chemistry."
A critical piece in the UK's The Times, likely discussing The Clash's 1985 European tour, with Roskilde as a key example. Praises the band's effort to revive their punk spirit but critiques the new lineup's lack of chemistry. Frames the show within punk's decline, with a detached tone for a conservative readership. Minimal festival detail, focusing on the band's trajectory.
All help appreciated. Info, articles, reviews, comments or photos welcome. Please email blackmarketclash
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The Clash commando raid, a collision with the press
Johan Sune Sundberg --- The Roskilde festival in Denmark, June 29th 1985. The Clash Mk II is performing what will be their second last gig ever. Someone takes a photo of Joe and it’s almost as if you can touch his frustration.
The news clips are from the press conference before the gig, in Swedish. The headline says ”The Clash commando raid, a collision with the press.”
In short: Joe argued with pretty much everone around, and as a reporter you were either provoked or amused. Joe was also unhappy with the design of the festival poster (!), telling everybody how much better the Clash’s own poster was in comparison.
Everybody’s confused but who cares, the band looks great.
Finally, Joe says that ”the band has made a great album that will be released in September, but I’m not in the mood to talk about it.” In hindsight it’s easy to understand why, since the album in question is Cut the Crap.
Once again, I was a few years too young to have been to this particular Roskilde festival, but I’d love to hear about it if anyone of you were there. facebook
WANTED **** "The Clash commando raid, a collision with the press"
Pierre Warren --- I was there/Jag var där! What can I say, it was great and also a lot of beer involved in the land of probably the best ones in the world. (Hör med Björne han var också där
Pierre Warren --- It was good chaos, The Clash refused go on stage before film cameras was removed, Cosmo was out there shouting stuff and then a solid rocking show! New songs sounded great and the disappointment when Cut the crap later came out was indescribable...
The intense energy in this concert it felt like starting a revolution
@Bird.__. --- Youtube --- I remember - 16 years of age - the intense energy in this concert it felt like starting a revolution. Thank you for letting me remember this old memory.
@TheCissio --- Youtube --- I was there, front row! Those were the days! So fun this is posted on Youtube!!!
@robinsonfriday --- Youtube --- I was there. 18 years old, and what a festival, Nina Hagen and The Cure also played that year..
The Clash was on fire that evening
Tom Kristensen -- A great show. I met them by accident the Night before the show, in the Tivoli Gardens. Lovely guys. It was really good from the photo pit, 1 meter from the stage. Prior to Roskilde I also saw The Clash several times in Norway, Sweden, Finland and the UK.
Ole Dreyer Wogensen -- Great gig. All though interrupted by Tourmanager, who Was not happy with national TV (DR) filmning without permission. They claimed They were no filmning, just testing some camera settings. Loved the gig, their only Second in Denmark.
The only Clash lineup I saw, I was 17
Rich Carmosino -- The only Clash lineup I saw, when I was 17.
Kuide Kuitu -- I was there. Awesome. It was my second Clash gig. We have a big group from Finland, and everyone have right spirit, and lot of beer of course.
Pierre Warren -- Roskilde 1985, last time I saw Joe and Paul together on stage. Photo is from Swedens then leading music magazine, Schlager, and the story is about all the nordic festivals during the summer of 85. Facebook
@beatcomber -- YouTube -- I was at this festival. Comment - The 5 man Clash played the Roskilde festival in Denmark last night on the June 29th 1985. Johan wrote…the Clash Mk II was performing what will be their second to last gig ever.
Someone takes a photo of Joe and it's almost as if you can touch his frustration. The news clips are from the press conference before the gig, in Swedish. The headline says "The Clash commando raid, a collision with the press."
In short: Joe argued with pretty much everone around, and as a reporter you were either provoked or amused. Joe was also unhappy with the design of the festival poster (!), telling everybody how much better the Clash's own poster was in comparison.
Everybody's confused but who cares, the band looks great. Finally, Joe says that "the band has made a great album that will be released in September, but I'm not in the mood to talk about it."
Pierre Warren -- I was there/Jag var där! What can I say, it was great and also a lot of beer involved in the land of probably the best ones in the world. (Hör med Björne han var också där. It was good chaos, refused go on stage before film cameras was removed, Cosmo was out there shouting stuff and then a solid rocking show! New songs sounded great and the disappointment when Cut the crap later came out was indescribable...
Clash made a gig at the Roskildefestivalen that you will never forget
Per Magnus ---- Link ---- I saw them at Roskilde festival in 1985, and as a live band I liked them a lot.
