"When you're on tour you definitely don't want lots of arguments. It's very important that everybody gets on because you're in close proximity a great deal of the time"
About this Quote
Touring is the romantic myth of music and the unromantic reality of forced cohabitation. Joan Armatrading cuts through the fantasy with the kind of seasoned, practical clarity you only get from someone who has lived it: the road isn’t just a string of shows, it’s a pressure cooker where personalities, fatigue, and logistics collide in a moving, windowless workplace.
The intent is managerial without sounding corporate. Armatrading isn’t preaching “good vibes”; she’s naming a survival rule. “Definitely” and “very important” signal hard-earned certainty, not polite suggestion. “Arguments” isn’t code for artistic debate, either. It points to the petty, compounding conflicts that touring amplifies: someone’s late, someone’s hungover, the soundcheck ran long, the bus is freezing, the venue food is terrible. In that environment, minor resentments become structural threats.
The subtext is that harmony isn’t just moral, it’s operational. A tour is a tiny institution: hierarchies, paychecks, deadlines, reputations. If “everybody gets on,” the machinery runs and the art can happen. If they don’t, the music suffers first - not in some poetic way, but in missed cues, sloppy performances, and a mood the crowd can feel.
Context matters here: Armatrading came up in an era when touring was grueling and often isolating, especially for a Black British woman navigating predominantly male industry spaces. The line reads like boundary-setting dressed as common sense: protect the work by protecting the room you all share, because on tour you can’t escape each other, and you can’t outrun your own atmosphere.
The intent is managerial without sounding corporate. Armatrading isn’t preaching “good vibes”; she’s naming a survival rule. “Definitely” and “very important” signal hard-earned certainty, not polite suggestion. “Arguments” isn’t code for artistic debate, either. It points to the petty, compounding conflicts that touring amplifies: someone’s late, someone’s hungover, the soundcheck ran long, the bus is freezing, the venue food is terrible. In that environment, minor resentments become structural threats.
The subtext is that harmony isn’t just moral, it’s operational. A tour is a tiny institution: hierarchies, paychecks, deadlines, reputations. If “everybody gets on,” the machinery runs and the art can happen. If they don’t, the music suffers first - not in some poetic way, but in missed cues, sloppy performances, and a mood the crowd can feel.
Context matters here: Armatrading came up in an era when touring was grueling and often isolating, especially for a Black British woman navigating predominantly male industry spaces. The line reads like boundary-setting dressed as common sense: protect the work by protecting the room you all share, because on tour you can’t escape each other, and you can’t outrun your own atmosphere.
Quote Details
| Topic | Team Building |
|---|---|
| Source | Help us find the source |
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