Feed the World: Birhan Woldu and Live Aid E-Book

Oliver Harvey

• Herausgeber: IMM Lifestyle Books
• Kategorie: Sachliteratur, Reportagen, Biografien
• Sprache: Englisch
• Veröffentlichungsjahr: 2016

Seitenzahl: 306

Beschreibung

Birhan Woldu became one of the most recognized faces and forms of the late 20th century after her skeletal image was broadcast at the end of Live Aid to publicize famine in Africa. Although Live Aid, led by musicians such as Bob Geldof and Bono, raised millions for famine relief, most people thought Birhan was dead - until, that is, she was 'rediscovered' by Canadian journalist Brian Stewart, who helped fund her schooling and helped change her life. Twenty years later, Birhan once again became a symbol of hope for Africa when she appeared on stage at Live 8 with Madonna and Geldof in front of millions. But how did she get to that point? Journalist Oliver Harvey tells Birhan's life story - from the days of famine and war in Ethiopia when her father literally carried Birhan and her sister on his shoulders more than 900 km on an epic journey to life, to Live Aid and the years of struggle between. This is a truly inspirational story of triumph over extreme adversity. The ongoing crisis in East Africa makes this book extremely topical and important. New Holland is donating proceeds from the book to Oxfam's DEC East Africa Crisis Appeal.

Leseprobe

OLIVER HARVEY is Chief Feature Writer at the British newspaper The Sun. He was the joint winner of the Hugh Cudlipp Award in 2005 and was named Reporter of the Year in 2006 at the British Press Awards.

BOB GELDOF is a leading activist. He was a member of the celebrated band The Boomtown Rats. In 1984 he was the driving force behind Band Aid, created to help raise awareness and funds for famine relief in Africa.

Feed the World

Birhan Woldu and Live Aid

Oliver Harvey

Foreword by

Bob Geldof

Published in 2011 by New Holland Publishers (UK) Ltd

London • Cape Town • Sydney • Auckland

www.newhollandpublishers.com

Garfield House, 86–88 Edgware Road, London W2 2EA,

United Kingdom

80 McKenzie Street, Cape Town 8001, South Africa

Unit 1, 66 Gibbes Street, Chatswood, NSW 2067, Australia

218 Lake Road, Northcote, Auckland, New Zealand

10 9 8 7 6 5 4 3 2 1

Text copyright © 2011 Oliver Harvey

Foreword copyright © 2011 Bob Geldof

‘Do They Know It’s Christmas?’ Bob Geldof/Midge Ure; lyrics reproduced by kind permission.

Copyright © 2011 New Holland Publishers (UK) Ltd

Oliver Harvey has asserted his moral right to be identified as the author of this work

Every effort has been made to contact copyright holders. The Publishers apologize for any unintentional errors or omissions and would be pleased to insert the proper credit in any subsequent edition or reprint.

All rights reserved. No part of this publication may be reproduced, stored in any retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publishers and copyright holders.

A catalogue record for this book is available from the British Library

ISBN 978 1 84773 845 5 (print)

ISBN 978 1 78009 139 6 (ePub)

ISBN 978 1 78009 140 2 (Pdf)

Publisher: Aruna Vasudevan Senior Editor: Jolyon Goddard Inside Design: 2m design Cover Design: HelloPaul Production : Melanie Dowland Picture Editor: Susannah Jayes

Typeset in Granjon and Trajan

Reproduction by Pica Digital Pte. Ltd., Singapore Printed and bound in India by Replika Press

CONTENTS

Foreword by Bob Geldof

Author Preface

Prologue

INTO THE DARKNESS

Garden of Eden

The Land and the Sky Collide

The Closest Thing to Hell on Earth

A WORLD AWARE

In the Long Grass

15 Minutes to Live

Do They Know It’s Christmas?

