Sometimes you just have to let go of whatever “the grownup you” thinks you should do, and instead do what “the happy you” wants to do. Kids, just like Rosie The Studio Cat, are full of awe and wonder; adults, including most recording artists and technicians, are shackled by heavy responsibilities and the need to fit in.
Uniqueness is much more interesting than conformity. When we march (or dance) to the beat of our own drummer, we show the world our true selves, unique individuals who are probably a lot like the children we once were. Those kids knew how to have fun.
When we have fun—even if we’re digging ditches—we attract other likeminded people. If we show the world who we are, we’re likely to attract others who have the same taste we do. Some folks will love us, and others won’t. Focus on those who already do.
This is especially true in the record business and the arts in general. Innovators, not emulators, are the ones with longevity. Remember Nirvana? Of course you do. But what about Candlebox?
Nirvana didn’t predict the next trend and tailor their sound to it—they were a unique badass band with great songs and a fresh sound that would inspire the birth of Modern Rock. A great artist doesn’t follow the trends, it sets them. Kurt Cobain spoke for a generation of folks who were going through the same shit as he was. He connected with his fans, the folks who loved him. Damn those who didn’t. Life is too short.
Believe it or not, Nirvana was not universally adored at the time. Seattle’s scene was hot, with Soundgarden and SubPop, but Grunge music was for bands who weren’t real musicians. (Not my opinion, but the prevailing one in the early ’90s.) Nonetheless, Cobain’s songs were indeed radio friendly unit shifters, so countless emulators emerged.
Beyond the obligatory flannel shirts, the signature formula included massive dynamic shifts. Quiet verses exploded into bombastic fuzzed out choruses. In contrast to the harmonic devices and voice leading of great songwriters of the time, like Neil Finn of Crowded House, the emulator bands often created tension and release without any change to the chord progression such as going to the relative minor or major chord. They simply stepped on the Big Muff fuzz pedal as the drummer bashed quarter notes on the crash cymbals. Perhaps primitive, but it worked. Especially for Nirvana and Smashing Pumpkins, who had similar sounds, but were very different bands. (Check out the Pumpkins’ chord progression of “1979”—it uses harmonic resolution to create the sense of release into the chorus.)
Formulaic trend following, however, is not the path to a long career. Go ahead and pay tribute to your influences, but distill their essences through your own filter, and incorporate them into your art in unique novel ways. Dozens of major label bands in Nirvana’s wake learned this lesson the hard way. Trust me: I was head of A&R at Warner/Discovery, and I passed on literally hundreds of competent bands because they all sounded the same! They were good, but Nirvana was better. And Nirvana came first.
Anything unique was a breath of fresh air, so that’s what stood out from the blur. When I say unique, I don’t imply batshit craziness that doesn’t fit into a pre-existing genre. I’m talking about something that’s 90% familiar and 10% unique or fresh. Adele’s new single, “Hello”, is a current example of this 90/10 concept. To folks my age, the sound is nothing new, but the conviction with which Adele sings is brilliant, and it makes the song believable. It feels honest, not formulaic, so it will be a big hit. It stands out from the blur and it resonates with listeners, so they will actually pay real money for it.
As a parting thought, you don’t have to try to make friends if you just be yourself. Those who are meant to love you will organically find you. You can’t please all the people all the time, so be an innovator, not an emulator. Live your own life and make your own art, not someone else’s. You’re welcome.