"But those audiences in Spain, they were just so stoned. I don't like playing to audiences like that because they just don't do anything. I'm up here with my band and we're working really hard and they are just stoned"
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Coxon is puncturing one of rock culture's most durable myths: that a blissed-out crowd is a receptive crowd. His complaint isn’t moralistic; it’s transactional. A live show is supposed to be a feedback loop - sweat traded for noise, risk rewarded with reaction. When he says “they just don’t do anything,” he’s not critiquing Spain so much as naming the nightmare scenario for any performer: pouring intensity into a room that refuses to reflect it back.
The line works because it’s blunt, almost petulant, and that’s the point. Rock musicians are expected to romanticize excess, to treat intoxication as proof of authenticity. Coxon flips that script. Stoned, here, isn’t glamorous; it’s inert. The repetition of “just so stoned… just stoned” turns the audience into a single, unresponsive mass, less community than fog. It’s also a subtle defense of craft. “We’re working really hard” plants Coxon on the side of labor rather than legend, framing performance as skilled work that deserves engagement, not passive consumption.
Context matters: Coxon came up in Britpop, a scene obsessed with crowds, vibe, and cultural temperature. His frustration reads like an artist pushing against the era’s hedonistic shorthand and insisting on something less cool and more demanding: presence. The subtext is a boundary. If you’re going to show up, show up. Otherwise you’re not an audience; you’re furniture.
The line works because it’s blunt, almost petulant, and that’s the point. Rock musicians are expected to romanticize excess, to treat intoxication as proof of authenticity. Coxon flips that script. Stoned, here, isn’t glamorous; it’s inert. The repetition of “just so stoned… just stoned” turns the audience into a single, unresponsive mass, less community than fog. It’s also a subtle defense of craft. “We’re working really hard” plants Coxon on the side of labor rather than legend, framing performance as skilled work that deserves engagement, not passive consumption.
Context matters: Coxon came up in Britpop, a scene obsessed with crowds, vibe, and cultural temperature. His frustration reads like an artist pushing against the era’s hedonistic shorthand and insisting on something less cool and more demanding: presence. The subtext is a boundary. If you’re going to show up, show up. Otherwise you’re not an audience; you’re furniture.
Quote Details
| Topic | Music |
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