"It creates a conflict of interest - what songs would I use for me, and what would I use for the band"
About this Quote
A neat little backstage confession, delivered with the kind of dry practicality that only a working musician can pull off. Martin Gore’s line isn’t about ego so much as triage: when you’re both a primary songwriter and a member of a brand-sized band, every melody becomes a negotiation over ownership, identity, and scarce real estate.
The phrase “conflict of interest” borrows corporate language for an artistic problem, and that’s the point. It frames creativity as governance. Songs aren’t just personal expressions; they’re assets that carry careers, setlists, tour budgets, label expectations, and a fanbase’s sense of continuity. Gore is admitting that the moment you have a solo outlet, you also introduce a new incentive structure: your best material might serve “me” best, but the band is the bigger stage, the louder megaphone, the thing people actually show up for. Or the reverse: the band’s needs could cannibalize your private ambitions.
“What songs would I use” is doing subtle work here. It implies a finite supply of ideas worth recording and an internal ranking system where some tracks are “band songs” by temperament: built for a particular voice, chemistry, or mythology. It also hints at loyalty. The band isn’t just colleagues; it’s a shared narrative, and choosing to withhold a song can read like withholding commitment.
In the context of long-running groups where roles calcify and audiences police authenticity, Gore’s restraint becomes strategy: protect the collective identity by not forcing your own catalog into competition with it.
The phrase “conflict of interest” borrows corporate language for an artistic problem, and that’s the point. It frames creativity as governance. Songs aren’t just personal expressions; they’re assets that carry careers, setlists, tour budgets, label expectations, and a fanbase’s sense of continuity. Gore is admitting that the moment you have a solo outlet, you also introduce a new incentive structure: your best material might serve “me” best, but the band is the bigger stage, the louder megaphone, the thing people actually show up for. Or the reverse: the band’s needs could cannibalize your private ambitions.
“What songs would I use” is doing subtle work here. It implies a finite supply of ideas worth recording and an internal ranking system where some tracks are “band songs” by temperament: built for a particular voice, chemistry, or mythology. It also hints at loyalty. The band isn’t just colleagues; it’s a shared narrative, and choosing to withhold a song can read like withholding commitment.
In the context of long-running groups where roles calcify and audiences police authenticity, Gore’s restraint becomes strategy: protect the collective identity by not forcing your own catalog into competition with it.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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