I should preface this list by stating that authenticity in popular music is mutable (if it exists), that it is utterly dependent upon genre, time and place (if it exists), that it is defined in relation to its ‘inauthentic’ counterpart (if it exists), that it is a construct with dubious links all the way back […]
Nothing is original.
It’s a thin between sounding authentic and sounding like you’re writing the music for a future Levi’s advert.
Authenticity matters. I’m not sure how much it matters or why it matters or whether it should matter, but clearly it matters.
ALL music is fake. That’s why they call it a performance; that’s why they call it an act.
Authenticity, pah! It’s as bad as real music! No such thing.
This type of female voice, expressing these worries, these contradictions, simply does not exist anywhere else in popular music right now.