Amnesty’s Night of Rock ‘n’ Rights : Springsteen, Sting, Gabriel Headline Marathon 7-Hour L.A. Stop on World Tour

“Support Amnesty International . . . and human rights,” Bruce Springsteen told 56,394 cheering fans shortly after 2 a.m. Thursday at the Los Angeles Memorial Coliseum. “It’s in your hands.”

The remarks came at the end of a marathon, seven-hour stop on Amnesty International’s “Human Rights Now!” world tour--and the words summarized the challenge raised by what is perhaps the most ambitious and, in many ways, distinguished rock tour ever assembled.

The artists--particularly Springsteen, Sting, Peter Gabriel and Tracy Chapman--turned in frequently inspiring performances that demonstrated the eloquence and maturity of contemporary rock music. But the question remains: How effective are these giant pop crusades in shaping social consciousness?

Besides their own 30-to-60 minute sets, the singers joined in various, invariably winning pairings that underscored the uniqueness of this unprecedented six-week, five-continent undertaking.

Among the highlights:

--Chapman, the folk-oriented songwriter whose sensitive chronicles of women brutalized by racism and sexism have made her the year’s most celebrated newcomer, dueting with Gabriel on the latter’s “Don’t Give Up,” a moving account of a man whose self-respect has been taken from him through unemployment.

--Gabriel, whose key compositions frequently explore the dehumanizing aspects of nationalism and technology, joining Sting to sing “They Dance Alone,” an eloquent expression of support and sympathy for the loved ones of persons jailed or murdered for their nonviolent political views, particularly in Latin America.

--Sting, whose music increasingly blends social themes with complex, yet accessible musical arrangements, teaming with Springsteen to sing “The River,” a song about compromise and regret.

--U2’s Bono Hewson joining Springsteen and the rest of the show’s principals, including tour regular Youssou D’Nour and guest artist Joan Baez, on stirring versions of Bob Dylan’s “Chimes of Freedom” and Bob Marley’s “Get Up, Stand Up.”

In these exchanges, the artists broke through the formality of the concert format and the vastness of the Coliseum setting on this long and occasionally chilly evening to create--at least on stage--the sense of commitment and community that is the underlying theme of this tour.

The purpose behind the tour--which began Sept. 2 in London and ends Oct. 15 in Buenos Aires--is to draw attention to the 40th anniversary of the Universal Declaration of Human Rights, a statement adopted by the United Nations in 1948 on behalf of individual freedom.

Though the main objective of the Amnesty tour is promote awareness of the Declaration in Asia, Africa and Latin America, Springsteen reminded the audience that human rights violations don’t take place just in foreign lands.

“When you pass a homeless man or woman on the street, (those people’s) human rights have been violated. . . . ,” he said, introducing “My Hometown,” a call for civic responsibility and compassion. “Use your freedom to help others enjoy their freedoms.”

The question at the end of the evening was whether the message was as effective as the music.

There were discouraging signs. Three years after Live Aid was supposed to have ushered in a new age of social consciousness among rock fans, the rows of empty seats at one end of the Coliseum were reminders that the show was approximately 8,600 tickets short of a sellout.

Whatever the reason, it indicated that fans won’t necessarily rush out to support a large benefit concert, even one with as a strong talent lineup as Wednesday’s.

Though most fans questioned in an informal Times

survey (see page 12) indicated support for the Amnesty cause, an annoyingly large number talked through most of the show and the animated film outlining the individual principles in the Universal Declaration of Human Rights.

Rarely, has an audience had issues presented with the eloquence and grace of this tour.

Things began slowly with a brief, but stiff performance by Joan Baez. Senegal’s Youssou D’Nour, who followed, is an affecting singer who added an essential non-British/U.S. ingredient to the tour. But it’s hard to hold a mainstream audience’s interest in a stadium setting when you’re not singing in English.

The remaining moments--expect for the surprisingly long delays between sets--were uniformly involving. Chapman shapes up as an even more promising and appealing singer-songwriter live than she does on her album, and Gabriel may be as captivating a “thinking man’s” performer as rock now has to offer. Sting maintained the sophistication and verve of Gabriel, especially on “They Dance Alone” and “Every Breath You Take” (sharing the lead vocal with Springsteen).

Closing things, Springsteen added a jolt of rock energy--and a special sense of occasion. He opened with hard-hitting commentaries, including the savage “Born in the U.S.A.” (a look at America’s Vietnam involvement). He then turned to songs which especially lend themselves to singing along. With such tunes as “Jungleland,” “Glory Days” and “Born to Run,” he brought the audience together--at least momentarily--in the same sense of cooperation and community that the musicians had shown on stage.

If one believes at all in the power of music and art to affect social change, the moment had to be a moving one. But was the sense of power and unity just an illusion?

As Springsteen noted, there is only so much musicians can do.

John Lennon once said the Beatles’ power grew out of the fact that they were mirroring the currents in society, not because they were introducing those currents. So, the question of the Amnesty tour’s eventual impact rests in how closely it ties into the larger currents of society. That was the one question that was left unanswered as the musicians left the stage. They had done all they could.

The Amnesty tour moves tonight to Oakland for the last of its three U.S. dates.