"I go out on the road for much longer than I probably should and lose more of myself than I should"
About this Quote
Touring is sold as the dream: the stage lights, the roar, the proof you made it. McLachlan’s line punctures that myth with a weary kind of honesty. “Much longer than I probably should” isn’t a complaint about scheduling; it’s a confession about compulsion. The “probably” does a lot of work, signaling a conscience that already knows the cost, and a career machine that keeps rolling anyway.
The most revealing phrase is “lose more of myself.” She doesn’t say she loses time, sleep, or privacy, though all of that is implied. She says she loses identity. Life on the road turns a person into an efficient, portable version of themselves: predictable setlists, rehearsed banter, the same emotional peaks delivered on demand. For a musician whose work trades in intimacy and vulnerability, that repetition can start to feel like self-erasure, as if the “real” self is left at home while the performing self clocks in nightly.
There’s also an industry subtext: touring is often where the money is, especially in a streaming-era economy that underpays recorded music. So the road becomes both livelihood and trap. McLachlan’s phrasing suggests a tug-of-war between agency and obligation: she chooses it, yet it also chooses her.
What makes the quote land is its quiet refusal to romanticize burnout. It’s not melodrama; it’s a measured admission that success can be a slow leak, and that staying visible can mean becoming less present to yourself.
The most revealing phrase is “lose more of myself.” She doesn’t say she loses time, sleep, or privacy, though all of that is implied. She says she loses identity. Life on the road turns a person into an efficient, portable version of themselves: predictable setlists, rehearsed banter, the same emotional peaks delivered on demand. For a musician whose work trades in intimacy and vulnerability, that repetition can start to feel like self-erasure, as if the “real” self is left at home while the performing self clocks in nightly.
There’s also an industry subtext: touring is often where the money is, especially in a streaming-era economy that underpays recorded music. So the road becomes both livelihood and trap. McLachlan’s phrasing suggests a tug-of-war between agency and obligation: she chooses it, yet it also chooses her.
What makes the quote land is its quiet refusal to romanticize burnout. It’s not melodrama; it’s a measured admission that success can be a slow leak, and that staying visible can mean becoming less present to yourself.
Quote Details
| Topic | Travel |
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