The Clash’s Paul Simonon smashed the “London Calling” bass in 1979. The instrument is now headed for display at a new museum

Paul Simonon smashed a bass guitar during a 1979 performance, an onstage act that later became part of rock music’s most recognizable visual identity through its connection to the cover of The Clash’s “London Calling,” Billboard reported. The destroyed instrument, tied to that moment in the band’s history, is now slated for public display at a new museum exhibit, the publication said.

Billboard’s report describes how the bass was destroyed at a show in 1979 before it ultimately became associated with the album’s cover artwork. That album, released by The Clash, has remained a landmark in popular music, and its cover image is widely recognized, in part, because the smashed instrument indicates the band’s intensity at that moment.

In the years since, the physical artifact has taken on museum-level significance as a documented piece of performance history. Billboard said the exhibit will allow visitors to see the instrument that was associated with the “London Calling” cover, turning what began as a live act into a curated object meant for long-term preservation and interpretation.

The museum display also reflects how major cultural institutions increasingly treat rock-era artifacts as historical materials rather than temporary memorabilia. By mounting the bass in an exhibit setting, the venue is effectively shifting the item from stage mythology into public education, where labels, curatorial context, and controlled viewing replace the original show environment.

Billboard did not describe immediate public details such as the exhibit start date, duration, or the museum’s location in its headline and description text. Those items, along with any condition notes about the instrument, would typically determine how the museum manages handling, conservation, and visitor access. The report nonetheless indicates that the instrument’s connection to the 1979 destruction moment and the “London Calling” cover is central to the exhibit’s curatorial focus.

As with other high-profile music artifacts, the next steps are expected to involve exhibit installation and public ticketing or timed-entry policies set by the museum. For fans and the general public, the development provides a rare chance to view a tangible remnant of a moment that has long been known through album imagery and retrospective accounts.