Category: Blog

  • A Short Story: Mr. Reece’s Memories

    A surreal short story I wrote while watching the waves crash below our balcony in Mũi Né last year.

    It was a slow day at the surgery. The usual symptoms: Mary Baker’s leaky gut, Darren Rylan’s ongoing anxiety, and Roger Naylor’s worsening angina. Nothing unexpected. But at 10:05 am, 73-year-old Raymond Reece walked into my office wearing a trilby and what looked like a tailored suit underneath a long, blue raincoat. It didn’t seem like it would rain, but he said he wore the raincoat because of the approaching storm that he — not the weatherman, he emphasised — had predicted with a high level of certainty. I offered him a seat.

    “So, how can I help you today, Mr. Reece?” He leaned forward and gathered himself, never taking his eyes from mine.

    “First, I have a story to tell you, if you can indulge me for a few minutes,” he said. “It’s regarding a little… situation I’ve been dealing with recently. Initially, you will think I am out of my right mind. But I assure you, everything I am going to tell you is true.”

    “Okay,” I said, wondering what condition he was about to present and if he might be the unstable type. He reached down to fetch something from a plastic bag he’d carried in, raising his eyebrows as he did so. I had noticed the bag earlier because it didn’t match his well-groomed appearance. It wasn’t the reusable kind you reluctantly purchase for a pound or two, but rather a crumpled, weathered-looking one — a bag he had likely kept in a cupboard for many years, possibly from when supermarkets gave them out for free.

    Now, remember that when people are sick, they seldom present you with an external object. Sickness is usually internal, evidenced by a wince, a finger point, or an explanation of some kind, embarrassing or otherwise. “I have a bit of a problem downstairs,” they might say, or “it’s a funny colour when I go to the bathroom.” These explanations are vague on the surface yet clear to someone in my profession, who then proceeds to ask a series of tactful or not-so-tactful questions to narrow down the cause without causing the patient unnecessary shame. So, it was rather out of the ordinary when, from the bag, Mr. Reece used both hands to lift a wooden box onto my desk. Despite his care, he knocked it slightly against the gold knob of one of my drawers. His face twitched a little as he did so.

    He placed the box, which looked homemade and about the size of a large grapefruit, onto the desk. He looked at me again with a disconcerting, sympathetic expression, moving his lips to the side as if he were the bearer of bad news.

    “So, in this box, doctor…” He paused, then said, “…is one of my organs.”

    I squinted, unsure how to process what he’d just told me. Surely, I was dealing with an elderly man who was mentally unwell. But there was something about him that didn’t seem insane, and his calm demeanour didn’t align with his startling claim.

    “May I ask… which organ?” I tried not to be overly shocked that I was asking a man in a pinstripe suit which of his organs he had brought to a doctor’s surgery on a Thursday morning in a grapefruit-sized wooden box.

    My medical mind was in overdrive. He couldn’t possibly be referring to a major internal organ, not the heart or liver for example. There was no sign of bleeding, and he wasn’t in pain. I felt disturbed that I was taking what he said so seriously, and I shook my head slightly in disbelief. His sincerity was disarming, so I did not want to tell him directly that what he said was ludicrous, and it seemed too early to call reception or, for that matter, the police. I tried to think rationally. Had I misunderstood? Did the box contain a mouth organ? Maybe he was just a musician wanting to share an old story. Or was something more sinister at play? Had he attempted to sell one of his organs on the black market, only to end up with an unsold kidney and now sought my advice? Too far-fetched. Or was this like the Bobbitt case from years ago? Had a jilted lover severed his genital organ? Had he fashioned a box for his now disconnected member, a coffin of sorts, and now he wanted me to give him advice on his options going forward? He seemed too old for such a tragedy, and he appeared neither physically nor emotionally pained. My imagination was running wild, yet I managed to keep my expression calm and thoughtful — or at least, that was my intention.

    “It’s my brain,” he whispered.

    I took a deep breath and looked at the box, then back at him. He shrugged as if he was thinking told-you-you’d-think-I’m-crazy.

