"And frankly, when I made that record, hit songs were not what I was trying to achieve"
About this Quote
It is, on its face, a modest claim about process. Underneath, it is a small act of boundary-setting in a culture that treats chart placement like a moral scorecard. When Duncan Sheik says he “frankly” wasn’t chasing hit songs, the adverb does extra work: it signals he’s heard the accusation (or the assumption) before, and he’s choosing candor over posture. The line pushes back against the retroactive myth-making that happens once an artist brushes commercial success. If you had a hit, the story goes, you must have engineered it.
The subtext is also defensive in a very musician-specific way. “Hit songs” isn’t just a sales metric; it’s a genre expectation, a demand for obvious hooks and simplified feelings. Sheik’s early reputation lived in the adult-alternative lane where intimacy and craft mattered, but where the industry still wanted radio-friendly outcomes. Saying he wasn’t trying for hits protects the work’s sincerity: the record is framed as an artistic document first, a product second.
Context matters here because Sheik’s career has always sat at an angle to the pop assembly line - a singer-songwriter who later found a different kind of mainstream legitimacy through theater (Spring Awakening). The quote reads like an artist refusing to let success rewrite his motives. It’s not anti-pop so much as anti-transactional: a reminder that the best-known song isn’t always the most “intended” one, and that impact can be a byproduct rather than the plan.
The subtext is also defensive in a very musician-specific way. “Hit songs” isn’t just a sales metric; it’s a genre expectation, a demand for obvious hooks and simplified feelings. Sheik’s early reputation lived in the adult-alternative lane where intimacy and craft mattered, but where the industry still wanted radio-friendly outcomes. Saying he wasn’t trying for hits protects the work’s sincerity: the record is framed as an artistic document first, a product second.
Context matters here because Sheik’s career has always sat at an angle to the pop assembly line - a singer-songwriter who later found a different kind of mainstream legitimacy through theater (Spring Awakening). The quote reads like an artist refusing to let success rewrite his motives. It’s not anti-pop so much as anti-transactional: a reminder that the best-known song isn’t always the most “intended” one, and that impact can be a byproduct rather than the plan.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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