The wild story of how one man played both Live Aid concerts β across two continents β in just one day
It was July 13th, 1985 β a date forever etched in rock history. Live Aid wasnβt just a concert. It was a global juggernaut. A planet-sized charity gig broadcast to 1.9 billion people across the globe, all in aid of famine relief in Ethiopia. Two stages. One in Wembley Stadium, London and the other at JFK Stadium, Philadelphia.
And in the middle of it all?
PHIL BLOODY COLLINS.
Singer. Drummer. Time-traveller. Legend. ππ₯
π¬π§ PART ONE: WEMBLEY STADIUM β LONDONβS LIVE AID KICKS OFF
The UK half of Live Aid was a smorgasbord of legendary performances. Queen stole the show (obviously), but Collins wasnβt far behind. He was everywhere β piano, vocals, duets, and even joking with the crowd in that cheeky Cockney twang.
Philβs solo set at Wembley:
- πΉ βAgainst All Odds (Take a Look at Me Now)β β just him and the keys
- π«οΈ βIn the Air Tonightβ β no drums, just that chilling vibe
Then came his duet with Sting, freshly solo from The Police:
- πΆ βEvery Breath You Takeβ (yes, that one)
- πΆ βLong, Long Way to Goβ (Collins’ own solo ballad)
- πΆ βDriven to Tearsβ β Sting took the mic, Collins on drums
He played it cool. But what we didnβt realise wasβ¦
He had somewhere else to be. πβοΈ
βοΈ THE CONCORDE ESCAPE PLAN β WEMBLEY TO JFK IN 3 HOURS
As soon as Collins left the Wembley stage, he made a run for it like a man late for work. But he wasnβt just off to the pub β he was off to catch the Concorde, the fastest commercial plane ever built.
The mission?
Play BOTH Live Aid gigs β London and Philadelphia β on the same day. No one else even attempted it.
π« Route:
- Wembley to Heathrow (by car, full police escort)
- Heathrow to JFK (on Concorde, approx. 3 hours flight time at Mach 2.04)
- JFK Airport to the stadium (by helicopter π)
Phil Collins, ladies and gents: drummer, singer, and now supersonic superhero.
Legend says he sat on the plane, watched a playback of his Wembley set, and cracked jokes with the crew. He was so relaxed, you’d think this was his regular commute. π
πΊπΈ PART TWO: JFK STADIUM β ROCKING AMERICA IN THE EVENING
As the sun set on Philadelphia, Phil Collins landed, legged it through security, and took the stage again β this time with a lot more sweat and jet lag.
Philβs JFK performances:
- π₯ βIn the Air Tonightβ (AGAIN β now with drums)
- πΈ With Eric Clapton on:
- βLaylaβ
- βWhite Roomβ
- βShe’s Waitingβ
- π€ Joined Led Zeppelinβs reunion as one of two drummers (more on that in a mo…)
Thatβs right. Eric Clapton and Led Zep β in the same day.
No other artist pulled double duty like this. He was the only performer to play at both venues. Proper rock nβ roll unicorn energy π¦.
πͺ LED ZEPPELINβ¦ AND THE INFAMOUS TRAINWRECK
Ah, the Led Zeppelin bit. If Collinsβ day had a misstep, this was it.
Zep hadnβt played together since John Bonhamβs death in 1980. For Live Aid, they reunited with Phil Collins and Tony Thompson (from Chic) both drumming.
π¨ Here’s the problem:
There was no rehearsal.
Not even a soundcheck. Collins arrived in Philly just before the set β barely had time to breathe, let alone lock into Pageβs rhythms.
Collins later admitted:
βIt was a disaster… I felt uncomfortable. But I didnβt want to pull out.β
β Phil, in a BBC interview
Zeppelin themselves later disowned the performance and refused to have it included on official Live Aid releases. But fair play to Phil β he showed up, tried to keep it together, and played his heart out.
π° WHY DID HE DO IT?
Phil Collins wasnβt chasing clout. He wasnβt trying to make history. He was doing what he could to help raise money for famine relief in Ethiopia.
He later said:
βI was just trying to help out. It wasnβt supposed to be a circus.β
But a circus it was, and he was the ringmaster with a pair of drumsticks. π₯πͺ
πΊ LIVE AID IN NUMBERS
- π 1.9 BILLION people watched across 150 countries
- π· Β£150+ million raised for famine relief
- π§³ Phil travelled approx. 3,500 miles in a day
- βοΈ Concorde speed: Mach 2.04 (1,350 mph)
- π Total time between gigs: about 8 hours from stage to stage
π THE LEGACY
Phil Collinsβ Live Aid stunt is one of the most rock and roll things ever pulled off:
- Itβs up there with Ozzy biting bats π¦
- It’s as mad as Keith Moon driving Rolls Royces into swimming pools πββοΈ
- Itβs more logistically complex than Toolβs time signatures π
And guess what? He made it look easy. Like it was just another Tuesday. Tidy.
FINAL VERDICT:
Was it a good idea? Maybe not.
Was it iconic? ABSOLUTELY.
Would we do it if someone handed us a Concorde ticket and a snare? HELL YES, MUN.
π£ Want more mad musical moments like this? Keep it locked to The Riff Report, where rock history meets rock absurdity β always loud, always fast, always flying slightly too close to the sun π₯π€
Michael is the founder, editor, and chief riff wrangler behind The Riff Report, an independent Welsh rock and metal publication built by fans, for fans. With a lifelong passion for loud guitars, unforgettable live shows, and the incredible community that surrounds rock and metal, he created The Riff Report to celebrate everything that makes the scene specialβfrom legendary headline acts and grassroots venues to rising bands that deserve to be heard.
A familiar face at festivals across the UK, Michael spends much of the year covering events including Download Festival, Bloodstock Open Air, Steelhouse Festival, Firevolt, Plumpton Revival, and many more. Whether heβs battling the Welsh weather on a mountainside, surviving a weekend in a muddy campsite, or squeezed against the front barrier with thousands of fellow fans, heβs always searching for the next great story to share.
As editor of The Riff Report, Michael writes festival guides, breaking news, album reviews, gig reviews, interviews, opinion pieces, nostalgia features, and behind-the-scenes stories from across the rock and metal world. His writing combines honest opinions, humour, and a genuine love for live music, bringing readers closer to the bands, festivals, venues, and people that keep the scene alive.
Michael is particularly passionate about supporting independent artists, local venues, charities, and the wider UK rock and metal community. He believes every band deserves a chance to be discovered and every festival has a story worth telling. Through The Riff Report, he aims to shine a spotlight on both the biggest names in rock and the future stars waiting to break through.
When heβs not writing or interviewing artists, youβll probably find him exploring festival campsites, photographing live shows, chatting with fellow fans over a pint, or planning the next road trip in search of more riffs, bigger crowds, and unforgettable moments.
Above all, Michael believes rock and metal are about more than musicβtheyβre about community, friendship, and creating memories that last a lifetime. Thatβs exactly what The Riff Report exists to celebrate.
Proudly Welsh. Proudly Loud. Always chasing the next great riff. π€
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