THE LONG WALK HOME

Exodus

And the Lesson Today Is How To Die…

Life After Death

An Inspiration to Millions

Out of the Darkness, Into the Light

Epilogue

Map

Glossary

FOREWORD

by

BOB GELDOF

BIRHAN IS A WONDER. She is a beautiful, clever young woman from the Northern Highlands of Ethiopia. She had originally featured as a dying infant in extreme agony in the now-famous Canadian Broadcasting Corporation (CBC) footage, which David Bowie introduced, that stopped the world cold at the Live Aid concerts of 1985. Twenty years later the world watched again as Birhan appeared as a stunning, dignified, resolute, intelligent, productive, dynamic human being alongside Madonna at the Live 8 concerts of 2005. Now she was the living proof that each life is sacred and that each individual lost is a loss to all.

Birhan’s story and that of her family beggars belief. Not just that she was able to go from a subsistence life pretty much unchanged from pre-medieval times to become a glowing paradigm of an independent, college-educated, glamorous 21stcentury woman in just 20 years. But also that she could go from an agonized, shrieking, shrunk, dying, little scrap of humanity cradled sorrowfully in her father’s gentle arms to a glowing, ever smiling, serene woman of our time almost seems impossible.

Who was the greater star that day? Madonna or Birhan? For the world it was clear. Here was OUR miracle. Here was the living proof that it is not futile to help. That aid most certainly works. With one smile Birhan defeated the cynics and made us understand that all of that effort had been worth it. Indeed, now, when people say to me: ‘Why do you do it?’, it is easy to just point at this girl and say, ‘Because of that!’

And I tell you this: if, after all the years of work and effort and sleeplessness and travel and meetings and triumphs and mistakes; if, after all of the money and politics and shouting and arguing – if, after all of that, it had all only resulted in the single life of this woman, then just for that one life, just for that single human being, it would have been worth it.

Birhan survived because of Brian Stewart, a wonderful reporter for the CBC, who made the original film we showed that day at Live Aid in 1985. He made sure she was cared for and supported throughout her life. Oliver Harvey then brought her to the attention of the world again. All you can say is ‘Thank God’ – for her and for both of those men.

This is Birhan’s extraordinary story told with profound respect and clear emotion by a man who has obviously imbibed her culture and come to love and respect it. Oliver fills his narrative with erudition and explanation. He has come to love Ethiopia – the most beautiful of lands – as does anyone who goes there.

When I first met Oliver I thought he was the most unlikely of candidates to ever ‘get’ what was going on. It crossed my mind that his parents had to have had a vivid sense of humour when they named him, more or less, after one of the greatest funny men of all time. Was this ‘another fine mess’ he was going to get me into?

Oliver was the very model of the model of the British journalist. Straight out of Evelyn Waugh. Crumpled, sweaty, dressed in an off-white linen suit and inappropriately heavy brogues. Weedy rather than skinny, blinking constantly behind thick glasses, thinning hair sweat-plastered to a damp skull and hesitantly asking frankly silly ‘human-angle’ tabloid questions. I saw him again a week later. Same clothes. Same sweat. Same discomfort. Different questions – this time penetrating, clever, full of understanding, curious. He was a journalist. He was hooked. Africa had got him.

It was Michael Buerk, though, who made the agony of the Great African Famines a televisual reality for us in the 1980s. Paul Vallely, now Associate Editor of the UK’s Independent newspaper, gave us the insights and realities of the hunger through his broadsheet journalism. Oliver just helped make the individual tragedies a clearly understood reality for millions of Britons through his great tabloid reporting.

Like thousands of others who engaged with this ‘story’ Oliver got hooked. He realized that he could use his talents and job to achieve something greater than the momentary satisfaction of a ‘good story’. He could actually help to change things. He did so by making the vast readership of The Sun newspaper understand and identify with the immeasurably brave souls and their torture in the parched lands of Ethiopia. As a result, no politician could safely ignore this concern.

To its undying credit and pride, Britain, despite its often difficult economic circumstances, has pledged itself – through several governments of all political hues – to maintain its promises to the poor. In this it is wholly supported by the majority of the public and the media. It is now among the world leaders in the area of development and assistance to developing countries – with all the attendant and immense benefits of ‘soft power’ that come with the strength of doing what you say and of holding to your political convictions.