    “Your… brain?” I said, before erupting into laughter. “Aha, very good, Mr. Reece. Well, you’ve brightened up my morning!”

    To my relief, he chuckled too, but only for a few seconds. Then he stopped and blinked, his expression turning completely serious.

    “Doctor, I know you think it’s impossible, and you must be questioning my sanity, but I assure you — this really is my brain. This box houses my cerebrum.”

    I paused, then laughed again, this time a hopeful laugh, the kind where you expect the other person to join in, confirming it was all a joke. But Mr. Reece held his gaze.

    When someone is mentally unwell, there may be a few giveaways: a vacant or wild look in their eyes, their personal hygiene is lacking, or some quirk that signals a departure from sanity. But aside from the worn plastic bag and the claim about carrying his brain in a box, Mr. Reece seemed quite sane — refined and charismatic, even. And there was a curious glint in his eyes.

    “Okay, Mr. Reece, I’m not sure why you’re making this outlandish claim, and you’ll appreciate that many sick people are waiting outside who need my help today, but — ”

    He cut me off. “I understand that what I’ve just told you is, well, impossible from a medical standpoint, and you’re right to think it’s either an elaborate joke or that I’m wasting valuable time better spent on others with more serious conditions. But hear me out for a moment, and it will start to make a lot more sense.”

    “For many years, I lived near Zurich, working at a research institute focused on cutting-edge projects with state-of-the-art technology. Some of these projects were in the medical field, and one, in particular, aimed to help people with dementia retrieve and retain their short-term memories. This was of personal interest to me, as my mother had suffered terribly from dementia prior to her passing.

    Anyway, the years flew by, and I eventually reached retirement age. Unfortunately, the board of directors cancelled the project due to a lack of solid results. I felt like a complete failure. I begged them to let me continue — even voluntarily — but they refused. With no other choice, I returned to England.

    I tried filling my days with golf, fishing, and the like, but I couldn’t stop thinking about the project. I always felt we were on the verge of a breakthrough. So, I built a small lab in an outhouse at the bottom of my garden, telling myself it was just a hobby. But over the next eight years, I spent most of my time there.

    Eventually, I completed the development of a microchip that could be implanted in the brain, a memory drive to upload the data transmitted from the chip, and software to read and decode that information. The biggest hurdle was finding someone to test it on. Even if an individual agreed, they would back out when asked to sign a waiver. Time wasn’t slowing down, and I wasn’t getting any younger. I seriously considered abandoning what felt like my life’s work when something remarkable happened: I forgot my own daughter’s name. And it didn’t happen just once; it happened several times.

    My wife urged me to get tested, and to my initial horror, I showed early signs of dementia. I was devastated — until one night, I had an epiphany. I realised I was only a few years away from losing my mind entirely, so what did I have to lose? Arguably, nothing. So I got out of bed, put on my gown, and walked down to the lab.

    I wrote a note to my wife and children that simply said, ‘I love you all,’ just in case. Then I powered up my equipment. Through my microscope, I gazed at the tiny Bluetooth-enabled microchip I had worked on for so long. This wasn’t the time for sentimentality. I carefully sucked up the chip with a small Pasteur pipette and dropped it into a syringe filled with a fluid designed to mimic brain chemicals.

    Turning toward the mirror, I stared at my ageing reflection. Without hesitation, I forced the syringe into my nose and pressed it as hard as I could, driving the needle deep into my nasal cavity and into the centre of my skull.

    For a moment, everything went numb. I yanked the syringe out, and it clattered to the floor. Deep down, I knew the odds of success were less than one percent. The most likely outcomes were death, hospitalisation, or severe brain damage, but it was now or never.

    I stood there, stunned by my reckless, suicidal act — by my utter stupidity. I braced myself, expecting to black out or die at any second. But nothing happened. I was still alive, still feeling more or less okay. Cautiously, I stepped closer to the mirror. I thought I’d see blood trickling from my nostril or feel too dizzy to stand, but there were no obvious side effects.

