"I'm really lucky that my record companies have been patient with me and leave me alone and give me the time to make it right in my mind"
About this Quote
There is a quiet rebellion tucked inside McLachlan's gratitude: she frames label patience not as a perk, but as the prerequisite for making art that actually feels true. In an industry built to monetize momentum, "leave me alone" lands like a small but pointed demand for sovereignty. She is thanking the machine while also naming its most common failure mode: hovering, rushing, shaping the work into something market-ready before the artist is ready.
The key phrase is "make it right in my mind". It's not perfectionism as branding; it's an assertion that the real studio is interior. McLachlan has always traded in emotional clarity - songs that sound like they were written after the feelings stopped thrashing and started speaking. That kind of clarity takes time, and time is exactly what record companies historically treat as expensive. By calling herself "lucky", she acknowledges how rare that space is, especially for a woman whose output can be dismissed as "adult contemporary" and therefore assumed to be safe, compliant, easy to manufacture. She's implicitly correcting that: this is painstaking work.
Context matters, too. McLachlan came up in an era when labels still controlled release schedules, radio relationships, and budgets, and when artists were expected to feed the tour-album cycle. Her line reads like a negotiated truce with capitalism: yes, there are gatekeepers, but sometimes the gate stays open long enough for the artist to walk through on her own terms.
The key phrase is "make it right in my mind". It's not perfectionism as branding; it's an assertion that the real studio is interior. McLachlan has always traded in emotional clarity - songs that sound like they were written after the feelings stopped thrashing and started speaking. That kind of clarity takes time, and time is exactly what record companies historically treat as expensive. By calling herself "lucky", she acknowledges how rare that space is, especially for a woman whose output can be dismissed as "adult contemporary" and therefore assumed to be safe, compliant, easy to manufacture. She's implicitly correcting that: this is painstaking work.
Context matters, too. McLachlan came up in an era when labels still controlled release schedules, radio relationships, and budgets, and when artists were expected to feed the tour-album cycle. Her line reads like a negotiated truce with capitalism: yes, there are gatekeepers, but sometimes the gate stays open long enough for the artist to walk through on her own terms.
Quote Details
| Topic | Music |
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