Over the years I’ve seen Oliver bed down wherever there was space. Mud floors, wooden benches, low-powered mosquito-humming hot rooms, wherever. He never stands aloof. He literally seems quite at home amongst the most fantastical of peoples and actively participates in whatever is going on with them like he’s having the absolute best time of his life. He is never patronizing. Rather he’s laughing, chatting, accepting and being accepted and loving it.

He’s a hard nut and I have a deep respect for him as a man and as a reporter. One never hears the expression ‘Fleet Street’s finest’ any more. It has become an oxymoron. But in the unlikely circumstance that the dignity and pride of the British press is ever restored, it will be quite right to say of one O. Harvey that he is, indeed, one of Fleet Street’s finest.

In this book Oliver tells the tale of his greatest story – the life of Birhan Woldu. The story of the life of a dying child, whose image so appalled the world that it could not stand by and let it pass without action. And the world has been repaid times over for its compassion. In Birhan, this glorious human being, the world has the perfect exemplar of what it is to be human and alive.

AUTHOR PREFACE

IT’S A MERE SEVEN-and-three-quarter-hour night flight from London to Ethiopia over the bumpy heat thermals of the Sahara. You land in a nation literally out of time. Setting off from a cloudy Heathrow in 2011 you touch down in capital Addis Ababa’s gleaming and impressive Bole airport in 2004. Ethiopia has never switched from the Julian calendar like Europe did in 1582 and so is permanently seven years and eight months behind. You might even have landed in Ethiopia’s extra month. It gives rise to the tourist board’s boast of ‘13 months of sunshine’. The clock on the wall is confusing too. There is a 12-hour day, beginning at dawn and ending at sunset.

Ethiopia is a land apart. Tourists expecting a country of barren desert are confronted by soaring peaks, lush river valleys and reed-fringed lakes. It has been called the ‘Cradle of Humanity’, where modern humans first evolved. It is the world’s second oldest Christian country and was never properly colonized in the Scramble for Africa. It has an ancient written language Ge’ez; there are medieval stone castles in Gonder and rock-hewn churches in the holy city of Lalibela, often described as the ‘eighth wonder of the world’. The fiercely proud and profoundly religious people can look as Arabian as African.

A further hour-and-half flight from Addis brings you to Mekele in Ethiopia’s mountainous north – this is the home town of Birhan Woldu. Mekele, capital of Tigray Province, is now a thriving city of over 200,000. Visible on the horizon are giant white wind turbines, which are being constructed above fields tilled by oxen-dragged wooden ploughs, a method unchanged since the Iron Age. Cement and tile factories line the Chinese-built highway. Camel trains, laden with salt blocks cut in the distant Danakil Depression, plod towards the city’s market past expensive villas with satellite dishes bolted to their walls for their expat owners to catch the latest game while on vacation from London, Toronto and Seattle. In 1984 the tinder-dry plains around the city were the epicentre of the 20th century’s worst humanitarian disaster. A ‘biblical famine’ in which an estimated one million people died. It could have been far more – nobody really knows for sure. Like thousands of others, Birhan and her family came here seeking salvation when their crops shrivelled in the sun and their grain stores emptied.

I have a dear friend, Anthony Mitchell, to thank both for introducing me to this amazing land and for helping me find the path to Birhan and her family. A former foot-in-the-door hack at Britain’s Daily Express newspaper, Anthony had moved to Addis to be with his future wife, Catherine Fitzgibbon, who worked for Irish charity Goal and later Save the Children. In 2001 Anthony and I enjoyed a Boy’s Own adventure, trekking and camping in the breathtakingly beautiful Simien Mountains. We hired a cook, a guide and a AK-47-toting guard while our mules were laden with wine and whisky, blankets and fresh food. Passing through the upland villages, it was the warmth, easiness and the sheer joy of living shown by the Ethiopian people that stayed with me.

When I returned to Ethiopia in 2002, to write development features for my newspaper The Sun, the UK’s biggest-selling paper, Anthony was on hand with his by now expert knowledge of the region. In the parched Awash district in central Ethiopia I witnessed for the first time the horrific sight of proud but malnourished families queuing at feeding centres. Ethiopia still couldn’t feed itself nearly 20 years after the famous Live Aid concert.