    I picked up the syringe and wiped some residue from the floor with a cloth. The fact that I was okay was a relief, even if the experiment seemed to have failed. I sat in silence for five minutes, waiting for something — anything. When nothing happened I figured there was nothing left to do in the lab, so I reached to turn off the equipment. But as my finger hovered near the power button, I heard an unbelievable sound: Ding-ding!

    I was transfixed. “What was the sound?” I asked.

    “That sound,” he said, “was the microchip pairing with the memory drive.”

    He reached down and slowly lifted the lid of the wooden box.

    Inside was a nondescript black metal device, about the size of a large Wi-Fi router. A small green LED light blinked intermittently on top.

    “So you see, at this stage, there was no need for a fancy box. I just needed something to house the memory drive’s circuitry, keeping out dust and moisture. That’s why I used this old router box. To test the technology, I’d run a small electric current into a petri dish containing some fluid and the microchip. I was trying to simulate a brain-like environment, with its constant electronic activity. When the chip detected the electricity, it would pair with the memory drive, which was connected to my laptop.

    Normally, when this happened, a tiny fragment of code would appear on the screen — so small, that it barely existed. But this time, something incredible occurred. I saw millions of lines of code appearing on my screen at an unbelievable speed. A typical hard drive can hold up to a terabyte of information, but I gasped as I watched the storage count reach millions of terabytes.

    The device was programmed to continually compress the data to handle the vast amount of information in an average brain. I sat there, watching it process all night until the sun started to come up. Then, suddenly, everything stopped. The light on the memory box went from flashing rapidly to blinking slowly.”

    “Like this one?” I asked, looking at the little blinking light on the box.

    “Exactly. The upload was complete!”

    He stopped talking, and I tried to gather my thoughts, slowing my breathing. I shook my head in disbelief. “So what you’re saying is, you’ve uploaded all the data from your brain, transmitted via a Bluetooth chip that you inserted through your nasal canal with a syringe, in a shed at the bottom of your garden, into this black box? And now you have a replica of all your memories stored on this hard drive?”

    The glint reappeared in Mr Reese’s eyes. “Not quite,” he said. “You see, after the upload, I ran a few tests on my brain. I have a very crude scanner in my shed that I use to measure brain activity. As you can imagine, I had inserted an electrical chip into my own head in a somewhat forceful and random manner, so I was expecting at least some brain damage. But I felt perfectly fine. So I put on my anti-UV goggles and lay down in the scanner…”

    “You have an MRI scanner in your shed?”

    “A very crude one,” he replied with a smirk. “More like a sun-bed than a scanner. Let’s say it can read brain waves while giving you a tan.

    Once the scan was complete, I reviewed the results. And this is where things get strange,” he said, seemingly unaware of the irony.

    “Normally, you’d see areas of red, yellow, and green indicating different levels of activity. But all I saw was purple.”

    “Purple?” I asked.

    “Yes, purple!” His eyes widened, trying to make me get the point. “Purple represents zero activity. There was no activity at all in any area of my brain. Now, despite the unfathomable nature of everything I’ve told you, the idea that nothing was happening in my brain while I was alive and well was, frankly, impossible. I checked the scanner, then the computer, and I retested myself several times. But the results were the same — purple nothingness.”

    “How was this possible?” I asked.

    “At this point, I need to confess something.”

    “Oh?”

    “I have to tell you this, both to relieve myself of some guilt and to back up my story. I wasn’t thinking clearly and, impulsively, I decided to enlist Sally’s help. I needed to be sure the scanner wasn’t malfunctioning. She’d been in the garden all night, completely unaware of the major scientific breakthrough happening in the shed. So, I opened the shed door and called her name…”

    “Sally? That’s your…wife?”

    He smirked and shook his head.

    “Your cat?”

    “Tortoise.”

    “What?”

    “Sally is my tortoise.”

    “You’re telling me you ran an MRI scan on your tortoise?

