"Of course the playing is important but writing and the establishing of what you are going for is prime too"
About this Quote
Andy Summers is pushing back on a romantic myth musicians still love: that greatness is something your hands conjure in the moment. His nod to “of course the playing is important” reads like a diplomatic concession to the gearheads and virtuosos, but the real message lands after the pivot. “Writing and the establishing of what you are going for is prime” frames musicianship less as athletic performance and more as authorship: the real flex is knowing what the song is before you try to impress anyone inside it.
The subtext is almost managerial, in the best way. “Establishing” sounds like pre-production, like deciding the emotional temperature, the negative space, the role each instrument plays. It’s a reminder that taste is a bigger differentiator than technique. Plenty of players can execute; fewer can articulate a target and make every note serve it. Summers, coming out of The Police’s tense, economical architecture, has credibility here. Those songs don’t work because of sheer chops (though the chops are real); they work because the guitar often behaves like percussion, atmosphere, or counter-melody, staying in its lane while sharpening the whole picture.
There’s also a quiet critique of ego. Prioritizing “what you are going for” dethrones the soloist’s impulse to dominate and elevates intention: cohesion, restraint, identity. In an era where endless content and endless takes can masquerade as creativity, Summers argues for the oldest discipline in pop: decide the point, then play toward it.
The subtext is almost managerial, in the best way. “Establishing” sounds like pre-production, like deciding the emotional temperature, the negative space, the role each instrument plays. It’s a reminder that taste is a bigger differentiator than technique. Plenty of players can execute; fewer can articulate a target and make every note serve it. Summers, coming out of The Police’s tense, economical architecture, has credibility here. Those songs don’t work because of sheer chops (though the chops are real); they work because the guitar often behaves like percussion, atmosphere, or counter-melody, staying in its lane while sharpening the whole picture.
There’s also a quiet critique of ego. Prioritizing “what you are going for” dethrones the soloist’s impulse to dominate and elevates intention: cohesion, restraint, identity. In an era where endless content and endless takes can masquerade as creativity, Summers argues for the oldest discipline in pop: decide the point, then play toward it.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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