In the following year Anthony and I were both part of a press pack shadowing Bob Geldof as he criss-crossed the country. Anthony would later be forced out of Ethiopia after the government accused him of ‘hostile’ reporting. He would never leave his beloved Africa, however. Anthony was one of 114 people killed when Kenyan Airways flight KQ507 plunged into a mangrove swamp in Cameroon on May 5, 2007.

In September 2004 though, I had rang Anthony to ask him to help me set up an interview with Birhan Woldu who had been seen close to death in the famous film of starving children screened at Live Aid. The idea was to provide a real human story as part of a series on the 20th anniversary of Ethiopia’s famine that I was writing for The Sun. To move away from dry development facts and convoluted aid arguments and show what one life saved really meant. Then it mushroomed into something incredible and unforeseen. Birhan’s story simply resonated so strongly.

First there had been an emotion-charged meeting arranged by my paper with then British Prime Minister Tony Blair and Bob Geldof who were both in Addis Ababa for a Commission for Africa (CFA) summit. Then The Sun’s Editor, Dominic Mohan, had come up with the idea of re-recording the Band Aid single ‘Do They Know It’s Christmas?’ two decades after its original release. When I suggested it to Geldof, he batted straight back: ‘Only if you fucking organize it.’

The Sun subsequently flew Birhan to London for the recording in November 2004. Former Beatle Sir Paul McCartney, U2’s Bono and Coldplay’s Chris Martin either sang or played. Birhan’s retelling of her heart-rending story as the symbol of Live Aid helped push the song to Number One in the British charts and raised £3 million for Africa. It was also a factor in pushing Geldof and others to organize the ‘Greatest Show on Earth’, the Live 8 concerts in 2005.

I was with Birhan and her friend and mentor Bisrat throughout the Band Aid re-recording and Live 8. They both became good friends. Birhan was born in a mud-walled hut into a subsistence-farming world that had changed little in millennia. The glitzy pop world was naturally an acute culture shock to her. With all the pride and dignity of her people, she remained wonderfully unaffected by all the razzmatazz. Slowly Birhan’s confidence grew. Over time she began to confide the horrors of her early life and the joys that would later come. Our families met and became friends. In 2007 I took my mother, Sue, on holiday to Tigray to meet Birhan’s family. My late mum, who owned a smallholding in Devon, spent hours discussing the finer points of cattle rearing with Woldu. In December 2009, Birhan asked me if I would write her life story for The Sun. When I suggested it would be better served as a book, she readily agreed. All author’s profits will be split equally between Birhan and the charity that supported her, the African Children’s Educational Trust (A-CET).

During the long hours of interviews and research in Ethiopia for this book, Birhan and her father Woldu have been incredibly generous with their time and hospitality. Both discussed family bereavements and harrowing events that they had sometimes not spoken about since the days of the famine. They always remained cheery and unfailing hosts. There was an endless stream of the world’s best coffee and Woldu always made sure he sent me home with a huge pot of wonderful Tigrayan honey. I was also privileged enough to spend an Ethiopian Christmas Day at the family home. Birhan’s stepmother, Letebirhan, and sisters, Lemlem and Silas, were also extremely patient and helpful when interviewed. Birhan’s fiancé, Birhanu, was equally welcoming. They remain an amazingly close, extended African family, all completely unchanged by the global attention Birhan has received.

I found out much of the family’s latter good fortune was down to the distinguished Canadian journalist Brian Stewart. His crew from the Canadian Broadcasting Corporation (CBC) had originally filmed Birhan when she was close to death. Brian was a reporter who didn’t forget the horrors he witnessed when he reached the comforts of home. He later returned to Ethiopia and made sure Birhan and her siblings had schooling and the family a decent home. Brian’s flurry of transatlantic emails for this book were astonishing in their detail and candour. Birhan’s story is thus Brian’s too. The family say they owe him everything and a large photograph of Brian has pride of place on Woldu’s eucalyptus-wood chest of drawers. Brian’s former CBC colleague Colin Dean, with him in Ethiopia in 1984, and CBC News Senior Political Correspondent Terry Milewski also provided valuable insight.