    “Yes. It’s shameful, I know. I used a piece of tape to cover her eyes. I just had to know. I didn’t know what else to do. Up to that point, I’d only ever run tests on rats, which I’m also ashamed of. But I reasoned I was doing this for the greater good of humanity.” He hung his head.

    “So now I must add a tortoise to the list. A memory I wish I could delete.” He said this as if a new possibility had dawned on him.

    He continued, “I ran the test, and to my absolute horror, I saw activity. Not a lot, but there was at least something happening in that tiny tortoise mind.”

    “My thoughts were racing, or at least I thought they were, even though the tests showed otherwise. How could I be thinking so many thoughts without any evidence of brain activity happening in this skull?”

    It was then that I looked again at the uploaded data. I had been so absorbed in understanding how a brain-dead man could still be fully functioning that I hadn’t noticed what else was happening on my computer screen. As I mentioned earlier, the upload of my brain’s data had reached just under 2.5 petabytes — that’s 2,500 terabytes. Or to put it more simply, 2.5 million gigabytes! But now, I saw that more data was being uploaded, albeit at a much slower rate than before. Data was still being received from the chip in my head and uploaded to the memory drive.

    “So, doctor, do you realise what I’m saying to you?”

    I couldn’t formulate an answer.

    “This box does not contain a replica of my brain. It is my brain. If I turn it off or lose connection via the Bluetooth chip, who knows what will happen? I could become completely brain-dead, like a vehicle without a driver.”

    “But your brain will still exist in the box?”

    He was almost frantic now. “Yes, but it will be like a pilot parachuting from a plane. The pilot needs to stay in the cockpit to keep the plane moving. No matter how skilled the pilot, if he’s not in control, the plane won’t last long.”

    “So what now?” I asked, a question I had never directed at a patient before. Normally, I would be the one proposing the next steps.

    “I am elated!” he said with genuine enthusiasm. “My thoughts have never been clearer. Ask me my daughter’s name!”

    Before I could ask, he said, “Abigail.” He smiled with glee. “The upload has restored clarity to all my memories. I remember my childhood as if I were watching an HD movie from a hard drive. This device, doctor, could save humanity! It’s more than just a means to eradicate dementia — it could be the antidote to every kind of mental illness. All I need to do now is figure out how to organise the information from the upload. It won’t be easy to sift through 73 years’ worth of memories,” he chuckled. Then he whispered, “The best part is, I’m going to make a few…alterations before re-uploading.”

    “What do you mean by alterations?”

    “Well, there are a few obvious bad memories I’m going to eradicate. No use keeping those floating around unnecessarily. Then I’ll make a few, uh, cheeky tweaks to my history. My first wife will look like a supermodel if I can process the data correctly, and I might even delete the fact that I ran an MRI scan on a tortoise.”

    As he spoke, I awoke from what felt like a strange dream. Surely he was insane. But even if he wasn’t… what on earth did he want from me? I’m a GP, not a scientist or a brain surgeon. I opened up his file, realising I should have taken notes about his case. I looked at the box, then back at him and asked decisively, “So, Mr. Reece, how exactly can I help you? What do you need me to do?”

    He looked at me, slightly confused. “About the brain?” he asked.

    “Yes, the brain.”

    “Oh, I don’t need any help with the brain, doctor. Everything is on track, and I may fly the box over to my old research lab in Switzerland next week. What a surprise they’ll be in for. A nice serving of humble pie for them.”

    “So if not the brain, then what are you here for?”

    He removed his left shoe and sock and then began rolling up his trouser leg. A sense of fear welled up inside me. What else could this eccentric man have hiding up his sleeve — or, for that matter, his trouser leg?

    “I think I may be suffering from gout again,” he said seriously. “I struggled with it a few years ago, but it improved with diet. Recently, I’ve been stress eating, and it’s flaring up. I’m wondering whether I need a course of colchicine or something similar… what do you think?”

    He replaced the lid on the box and put it back in the bag as I wrote him a prescription. He wished me well, stood up, and put on his hat. “Should I leave the door open or closed?” he asked on his way out.