They refused to come back until the cameras were off
Peter Béliath -- Watched both ramones and the The Clash who didn't just want to be filmed. And that was quite a pseudo-line-up. However, the concert had its moments.
Michael Steven Eder -- The Clash discovered they were being filmed and interrupted the concert amid either Spanish bombs or Guns of Brixton. They refused to come back until the cameras were off, not even the red stand-by lights were allowed to shine and unfortunately they didn't resume the song they interrupted.
Lars K., Punknews.org (2017): "I was 17 and saw The Clash at Roskilde in '85. It wasn't the classic lineup, and you could tell Strummer was frustrated, but the crowd was wild for 'London Calling.' It felt like a last gasp, but still electric."
@TheBergmark -- YouTube -- I was there and it was great, but of course they were better with mick and topper
Erik Pettersson -- I was at that show in Roskilde Denmark!!!
Mika Lehtinen -- That's what I was thinking when I came across this, that I don't remember a lot of things but the festival of over 36 years was good. then. Somewhere over there I'm jumping too. Oli Clash, Billy Bragg, Ramones, Nina Hagen...
Clash, Ramones, and a Near-Collision After Roskilde
Bozzes bravader: maj 2007 ---- Bozzes Bravader (personal blog, 2007) - A Swedish blogger reminisces about attending Roskilde '85, saying "Så visst var det stort att få se både Clash och Ramones i Roskilde 1985!" (roughly, "it was really great to see both The Clash and Ramones at Roskilde 1985!") bozzesbravader.blogspot.com. He describes how thrilling it was to see those bands and even recalls getting a ride home from members of another band (Strebers) after the show - an eventful trip that ended with the driver dozing off and landing the car in a crash.
White Wine, Finger Paint and The Clash: Borsten at Roskilde
Albin Selin: januari 2014 ---- Albin Selin's Blog (Jan 2014) - Swedish blogger Albin Selin shared old photos and memories from "Borstens" (his friend group) first trip to Roskilde in 1985. One caption humorously reads "Lite vitt vin och The Clash" ("A little white wine and The Clash") albinselin.blogspot.com. His posts describe their antics - painting their car with finger paint, drinking copious apple wine, and clambering onto the car roof - all in the spirit of seeing The Clash live at Roskildealbinselin.blogspot.com albinselin.blogspot.com. These personal snapshots give a fan's-eye view of the festival atmosphere.
Rockborsten Anecdote: Painted Vans and Apple Wine Under the Danish Sun
Rockborsten ---- I got this photo via SMS from Mom, and I assume she fished it up from Facebook. It shows a team photo from Borsten's first trip to Roskilde, in 1985. Why we were sitting on the roof I have no idea, but I remember that Herr Gran was too drunk - it must've been around lunchtime - to get up on the car, and instead lay down on the ground with a solid bottle of apple wine.
As you can see, we painted the car with finger paint because, according to the guy at the shop where we bought it, it would be easy to wash off. That might be true if you don't park the thing right in the blazing sun so the pigment bakes into the paintwork - returning the car to the rental place wasn't exactly fun, if you catch my drift.
One thing I notice is that it says BKB on the door. I thought we formed Borsten in December 1985, but that was the week after Midsummer, so maybe that means the club was born in December 1984, which in turn means we're celebrating 30 years this year. I need to check that properly.
Adding this song by KSMB since we're talking about 1985, and it fits the tempo of that era.
Skrutt Magazine (2021): Urarta’s First Great Gig: Clash, Cure and Ramones at Roskilde
Skrutt Magazine - Urarta Interview (2021) - In an interview on Swedish punk zine Skrutt, members of the band Urarta cite Roskilde 1985 as a formative live music experience. When asked about their first or best concerts, they responded: "Första bästa: Cure, Clash, Ramones, Roskilde 1985"skruttmagazine.se- meaning the first great show they attended was seeing The Cure, The Clash, and Ramones at the 1985 Roskilde Festival. This highlights how legendary that festival weekend was for attendees.