The day after I first interviewed Birhan in October 2004, I discovered through both Anthony and expat gossip in Addis that Bob Geldof was travelling in a remote part of western Ethiopia. Thumbing through the Lonely Planet guidebook I found the most likely hotel he would be staying in. The receptionist confirmed that they did indeed have a Mr Geldof staying there who was having a shower after a long day on the road. ‘How the fuck did you find me?’ was Geldof’s startled response when I got hold of him. I waited for him to use another expletive-ridden expression when asked for an interview. Instead, he proceeded to rattle through the Band Aid story, providing reams of headline-grabbing quotes, while barely drawing breath.

When Geldof and Birhan met for the first time just days later it was a special moment for both of them. Live Aid bound them together. Birhan’s vitality and promise encapsulated everything that he had been banging his fist about for 20 years. And Africa keeps calling him back. Travelling in his adored Ethiopia, he is a force to be reckoned with – sometimes tearful at what he witnesses, at other times seething with rage at his inability to get things done quicker. He’s never, ever sanctimonious and his knowledge of the aid business is now extraordinary. It has to be. The media is waiting, licking its lips, for him to slip up. Yet, I believe his mass-mobilization of public support for Africa will see him come to be recognized as one of the most significant public figures of the late 20th century.

Geldof called Birhan the ‘Daughter of Live Aid’ and Birhan loves him, she says, as another father. His wonderful foreword to this book is greatly appreciated.

Snappy-dressing, 30-something famine survivor Bisrat Mesfin and grey-haired former British Army officer David Stables are an unlikely double act, but together they run A-CET, a small charity that provides education for vulnerable Ethiopian children. The results are astonishing: graduates include a doctor, a human rights lawyer, a systems analyst and a human biologist. One A-CET pupil, Sammy Assefa, made it to Britain’s Sangar Institute in Cambridge to carry out vital PhD research into mosquitoes to combat the scourge of malaria. Both Bisrat and David have been astonishing in their support since 2004. Bisrat was at Birhan’s side throughout her journey, which culminated in Live 8. He provided the translation during interviews from Ethiopian languages Tigrinya and Amharic for this book. Although Birhan’s English is now reasonable, for many of our conversations she found it easier to speak in her native Tigrinya.

There is no literal translation from the Tigrinya and Amharic script to English. ‘Mekele’ can be spelt ‘Mek’ele’, ‘Makele’, ‘Makale’, ‘Mekelle’, and so on. I have tried in this book to use the most commonly used form or, for names, the spelling Birhan’s own family prefers. Dates and times have been converted into their Western forms.

My Editors at The Sun, Rebekah Brooks, now Chief Executive of the paper’s parent company News International, and Dominic Mohan, have been incredibly supportive. They have consistently commissioned me to write development features from Somalia to Sierra Leone and many nations in between.

The Sun’s legendary Royal Photographer Arthur Edwards accompanied me to Ethiopia when I first met Birhan and was a constant source of shrewd journalistic advice and ready wit. He also provided some wonderful pictures for the book as did his son Paul, also a Sun photographer. My brother, Giles Harvey, also helped with processing pictures and my partner, Karen Lee, spent many hours transcribing interviews. I’d also like to thanks Sun colleague Sharon Hendry for introducing me to New Holland and my publisher Aruna Vasudevan for her insight and patience as deadlines loomed.

Birhan is desperately proud of her homeland and its unique culture. She wishes Ethiopia was known in the West for more than just famine. Today, she works tirelessly to end poverty and suffering in Ethiopia. Her mother, Alemetsehay, and sister, Azmera, died in the famines of the 1980s. Birhan would like to make sure they, and the countless others who perished in those dark days, are never forgotten.