    “Closed, please.”

    Soon after he left, there was a low rumble of thunder outside, and small drops of rain began to land gently on the window.

  • Window Dressing and the Art of Drawing Listeners In 

    What entices you to walk into a store rather than just walk past it?

    Usually, it gives off a vibe, has a tempting offer, or piques your curiosity in some way.

    If you see an empty storefront with a single item perched on otherwise bare shelves, you’ll probably keep walking—especially if there are plenty of other stores vying for your attention.

    The same applies when you upload a song or two and throw them into cyberspace. You’re trying to entice people to stop what they’re doing and step into your otherwise empty store. The same analogy works for a gallery where only a single painting hangs.

    Emptiness seldom attracts.

    For many years, my mother worked in a jeweler’s. Her bosses were focused on making a profit—rightly so. But she saw things through an artist’s lens. 

    Her favorite part of the job? Window dressing. She loved the creativity involved, the chance to make something beautiful and inviting.

    So when it comes to your art, think beyond just putting things out there. Build a curated collection. Present it with care. Don’t just toss songs onto digital shelves—decorate your storefront. Make it a creative endeavor, not just a business decision.

    One song, one piece of art, is never enough. Gradually build your gallery in a way that leaves people feeling nourished, the way you do after touring a great exhibit.

    And curate with coherence. There’s an art gallery in the center of Manchester filled with paintings and sculptures, yet nothing seems to fit together. You leave feeling a little conflicted. You may write in many genres and styles, which is fine. But take your audience into account. Visualise your audience experiencing your creations, like visitors in a gallery. 

    Whatever your genre, your audience should be able to see the logic in what you’re doing. Help them by presenting your work with intention.

    Use your creativity to invite them in, not just to listen but to experience. 

  • Is Travel Writing Extinct?

    Around the year 2000, someone recommended Riding the Iron Rooster by Paul Theroux to me. It’s a book about his travels around China in the eighties.

    I’d never heard of him, but I was at the beginning of my own Chinese learning journey, and his observations and overall travelling ‘style’ had a big impact on me. He came across like a literary version of Anthony Bourdain—moody, opinionated, and intriguing.

    By the time I made it to China in 2001, much of the book was out of date, but the trains were still old and slow (the titular Iron Roosters).

    My travelling companion and I would sit on tiny flip-down seats next to the train windows at the foot of our hard sleeper bunks, and I would practice Chinese with the locals, asking them ‘controversial’ questions we thought Theroux might ask. Do you like America? What do you think of Mao?

    Theroux is foremost a writer of literature, able to paint a vivid picture of his experiences that you can absorb and feel. Colin Thubron has a similar skill.

    But they are both old men now. Who are their replacements? Does travel writing even work—or matter—when we have endless uploads of travellers filming everything in sight?

    Surely the answer is yes. A plane ticket, a selfie stick, and a YouTube account do not an inspiring travel story make.

    And yet, these videos get views. Hundreds of thousands of them.

    But what do the viewers gain?

    I think it depends on how much thought goes into it.

    Watching a traveller sit at a street café in Baghdad with his phone facing him is, for many, just another form of procrastination. They numb their minds watching other people do stuff.

    Bourdain’s shows—though, obviously, backed up by a sizeable budget—were a good template for what video makers can accomplish. He spent time talking to people, having conversations, listening to the beating heart of the place. His voiceovers captured the moment, and he didn’t sugarcoat his moods, which made the experience feel real and visceral.

    It was still television, though, which is full of smoke and mirrors. His episode on Saigon, for example, features him walking into the food area of Ben Thanh market as if it’s a quaint little spot where locals eat. Not true. It’s an overpriced tourist trap. But some artistic license is okay. There’s plenty of fiction in Theroux’s travels books too.

    The point is, if we’re going to see less travel writing and more travel videos, can they include conversations with a little substance? Can there be more show, not tell? A little more artistry over virality?