Sveriges Radio (2010): In the Mud with The Clash – Roskilde 1985 Radio Report
The trip to Roskilde 1985 - Radio finds | Sveriges Radio ---- Sveriges Radio - "Resan till Roskilde 1985" - Swedish National Radio produced a program titled "Resan till Roskilde" (The Trip to Roskilde) which included a full report from the 1985 festival. Originally aired in 1985, it was rebroadcast/posted online in 2010 sverigesradio.se. The radio report (by journalists Daniel Atterbom and David Isaksson) was "en rapport från gyttjan" - a report from the mud - and featured on-site interviews and live music from the festival sverigesradio.se. Acts covered include The Cure, Indochine, Style Council, Billy Bragg, Nina Hagen - and notably Joe Strummer and The Clashsverigesradio.se. This contemporaneous piece gives a first-hand journalistic account of the event (the audio was available for a limited time on SR's website sverigesradio.se).
CAPAC Blog (2014): Clash at Roskilde: The End, or a Final Footnote?
CAPAC Music Blog (Denmark, Jan 2014) - A Danish blogger (Capac) highlighted a video of The Clash at Roskilde '85 in context of a Rolling Stone article. Rolling Stone had discussed when The Clash truly "ended" as a band (debating 1983 vs 1985) and pointed to the Roskilde 1985 footage as a noteworthy final chapter capac.dk. The blog notes (in Danish) that "Never mind - men en fin musikalsk fodnote er videoen alligevel…"capac.dk - essentially, "never mind - the video is still a fine musical footnote." This indicates that even in 2014 media considered the Roskilde performance a significant footnote in The Clash's history, and Rolling Stone shared video of "Brand New Cadillac" live at Roskilde 1985 in that context.
Rolling Stone (2014): “The Clash End on a Low Note in 1985” — A Stark Look at Roskilde
Rolling Stone (2014) - Rolling Stone's piece (as referenced above) was titled "The Clash End on a Low Note in 1985"capac.dk and reflected on the band's final era. It used the Roskilde Festival video as illustrative content while discussing the band's dissolution. (The article's content itself is behind a paywall, but its key points are summarized on the CAPAC blog capac.dk.)
YouTube Bootleg: The Clash Live at Roskilde – June 29, 1985
The Clash performing at Roskilde Festival, June 29, 1985. This was one of the band's final major festival appearances with its post-Mick Jones lineup. The stark sky and open-air stage captured in this shot (by Danish photographer Gorm Valentintdk-c90.blogspot.com) reflect the dramatic atmosphere as frontman Joe Strummer and crew delivered their set to a huge crowd. Contemporary reports noted rain and mud at Roskilde that year sverigesradio.se, which is evident in the gritty energy of the photos.
Musikkavisen Puls (2021): Through the Lens at Roskilde ’85 – A Visual Time Capsule
Other photographers also documented the event. For example, Norway's Musikkavisen Puls has shared a set of Roskilde 1985 images in a retrospective piece, including crowd and ambiance photos by Tom Stalsberg puls.no. These black-and-white shots (one entitled "Roskilde-aftensang i 1985", i.e. "Roskilde evening song 1985") show the massive audience and the festival scene.
Puls.no (2021) - Musikkavisen Puls, a Norwegian music magazine, published an archive gallery with photos from Roskilde '84-'85. In the Roskilde 1985 section, multiple images are credited "Roskilde 1985. Foto: Tom Stalsberg"puls.no. While these particular shots focus on the crowd and festival atmosphere (one caption wonders if such festivals will ever be possible again), they set the scene for The Clash's show. The accompanying text also briefly name-drops The Clash, comparing rushing between stages at Roskilde to catch bands in 1985 with later seeing Joe Strummer's band The Mescaleros puls.no. This source provides context and additional visuals of the event's environment.
Yes, there are additional photographs from Roskilde Festival 1985 taken by Norwegian photographer Tom Stalsberg. A selection of these images is featured in his article titled "Ja, men er det der mutter'n a?" published on Musikkavisen Puls. The article includes photos from various festivals, including Roskilde 1985, capturing the festival atmosphere and audience. puls.no+1puls.no+1
In the article, Stalsberg invites readers to contact him for digital copies of the photographs. He states:
"Kanskje du var der? Kanskje du finner du deg sjøl? Kanskje du gjenkjenner noen? Gi lyd, send videre, si i fra. Og, hvis du ønsker bilder, så send mail til ytomstal@gmail.com" puls.no
"Maybe you were there? Maybe you find yourself? Maybe you recognize someone? Give a shout, pass it on, let us know. And, if you want pictures, send an email to ytomstal@gmail.com" puls.no+1puls.no+1
This suggests that more photographs from Roskilde 1985 are available upon request directly from the photographer.
