By Daniel Greenfield,
@ Sultan Knish Blog
On Nov 13, 2015, Muslim terrorists attacked a concert at the Bataclan theater in Paris, opening fire on the crowd while shouting, “Allah Akbar.” The Muslim attackers took 20 hostages, killed 90 concertgoers and left hundreds wounded. A year later the theater reopened under new ownership with ‘Insallah’ or ‘If Allah Wills” by Sting to support the Muslim migrants invading Europe. One of the members of the American band that had been playing during the attack was banned from attending the commemoration because he had been accused of ‘Islamophobia’.
A few years later, there was a Bataclan concert featuring a Muslim rappers supporting Jihad. After Oct 7, the Bataclan was filled with shouts of ‘Free Palestine’ at yet another Islamic concert.
By then Muslim terrorists had racked up multiple concert massacres at the Open Festival suicide bombing in Germany in 2016, the Manchester Arena bombing at an Ariana Grande concert in 2017 which killed 22 people, some of them children, and wounded over 1,000, the Nova festival massacre which killed nearly 400 people and the Moscow concert hall attack in 2024 that killed 145 people and wounded over 500.
Last year, Muslim terrorists plotted an attack at a Taylor Swift concert in Vienna.
Add nightclubs to the toll, and you have the Dolphinarium discotheque bombing in Israel by Hamas in 2001, which killed 21 people, most of them teens, the Pulse nightclub massacre which killed 49 people in Orlando in 2016 and the Istanbul nightclub shootings in 2017 that killed 39 people.
With over 800 concertgoers killed in Muslim terrorist attacks since 9/11, you might think that concertgoers would have some sense of vulnerability and outrage, but just the opposite. Concerts of the ‘trendier’ kind have become venues for celebrating Islamic terrorism. Not only wasn’t Bataclan going from a terrorist target to a terrorist rallying ground an exception, but Glastonbury with its terror flags and cries of support for Islamic terrorists is commonplace.
And while that sort of behavior is associated with expensive venues for trendy acts these days, a decade ago, New York’s Metropolitan Opera put on a production of The Death of Klinghoffer, justifying the Muslim terrorist killing of an elderly Jewish man in a wheelchair. Despite outrage and muted protests from the Jewish community, the show went on. The terrorist production is now due to open at Florence’s Maggio Musicale Fiorentino Theatre next year.
No one sitting in their box seats in Florence or jumping up and down at $500 a pop concert venues in Europe ever considers that at any point the sounds of “Allah Akbar” and gunfire could pierce their world. The whole point of terrorist propaganda from Kneecap, Bob Vylan or The Death of Klinghoffer is to believe that the victims of terrorism have it coming. And that they can enjoy the spectacle from the comfort of the concert without terror ever touching them.
The music scene values what’s edgy and planting nails in the faces of children, as Muslim terrorists did in Manchester, people dangling from windows at the Bataclan or a bar full of bodies at Nova are certainly edgy. Enjoying the scenes of horror requires maintaining a sense of distance from the dead mediated by narratives that make them objects in a terrorist victory.
The purpose of terrorist propaganda is not just to demonize Israel, America, the UK or any other nation affected by Islamic terrorism, but to manufacture the illusion that the terrorists are members of the same ‘tribe’ as the half-naked white concertgoers bopping to their hate, that the ‘victories’ of Hamas, Hezbollah and the Houthis are their triumphs, and that their support for the cause somehow insulates them so that the bullets and bombs will never fly their way.
Indoctrination is also insulation. Even seeing people just like them bleed and die from Manchester to Nova to Bataclan, bodies falling from balconies, women being raped in the dirt, the wounded lying in the open and hoping the terrorists don’t realize they are still alive, doesn’t get through to them as they watch colorful flags with Arabic curlicues which translate into death wave overhead. At least not until the moment it happens to them. And maybe not even then.
The concertgoers who cheer for the Muslim terrorists murdering concertgoers somewhere else, in Israel, or at another place, like the Manchester Arena, or another time at the Bataclan, are a microcosm of members of a suicidal hipster left who dismantle public safety in the name of social justice, and won’t believe until the last second that the monsters can come for them.
They walk the streets of New York City, San Francisco or London after unleashing criminals and terrorists while feeling invulnerable behind their virtue signaling shielding. Surely the murderers, terrorists and the rapists who were only victims of an unjust system won’t harm them too.
Surely destroying America, Canada, Israel, England and all of Europe and turning their cities over to mobs, monsters and killers will make the world a better place and the cafes will stay open, the concerts will go on and the only ones who will die will be the bad people. Not them.
“Violence is a construct,” Zohran Mamdani, New York City’s Democrat Muslim mayoral nominee, said. Personal liberty, the nation state, bodily integrity and nearly everything else are constructs too. Through the fog of academic theories detached from daily realities, everything becomes an unreal theory, but when the shooting starts and the bombs go off, constructs have a way of becoming blindingly painful realities and life boils down to fight or flight imperatives.
“We are here to kill you,” the Bataclan Muslim terrorists said to their victims. That was a truth that clears away all the talk of constructs, the academic lenses and the distancing of pop culture propaganda that makes concertgoers cheer for those who kill other concertgoers elsewhere.
The undergrown men and women cheering for Islamic terrorism at Glastonbury and at other concert venues might be the ones running for cover and slipping in their own blood on the next leg of the festival tour once they realize that Muslim terrorists really are here to kill them too.
Daniel Greenfield is a Shillman Journalism Fellow at the David Horowitz Freedom Center. This article previously appeared at the Center's Front Page Magazine. Click here to subscribe to my articles. And click here to support my work with a donation. Thank you for reading.
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