In a recent media exchange that has sparked controversy within the music community, Dave Davies of The Kinks has strongly defended the band’s iconic track “Lola” against criticism from fellow musician Moby. The dispute emerged after Moby referred to the lyrics of “Lola” as “gross” and “transphobic” during an interview with The Guardian.
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In his comments, Moby, aged 60, spoke candidly about his views on certain songs and admitted that “Lola” had appeared on a Spotify playlist he was listening to. He expressed surprise at what he perceived as the “unevolved” nature of the lyrics, suggesting that they lacked sensitivity towards the transgender community. Released in 1970, “Lola” tells the story of a young man’s encounter with a transgender woman in a bar located in London’s Soho district, capturing themes of gender and identity in a manner that was groundbreaking for its time.
Dave Davies, now 79, did not take kindly to Moby’s remarks and took to social media to articulate his feelings. In a series of posts, he conveyed his indignation, stating, “I am highly insulted that Moby would accuse my brother of being ‘unevolved’ or transphobic in any way.” He has since sought to draw attention to the positive impact “Lola” has had, particularly in relation to LGBTQ+ representation in the music industry.
The backlash against Moby’s comments was supported by transgender punk vocalist Jayne County, who expressed her admiration for “Lola” and its significance. County, aged 78, wrote about how the character of Lola resonated with her experience and even connected the name to early 20th-century performer Marlena Dietrich. In her reflections, she acknowledged that the song presented a narrative not commonly heard in mainstream music at that time, declaring it a trailblazer for “a world full of all kinds of people” rather than a fundamentally heterosexual narrative.
County underscored how “Lola” inspired her own music, noting a direct influence on her song “Wonder Woman,” which references The Kinks’ classic. She remarked, “With this song, The Kinks projected themselves into the modern world. A world full of all kinds of people!” Her comments align with the sentiment that “Lola” served to open doors and provoke discussions about gender fluidity and sexuality.
In a follow-up post, Dave Davies elaborated on his view that Moby’s critique was uncalled for and unreflective of the cultural context in which “Lola” was created. He recalled interactions with drag performers, stating, “The Cockettes and their friends used to follow us around on tour. We appreciated them.” This rekindling of fond recollections implied that The Kinks have long been supportive allies to the LGBTQ+ community.
Davies articulated frustration at what he perceived as Moby’s rudeness towards a song that, in his opinion, simply tells a complex story. “Why is Moby being so rude about this simple song? We’re not transphobic. Why does he have to have a go at us?” His remarks suggest that the issue extends beyond the song itself and touches on deeper questions about artistic interpretation, the evolution of societal norms, and the responsibilities of artists in representing diverse narratives.
This clash highlights the generational divide in the interpretation of cultural works, with artists from different eras grappling with the societal implications of their art. While some argue for re-evaluation and contextual understanding of past works in light of contemporary views, others maintain that the origins and intent behind such creations should be celebrated as progressive for their time.
As this debate unfolds, it serves as a reminder of the ongoing dialogue surrounding representation and inclusivity in the arts. The legacy of “Lola” and its place within music history may invite critical discussion, but it is evident that for many, including Dave Davies and Jayne County, the song remains a powerful anthem of acceptance and diversity that continues to resonate today.