Additionally, other photographs from Roskilde Festival 1985 can be found on Flickr, such as those by user lindgren2005, which showcase the festival's ambiance and attendees. Flickr
Flashback Forum: “I Saw The Clash at Roskilde” – A Punk Memory Lives On
Flashback Forum - On the Swedish forum Flashback, fans have discussed Roskilde 1985 in the context of punk history. One user plainly recalls: "Jag såg The Clash på Roskildefestivalen 1985." ("I saw The Clash at Roskilde Festival 1985.") flashback.org. They go on to mention how that experience shifted their musical taste, leading them to appreciate ska bands like The Specials afterwards flashback.org. This casual post illustrates how vividly the show stayed with those who were there, even decades later, influencing their musical trajectory.
Clash City Forum: Breakdancing, Setlists, and Clash Mythmaking Online
Clash City Forum - Clash fans on forums have often analyzed and reminisced about the 1985 Roskilde gig. In one thread, a member shared the YouTube clip of "The Magnificent Seven" from Roskilde, joking: "Here's the Paul breakdancing fiasco in case anyone missed it…"clashcity.com- referencing bassist Paul Simonon's attempt at breakdancing mid-song, a memorable quirky moment. In another discussion about rare live songs, fans noted that "London's Burning" was played at Roskilde '85 - an unusual inclusion, as that era's setlists rarely featured this early hit clashcity.com. These community conversations not only highlight setlist details and on-stage antics, but also show the legendary status of the Roskilde show among fans. Some users on Setlist.fm have even "checked in" as being there and corroborated the set list order, further preserving the collective memory of the concert.
The Magnificent Blog: Provides an in-depth look at Pete Howard's role in The Clash's later years, including the Roskilde performance.
.... the Roskilde performance still showed flashes of their former brilliance 5
"At the Roskilde Festival on June 29, 1985, Pete Howard delivered one of his strongest performances with The Clash, proving the band still had genuine potential. His drumming on "Armagideon Time," "The Magnificent Seven," and "Rock the Casbah" stood out for its power and originality, offering fresh takes compared to earlier versions. Even on "Broadway", Howard's playing drew favorable comparisons to Stewart Copeland. Despite internal tensions in the band, Howard's precision held everything together, and some songs-like "Bankrobber" and "Clampdown"-were reborn with a new edge. The guitar work by Vince White and Nick Sheppard was also impressively tight, helping bring renewed energy to the set. At Roskilde, the band may have been nearing its end, but for a moment, the music truly came alive."
And here's the predictable miserabalists from London's fleet street!
Dave Simpson, The Guardian (2012): "By 1985, The Clash were a shadow of their former selves, with Strummer and Simonon soldiering on with new recruits after Jones's departure. Their Roskilde set was defiant but lacked the raw power of their punk heyday." https://www.theguardian.com/music/2012/sep/14/the-clash-where-are-they-now
COMMANDO JOE STRUMMER – “Press event of the year” looked more like a commando raid when an enraged Joe Strummer and his new, young Clash punks popped the corks on wine bottles and ranted at everyone and everything during the press conference before the Roskilde Festival. The concert would (probably) turn out to be the band’s last. First, the planned autumn tour was cancelled. Then came the announcement of the split.
Tom Kristensen -- Promo Photo: It was a handout given out to Music journalist a few weeks before the festival. My copy is 5 x 3», not 10x8.
Backstage Joe meets the White Man from Hammersmith Palais
1985 FESTIVALER TAR PÅ Roskilde nærmer seg siste riff 1985. Foto Tom Stalsberg
1985 RUNE AND BENTE Many of us from Eidsvoll Rock and Blues Club made the trip to Kalvøya in 1985 as journalist buddies, Rune Westengen (worked in RB and Nye Takter), and his wife Bente Tærud from the Slade region of Lundgård. Photo Tom Stalsberg
Complete Control
London Calling
Janie Jones
Safe European Home
Hate and War
Garageland
Armagideon Time
The Magnificent Seven
Rock the Casbah
Three Card Trick
Pressure Drop
Police On My Back
What's My Name
Spanish Bombs
Clash City Rockers
London's Burning
Clampdown
Bankrobber
Broadway
Brand New Cadillac
I'm So Bored with the USA
Tommy Gun
I Fought the Law
White Riot
Garageland
There are several sights that provide setlists but most mirror www.blackmarketclash.co.uk. They are worth checking.
Book: Vince White, his Clash biog, The Last Days of the Clash.
