"The press Yazoo were receiving were focused on the voice, This obviously was about trends"
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Moyet’s line carries the weary clarity of someone who watched the industry misread her in real time. “The press ... were focused on the voice” sounds like praise until you hear the trapdoor under it: critics framed her as a “great singer” in a way that quietly cordoned her off from the cooler, more future-facing story. In the early 80s, when synth-pop was selling a sleek, technologized kind of modernity, a big, unmistakably human voice could be treated as an anomaly - impressive, yes, but also inconvenient for a scene obsessed with surfaces, machines, and posture.
Her blunt pivot, “This obviously was about trends,” is doing double duty. On the surface it’s a shrug at journalistic groupthink. Underneath it’s an accusation: the coverage wasn’t neutral assessment, it was fashion policing. “Voice” becomes shorthand for authenticity and tradition, while “trends” signals the press’s need to sort artists into narratives they already understand. If a woman delivers vocal power outside the era’s preferred template, the easiest move is to make her sound like an exception rather than an author of the moment.
The slightly awkward phrasing (“press ... were receiving”) reads like lived experience being recalled, not a rehearsed line. That’s part of its force: she’s naming how acclaim can still be limiting, how a compliment can become a box. In one tight admission, Moyet sketches the cultural machinery that decides who gets to be timeless and who gets to be current.
Her blunt pivot, “This obviously was about trends,” is doing double duty. On the surface it’s a shrug at journalistic groupthink. Underneath it’s an accusation: the coverage wasn’t neutral assessment, it was fashion policing. “Voice” becomes shorthand for authenticity and tradition, while “trends” signals the press’s need to sort artists into narratives they already understand. If a woman delivers vocal power outside the era’s preferred template, the easiest move is to make her sound like an exception rather than an author of the moment.
The slightly awkward phrasing (“press ... were receiving”) reads like lived experience being recalled, not a rehearsed line. That’s part of its force: she’s naming how acclaim can still be limiting, how a compliment can become a box. In one tight admission, Moyet sketches the cultural machinery that decides who gets to be timeless and who gets to be current.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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