"I hate most of what constitutes rock music, which is basically middle-aged crap"
About this Quote
Sting fires a shot at the complacency he hears at the center of mainstream rock. The phrase middle-aged crap does not target age so much as a posture: music that has settled into formula, that flatters the nostalgia of its makers and listeners rather than seeking discovery. Rock began as a youth revolt; by the time Sting said this, it had become a set of habits, an industry of heritage acts, and a reliable product. He is calling out the moment when a genre stops questioning itself and starts repeating itself.
The provocation lands harder because it comes from someone who became famous in a rock band. The Police started inside punk and new wave energy, but Sting quickly pushed beyond the genre’s borders. His early solo records brought in jazz players like Branford Marsalis and Kenny Kirkland, and later he wandered into world rhythms, orchestral settings, and even Elizabethan song. The jibe doubles as an explanation of those detours: if rock’s central lane has grown dull and mannered, the antidote is risk, cross-pollination, and craft.
There is irony, and he knows it. He was, and is, a middle-aged star with arena-scale resources, often accused of making polished adult music. That tension sharpens the point. Middle-aged crap names a mindset, not a birth certificate. It is the satisfactions of volume over harmony, attitude over curiosity, the same riffs and gestures repackaged because they still sell. Sting’s career argues that longevity demands the opposite: refusing the security of the template.
More broadly, the line reads as a critique of rock’s institutionalization. What began as rebellious has been codified, merchandised, and museumized. Sting is not rejecting guitars; he is rejecting stasis. The demand embedded in his disdain is simple and hard: keep surprising yourself, or your art will congeal into self-parody, no matter how loudly the amplifiers are turned up.
The provocation lands harder because it comes from someone who became famous in a rock band. The Police started inside punk and new wave energy, but Sting quickly pushed beyond the genre’s borders. His early solo records brought in jazz players like Branford Marsalis and Kenny Kirkland, and later he wandered into world rhythms, orchestral settings, and even Elizabethan song. The jibe doubles as an explanation of those detours: if rock’s central lane has grown dull and mannered, the antidote is risk, cross-pollination, and craft.
There is irony, and he knows it. He was, and is, a middle-aged star with arena-scale resources, often accused of making polished adult music. That tension sharpens the point. Middle-aged crap names a mindset, not a birth certificate. It is the satisfactions of volume over harmony, attitude over curiosity, the same riffs and gestures repackaged because they still sell. Sting’s career argues that longevity demands the opposite: refusing the security of the template.
More broadly, the line reads as a critique of rock’s institutionalization. What began as rebellious has been codified, merchandised, and museumized. Sting is not rejecting guitars; he is rejecting stasis. The demand embedded in his disdain is simple and hard: keep surprising yourself, or your art will congeal into self-parody, no matter how loudly the amplifiers are turned up.
Quote Details
| Topic | Music |
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