–Oliver Harvey, Castle Hotel, Mekele, May 2011

PROLOGUE

BIRHAN WOLDU STARED with wonder at the teeming mass of humanity stretching as far as her eyes could see. From her position high in the wings of the huge Live 8 stage the people seemed all jumbled together on the cropped grass of Hyde Park. Just their little heads and raised, spindly limbs were showing. It made her think of the writhing nests of termites she had seen back home in Ethiopia. There was just enough breeze for flags to flutter in the muggy heat of a London summer’s day – St George Crosses, Welsh dragons, a Red Hand of Ulster, several in the colours of the rainbow. Banners read: ‘Wow Bob, it’s huge’, ‘Hello World’ and ‘Live 8 before it’s too late’. The words of the celebrated Indian human rights activist Mahatma Gandhi flashed up on giant video screens. ‘First they ignore you, then they laugh at you, then they fight you, then you win.’ Outside the park, London’s streets were largely empty. Most people were at home watching the ‘Greatest Show on Earth’ on TV. It was the topic of conversation in every pub and every taxi driver had his or her view.

Birhan surveyed the crowd with all the noble and proud bearing of her people who came from the mountains of Tigray Province. Her hair was styled in the traditional way. Plaited into neat cornrows on her crown, it flared out, luxuriantly bouncing on her shoulders. She wore a simple white tunic embroidered with small, light blue Christian crosses. Wrapped around the 24-year-old’s shoulders was a bright white shamma linen shawl stitched here and there with red, blue and green diamonds. Her brown eyes sparkled with life; her clear skin was the rich colour of Ethiopian coffee. Like many from her region, she had a little scar etched on her forehead in the shape of a crucifix. She stood now, like an Ethiopian princess, on a 2 metre- (6.56 feet) wide platform by the side of the huge stage. Bundles of cables ran everywhere like creeping vines. Stacks of guitars stood on castors and a huge silver drum kit was being assembled by frantic roadies.

Just 48 hours earlier, Birhan had been in her family’s stonewalled, corrugated iron-roofed cottage in the remote Ethiopian Highlands. Their cow was tethered to an olive tree outside and bantam chickens pecked the tinder-dry dark brown soil. When Birhan was younger she had slept on stiff ox skins in a dung-walled hut with a thatched roof in a lonely mountain valley. Alone with her goats on the high alpine meadows for the daylight hours, the crust of bread she brought from home often would not be enough to stave off hunger. She would lie down beneath the nanny goats’ back legs and suckle warm milk straight from their teats.

London was a different world. The roaring traffic never seemed to stop and the red buses of the British capital were huge. Amazing food, more than Birhan could ever have imagined, piled high in front of her. After trying hamburgers for the first time, she had now eaten two in as many days. Then there were the people, rushing, always rushing. Why didn’t they say ‘hello’ when they passed each other in the street? It would be rude to walk past people in Tigray without greeting them first. She was glad to have her friend from home, Bisrat Mesfin, with her at this huge concert. She knew that her English wasn’t always good and Bisrat was much more confident when dealing with the farenjis (foreigners). His girlfriend, Rahel Haile Selassie, had also come along to keep them company.

All afternoon the wide-eyed Ethiopians had watched the parade of rock stars trooping past in their lovely clothes. Bisrat had pointed out an older farenji called ‘Paul’ whom he said had once been in a band called The Beatles. Birhan had never heard of him nor of his group. Earlier Paul (Sir Paul McCartney) had played The Beatles’ iconic song ‘Sergeant Pepper’s Lonely Heart’s Club Band’ along with rock band U2. ‘It was twenty years ago today…’, they sang, setting the right note for the day. As Paul squeezed past the throng of supermodels and film stars, U2 released a cloud of 200 white doves which soared high over the crowd as the band roared into its hit ‘Beautiful Day’.

Singer Bono then paused, saying: ‘This is our time. This is our chance to stand up for what’s right. We’re not looking for charity, we’re looking for justice. We can’t fix every problem, but the ones we can fix, we must.’

The crowd seemed so happy; everyone was dancing. Birhan was led to a green Portakabin where a pretty woman with dyed red hair put blusher and eyeshadow on her face. It was the first time she had ever worn make-up and she liked the way it looked so much that she thought she must remember to take some back to Ethiopia with her.

She didn’t know much pop music, preferring the traditional Arabian-tinged music of her homeland. Madonna was the only name on the bill that Birhan recognized before arriving in Britain. Birhan was awestruck.

