Review: Do They Know It’s Christmas 2024 Ultimate Mix by Band Aid
The 2024 Ultimate Mix of Band Aid‘s classic Do They Know It’s Christmas is an ambitious reimagining of a song steeped in history. The brainchild of Bob Geldof and Midge Ure, the original track was recorded in 1984 to raise funds for famine relief in Ethiopia. Since then, the song has been revisited on three separate occasions—Band Aid (1984), Band Aid 20 (2004), and Band Aid 30 (2014). This latest version, produced by Trevor Horn, blends the voices of those generations into a new mix, creating a patchwork of performances that spans decades.
The track begins with a softer orchestral intro, reinterpreting Paul Young’s iconic opening. His emotive delivery is reimagined with lush textures before transitioning to Chris Martin of Coldplay. While Martin’s version is heartfelt, it lacks the raw sincerity of Young’s original delivery, potentially throwing fans of the 1984 version off balance.
Ed Sheeran’s contribution stands out with his unmistakable tone, however, his vocal performance is clouded by his vocal criticism of the song’s historical framing of Africa, labeling it as perpetuating damaging stereotypes. His critique adds weight to the long-standing debate surrounding lyrics like Bono’s infamous line, “Thank God it’s them instead of you”. Bono’s reworked line acknowledges these criticisms, but the sentiment remains controversial, detracting from its impact.
Boy George is still in there and his classic line has the warmth and authenticity that made this well written song memorable in the first place. When paired with Sam Smith’s powerful voice, it creates a surprising and iconic moment. However, the song soon pivots into unexpected territory, incorporating soft rock guitars and orchestral builds reminiscent of Eye of the Tiger and that iconic dramatic bell sequence. While atmospheric, these additions risk feeling more like a theatrical experiment than a cohesive reinterpretation.
The pivotal “But say a prayer” section divides listeners. Interrupted by spoken commentary, it adopts an almost Roger Waters-esque theatricality. While this approach may appeal to some, it dilutes the emotional impact that George Michael so effortlessly captured in the original. This reimagining feels overproduced, missing the heartfelt simplicity that resonated with listeners in 1984.
Later contributions from Robbie Williams and Elbow’s Guy Garvey add variety but lack cohesion. Some lyrics stray far from the original, with Sam Smith introducing entirely new lines that feel disjointed from the track’s core. Fortunately, Phil Collins’ iconic drum fills bring a sense of familiarity and energy, anchoring the song as it approaches its finale.
The inclusion of David Bowie’s spoken commentary near the end is a standout moment. Cool, reflective, and quintessentially Bowie, it encapsulates the spirit of the project while adding a timeless touch. Yet, despite these highlights, the Ultimate Mix feels like it’s trying to be too many things at once—a modern reinterpretation, a theatrical commentary, and a faithful homage.
Trevor Horn’s ambitious production deserves recognition for its attempt to unite voices across generations. However, the overproduction and dramatic deviations from the original leave the track feeling uneven. While it evokes chills and nostalgia, the classic remains unparalleled. A bold reimagining that earns a 6/10—worth experiencing, but it won’t dethrone the timeless original.
