"Obviously I got known for some other songs early on, and some of those were rock'n'roll songs. Some of them were melodic pop songs. And I've done lots of different things, as you know, but every so often I get drawn back"
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Costello’s doing the classic veteran-artist two-step: nod to the audience’s scrapbook version of his career, then quietly reclaim the right to keep moving. The opening “Obviously” is doing a lot of work. It’s a preemptive shrug at the reductive bio line - the hits, the early persona, the neat genre tag - as if he can already hear an interviewer trying to pin him to a single sound. By listing “rock’n’roll” and “melodic pop” side by side, he frames his early catalog less as a fixed identity than as evidence of range, a reminder that the box people want to place him in was always too small.
The key phrase is “as you know,” which sounds polite but functions like a gentle scold: if you’ve been paying attention, you understand the throughline isn’t genre, it’s restlessness. Costello’s whole public narrative is built on refusing the museum treatment - punk-ish urgency, Brill Building craft, country, jazz collaborations, chamber pop - and he’s signaling that eclecticism isn’t a detour, it’s the job.
Then comes the tell: “every so often I get drawn back.” He doesn’t say he chooses to return; he’s “drawn,” pulled by some internal gravity toward a foundational form. That subtext reads less like nostalgia than like craft loyalty. Rock’n’roll becomes a home base he revisits not because he’s out of ideas, but because the engine still starts there. It’s an artist insisting that evolution can include return trips without becoming a retreat.
The key phrase is “as you know,” which sounds polite but functions like a gentle scold: if you’ve been paying attention, you understand the throughline isn’t genre, it’s restlessness. Costello’s whole public narrative is built on refusing the museum treatment - punk-ish urgency, Brill Building craft, country, jazz collaborations, chamber pop - and he’s signaling that eclecticism isn’t a detour, it’s the job.
Then comes the tell: “every so often I get drawn back.” He doesn’t say he chooses to return; he’s “drawn,” pulled by some internal gravity toward a foundational form. That subtext reads less like nostalgia than like craft loyalty. Rock’n’roll becomes a home base he revisits not because he’s out of ideas, but because the engine still starts there. It’s an artist insisting that evolution can include return trips without becoming a retreat.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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