Now, in a pale linen Nehru suit, his straggly hair tucked under a baggy black cap, musician Bob Geldof came up and hugged Birhan tight, before saying: ‘Ok, darling, this is it. You’ll be fine.’ Standing in the stage wings, Geldof, his dark brown eyes aflame with emotion, seemed tense. Birhan smiled. She appeared as serene and calm as ever. Geldof swallowed hard.

To a deafening roar from the 205,000 crowd, Geldof strode to the centre of the vast Live 8 stage. The Father of both Band Aid and of Live Aid 20 years earlier had, it seemed, done the unthinkable again. It was July 2, 2005, and he had managed to focus the world’s attention once again on the plight of Africa by amassing almost every leading musician who had picked up a guitar in the last 40 years. There stood Sir Paul, a re-formed Pink Floyd, The Who, U2, Sir Elton John, Madonna, Coldplay, Mariah Carey, Sting and George Michael. In 1985 the concerts had been held in London’s Wembley Stadium and Philadelphia’s John F. Kennedy Stadium. Today there were other Live 8s taking place in Toronto, Tokyo, Johannesburg, Paris, Rome, Berlin and Moscow, and once again, in Philadelphia. Then, with an estimated three billion eyes on him from every corner of the globe – and the G8 leaders of the world’s richest and most powerful nations about to meet on British soil – Geldof stopped the music. He had something to say.

‘Some of you were here 20 years ago. Some of you were not even born. I want to show you why we started this long, long walk to justice. It began … because many of us around the world watching here now saw something happening that was so grotesque in this world of plenty. We felt physically sick that anyone should die of want and decided we were going to change that. I want to show you, just in case you forgot, why we did this. Just watch this film.’

With a wave of his hand Geldof motioned to the massive video screen behind him. US band The Cars’ haunting track ‘Drive’, with its melancholy keyboard refrain, echoed through the massive PA system. ‘Who’s gonna tell you when it’s too late, who’s gonna tell you things aren’t so great…’ A stark film of Ethiopia’s almost-biblical famine, when an estimated one million Tigrayan farmers perished of starvation, began to play. It was the same footage shot by a CBC news crew that had been shown at the original Live Aid concert two decades before.

An emaciated little boy, his legs mere bone and twitching sinew, kept trying to get to his feet in the early morning Tigray mist. Again and again. Then he slumped down, defeated. There was no strength left in his hunger-wracked body. Another skeletal boy stared blankly at the camera before burying his face in his bony hands. More and more children followed in a ghastly parade of the dead and dying. Then for a few moments the camera lingered on the tortured face of a little girl. Her desperate father had carried her to a clinic as she fought for life, but a nurse had told him it was hopeless. She gave the child just 15 minutes to live. The little girl’s sunken brown eyes were lifeless behind half-closed lids. Her sallow parchment skin pulled taut against protruding cheekbones. Her swollen lips parted as she apparently took her last breath. Then the film stopped – the child’s ghostly face in 10 metre- (32.8 feet) high freeze-frame above the now silent thousands.

At Live Aid on July 13, 1985, the same video had stopped the world. Twenty years later it had the same effect. TV cameras panning along the ranks of pop fans in their white ‘Make Poverty History’ wristbands picked up the unrestrained grief. Tears flowed and arms were flung around strangers. Now Geldof, his voice croaky with emotion, motioned up at the Ethiopian child’s agonized face and spoke again.

‘See this little girl – she had minutes to live 20 years ago. And because we did a concert in this city and Philadelphia, last week she did her agricultural exams at the school she goes to in the northern Ethiopian Highlands. She’s here tonight this little girl. Birhan. Don’t let them tell us that this doesn’t work.’

Suddenly there she was on the Live 8 stage. She was alive.

Birhan, with Bisrat in her wake, walked over to Geldof and kissed him on the lips. Dignified and radiating an inner calm, the young woman’s jubilant smile flashed around the globe by TV satellite in an instant. The thousands watching in Hyde Park were stunned into disbelieving silence. More tears were now wiped away. It seemed inconceivable that any of those children in that film, their bodies so grotesquely malformed by hunger, could have survived. The little girl who had come back from the dead took the microphone as billions watched on television on every continent and in every corner of Earth.

