"Learn your instrument. Be honest. Don't do anything phony. There is so much crap floating around. There is plenty of room for a bit of honest writing"
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McVie’s advice sounds almost disarmingly plain, which is exactly the point: in a music culture addicted to image and instant identity, she argues for competence and sincerity as the real acts of rebellion. “Learn your instrument” isn’t a romantic slogan about “the craft.” It’s a boundary line. You don’t get to outsource your voice to producers, trends, or persona if you can’t physically speak the language of music. For someone who spent decades in a band where studio polish could easily have swallowed the human mess, that insistence reads like quiet defiance.
“Be honest” and “Don’t do anything phony” land as both an aesthetic and an ethical posture. McVie’s songs weren’t confessional in the tabloid way; they were emotionally legible, built from small, precise details, the kind listeners recognize because they’ve lived them. The subtext is that authenticity isn’t performed; it’s engineered through restraint, taste, and the courage to sound unprotected. She’s not asking for rawness as a brand. She’s warning against the kind of calculated vulnerability that sells.
“There is so much crap floating around” is the closest she gets to a rant, and it’s tellingly unspecific: she’s condemning the noise machine, not a genre. The closing line, “plenty of room for a bit of honest writing,” is modest on its face, but it’s a stake in the ground. Amid hype cycles and fake urgency, honest work doesn’t need to shout. It just needs to last.
“Be honest” and “Don’t do anything phony” land as both an aesthetic and an ethical posture. McVie’s songs weren’t confessional in the tabloid way; they were emotionally legible, built from small, precise details, the kind listeners recognize because they’ve lived them. The subtext is that authenticity isn’t performed; it’s engineered through restraint, taste, and the courage to sound unprotected. She’s not asking for rawness as a brand. She’s warning against the kind of calculated vulnerability that sells.
“There is so much crap floating around” is the closest she gets to a rant, and it’s tellingly unspecific: she’s condemning the noise machine, not a genre. The closing line, “plenty of room for a bit of honest writing,” is modest on its face, but it’s a stake in the ground. Amid hype cycles and fake urgency, honest work doesn’t need to shout. It just needs to last.
Quote Details
| Topic | Music |
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