Suppressing talent for success

Suppressing talent for success

Music reviewer Dave McKenna puts his finger on an odd phenomenon that tells us a lot about the music industry and pop culture. In a review of a Keith Urban concert, he writes,

You’d have to go back to Glen Campbell to find a pop-country star whose musical skills are buried any deeper in hit records than Keith Urban’s.

The guy can really, really play a guitar. But while Vince Gill and Brad Paisley, Urban’s peers on country’s guitar-hero scene, throw a few licks into even the most mindless single to remind you of their genius, Urban usually keeps his fingers to himself in the studio.

In a live setting, however, Urban turns his inner shredder loose.

That’s right! Glen Campbell was a highly-lauded studio musician hailed as a guitar virtuoso before he started churning out pop singles. I never understood why insiders considered him such a guitar hero until I heard him play at Branson, Missouri! Vince Gill has a reputation as a supreme bluegrass instrumentalist, something you might never expect from his soft-voiced country hits, though, as McKenna says, he tries to break out somewhere in most of his tunes.

But that artists have to scale back their talent in order to achieve commercial success is a sobering thought. It makes sense: Complex artistic performances–in whatever genre, including popular ones such as rock and country–will move us into the realm of “high culture.” It requires knowledge, experience, and taste for an audience to appreciate. “Pop culture” has to be simpler and more homogenized to appeal to a mass commercial audience.

Still, this strikes me as a dysfunction and as a violation of vocation.

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