Slowly, in the rich tones of her native Tigrinya language, she said: ‘Hello from Africa. We Africans love you very much. It’s a great honour to be here and stand on the Live 8 stage. We love you very much. Thank you.’ Bisrat translated her words into English as the crowd roared its approval.

They were a few simple words but enough to grab the world’s attention. Her mere presence said more than a multitude of slogans and worthy speeches ever could. Birhan was living proof that aid worked. That the millions who had bought Band Aid’s ‘Do They Know It’s Christmas?’ charity record and who had thrown loose change into rattled tins and buckets hadn’t done so in vain. Countless Birhans had been saved thanks to Live Aid and numerous other aid initiatives. This beautiful, intelligent woman was now brimming with potential, her dream to become a nurse, like those who gently cradled her as she lay close to death during Ethiopia’s Great Famine of 1984.

From the giant Hyde Park PA system Geldof’s voice boomed out once again: ‘Don’t let them tell you this stuff doesn’t work. It works – you work – very well indeed.’

As he uttered the words ‘from one immensely strong woman to another’, Madonna bounded on stage. In a crisp figure-hugging white waistcoat and flowing white trousers, she sashayed over to Birhan and kissed her gently on the lips. The Queen of Pop, a diamond-encrusted ‘M’ dangling from her neck, was visibly overcome with emotion. Pausing momentarily to compose herself, her alabaster-white hand clasped Birhan’s sinuous brown arm and raised it skywards. With that gesture the two women acknowledged the triumph of human spirit, the uniting of the First World and the Third.

Madonna carried on clutching Birhan’s hand as she launched into her hit ‘Like a Prayer’.

‘Are you ready, London, to start a revolution? To change history?’ Madonna demanded.

Bisrat, proudly wearing the T-shirt emblazoned with the name of the African Children’s Educational Trust (A-CET) charity that he helps run, danced along, all the time feeling like this was a dream.

As Madonna started her second song, ‘Ray of Light’, Birhan and Bisrat walked back to where I was waiting for them in the stage wings; their elation shone brightly in their faces. Birhan was transfixed as she watched Madonna sing: ‘Faster than the speeding light she’s flying, trying to remember where it all began…’ Bisrat explained that this was a perfect song for his friend. Birhan meant ‘light’ in their language.

My newspaper, The Sun, had flown Birhan almost 6,000 km (3,700 miles) from Ethiopia for the concert. It had been a roller coaster 10 months since she and I had first met. What had started as an interview with Birhan at her Tigray home as part of a series on the 20th anniversary of Ethiopia’s famine had mushroomed into something incredible.

There had been the emotional meeting with then British Prime Minister Tony Blair and Geldof in the Ethiopian capital Addis Ababa. This in turn led to the re-recording of the Band Aid single ‘Do They Know It’s Christmas?’ The impetus from the song was a factor in pushing an initially unenthusiastic Geldof to get behind a concert on the anniversary of Live Aid. Since then Birhan, Bisrat and I had become good friends.

As they emerged from the glare of billions, the relief was huge. We hugged in disbelief, our eyes prickling as the tears welled. When Birhan had enthusiastically agreed to appear at the concert she couldn’t possibly have imagined the scale of the occasion. She said she wanted to do it because she knew what it was like to be starving hungry and didn’t want other African children to suffer like she had done. Her composure and grace had been astonishing and humbling. Despite outward appearances, she admitted her heart had been fluttering as she waited backstage with all the pop stars. The devout Ethiopian Orthodox Christian had put herself in the hands of the Lord as she had throughout her tumultuous life. With the eyes of the world on her, she had found strength.

‘I thought of the years of suffering my family and my country had endured,’ Birhan explained. ‘I wanted to show the world we Ethiopians are a proud and strong people. I wanted my father, Woldu, to be proud after all the sacrifices he had made for me.’ Birhan explained that Woldu had always told her that God had spared them from the famine for a reason. ‘I think today was the reason,’ she said solemnly. An elated Geldof, hugging his partner, the French actress Jeanne Marine, added: ‘Birhan’s story is what this whole thing is about.’