Film: 'The Rise and Fall of The Clash'
features archival footage and new interviews to tell the story of the band's final days. The four primary members of the band - Jones, Joe Strummer, Paul Simonen and Topper Headon tell their sides of the story as do Nick Sheppard and Vince White, both of whom replaced Jones, and original drummer Terry Chimes, who returned to replace Headon in 1982.
Return of the Last Gang in Town,
Marcus Gray
Passion is a Fashion,
Pat Gilbert
Redemption Song,
Chris Salewicz
Joe Strummer and the legend of The Clash
Kris Needs
The Clash (official)
by The Clash (Author), Mal Peachey
Brixton Academy 8 March 1984
ST. PAUL, MN - MAY 15
Other 1984 photos
Sacramento Oct 22 1982
Oct 13 1982 Shea
Oct 12 1982 Shea
San Francisco, Jun 22 1982
Hamburg, Germany May 12 1981
San Francisco, Mar 02 1980
Los Angeles, April 27 1980
Notre Dame Hall Jul 06 1979
New York Sep 20 1979
Southall Jul 14 1979
San Francisco, Feb 09 1979
San FranciscoFeb 08 1979
Berkeley, Feb 02 1979
Toronto, Feb 20 1979
RAR Apr 30 1978
Roxy Oct 25 1978
Rainbow May 9 1977
Us May 28 1983
Sep 11, 2013: THE CLASH (REUNION) - Paris France 2 IMAGES
Mar 16, 1984: THE CLASH - Out of Control UK Tour - Academy Brixton London 19 IMAGES
Jul 10, 1982: THE CLASH - Casbah Club UK Tour - Brixton Fair Deal London 16 IMAGES
1982: THE CLASH - Photosession in San Francisco CA USA 2 IMAGES
Jul 25, 1981: JOE STRUMMER - At an event at the Wimpy Bar Piccadilly Circus London 33 IMAGES
Jun 16, 1980: THE CLASH - Hammersmith Palais London 13 IMAGES
Feb 17, 1980: THE CLASH - Lyceum Ballroom London 8 IMAGES
Jul 06, 1979: THE CLASH - Notre Dame Hall London 54 IMAGES
Jan 03, 1979: THE CLASH - Lyceum Ballroom London 19 IMAGES
Dec 1978: THE CLASH - Lyceum Ballroom London 34 IMAGES
Jul 24, 1978: THE CLASH - Music Machine London 48 IMAGES Aug 05, 1977: THE CLASH - Mont-de-Marsan Punk Rock Festival France 33 IMAGES
1977: THE CLASH - London 18 IMAGES
Joe Strummer And there are two Joe Strummer sites, official and unnoffical here
Clash City Collectors - excellent
Facebook Page - for Clash Collectors to share unusual & interesting items like..Vinyl. Badges, Posters, etc anything by the Clash. Search Clash City Collectors & enter search in search box. Place, venue, etc
Clash on Parole- excellent Facebook page - The only page that matters Search Clash on Parole & enter search in the search box. Place, venue, etc
Clash City Snappers Anything to do with The Clash. Photos inspired by lyrics, song titles, music, artwork, members, attitude, rhetoric,haunts,locations etc, of the greatest and coolest rock 'n' roll band ever.Tributes to Joe especially wanted. Pictures of graffitti, murals, music collections, memorabilia all welcome. No limit to postings. Don't wait to be invited, just join and upload. Search Flickr / Clash City Snappers Search Flickr / 'The Clash'
Search Flickr / 'The Clash' ticket
I saw The Clash at Bonds - excellent Facebook page - The Clash played a series of 17 concerts at Bond's Casino in New York City in May and June of 1981 in support of their album Sandinista!. Due to their wide publicity, the concerts became an important moment in the history of the Clash. Search I Saw The Clash at Bonds & enter search in red box. Place, venue, etc
Loving the Clash Facebook page - The only Clash page that is totally dedicated to the last gang in town. Search Loving The Clash & enter search in the search box. Place, venue, etc
Blackmarketclash.co.uk Facebook page - Our very own Facebook page. Search Blackmarketclash.co.uk & enter search in red box. Place, venue, etc
Search all of Twitter Search Enter as below - Twitter All of these words eg Bonds and in this exact phrase, enter 'The Clash'
The Rise and Fall of The Clash
We Are The Clash: Reagan, Thatcher, and the Last Stand of a Band That Mattered
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The Official Clash 
Clash City Snappers