  • Real Art Transcends Culture

    Ryan Tedder makes an interesting point in this interview. He says that in the past, a great song—one that you, your family friends all thought was great—stood a very good chance of becoming a hit.

    But now, a song will only gain traction if it’s part of the “culture”.

    In other words:

    Song of questionable quality + fits TikTok trends = probable hit.

    Great song + doesn’t fit TikTok trends = very unlikely hit.

    For me, this is more evidence that there are two kinds of songwriters, and you can’t be both:

    1. Those who write viral hits for the industry, where popularity matters more than integrity.
    2. Those who write great songs regardless of trends. Some, like The National (I once watched them play a huge stadium, where a security guard told me he’d never heard of them), very gradually build an audience outside the mainstream. Others, like Ken Yates—an excellent songwriter—struggle to find a wide audience.

    So these are two separate skill sets. 

    Confusing them is often the death of my own songwriting. Which is why I keep repeating this thought (probably as a reminder to myself):

    You have to be true to yourself and make art, not products. Art has to touch you and come from within to really matter.

    Spotify streaming data, TikTok hits, and award ceremonies only reflect what’s trending in popular culture. 

    Genuine art isn’t defined by trends—it exists beyond them, transcending and outlasting them.

  • How Low Can You Go

    Inheritance, directed by Neil Burger, was filmed entirely on an iPhone.

    I watched the movie without knowing this. The slightly jumpy, erratic nature of some scenes only made it feel more human. The tension was palpable.

    Afterward, I remembered an old boss of mine telling me, “One day, everyone will have a camera built into their phone.” That was nearly 30 years ago.

    What was once impossibly expensive is now relatively affordable.

    The same is true for recording equipment. I’ve often felt a little envious of writers, painters, and photographers, who can create professional work with minimal gear and cost. Meanwhile, musicians traditionally needed expensive studio setups just to showcase their work properly.

    Do You Really Need a Studio in 2025?

    There’s no doubt that high-end gear in the hands of skilled engineers produces superior recordings. But is it absolutely necessary?

    If an experienced sound engineer were given a decent audio interface, a solid microphone, and a laptop running Logic Pro, could they produce a recording that sounds truly professional? Would their peers be able to tell if it was made in a high-end studio or in a bedroom?

    Would it be the audio equivalent of Inheritance—a compelling work with only subtle hints that it was made outside a traditional production environment?

    And does anyone even care about HiFi vs. LoFi anymore?

    But how “Lo” Can You Go?

    Ultimately, Inheritance works because its foundation is strong—the story, the acting, and the creative shot choices. Post-production undoubtedly gave it the final polish, but great source material always wins. Even Spielberg agrees.

    The same applies to music. A great song and a DAW alone won’t guarantee a great recording. You need to refine your recording and mixing skills. You need to capture the moment. And you need to invest in post-production.

    That might mean hiring a professional mixing or mastering engineer. But a high-quality mastering plugin used correctly can also work wonders.

    Mastering on a Budget

    I’m a big fan of Ozone iZotope—it’s basically AI for your mixes. Used carefully, it can elevate your tracks in ways that were once only possible with professional mastering.

    A few things I’ve learned using it:

    • Don’t push too hot of a signal—watch that output meter.
    • The Master Assistant can instantly fix your EQ, or at least mix tweaks you hadn’t noticed.
    • It maximizes your volume for streaming without crushing dynamics.
    • The stereo width tool, when used sparingly, adds depth without making your mix sound artificial.

    Technology Is a Gift—But It’s Not a Replacement

    These advancements are a massive win for independent musicians. No doubt, incredible albums will be made in bedrooms. But at the end of the day, technology will never replace great songwriting and performance.

  • Your Art is Enough

    No one ever complains about there being too much bread. So why do we often hear that the world is saturated with too much music?

    Maybe because so many releases to Spotify are made primarily in the hope of turning a profit. The lifeblood is thus sucked out of so much art.

    When a family enjoys bread made by a thoughtful parent, no one thinks about the price it could have sold for. The point is in the making and the sharing. And then it’s on to the next loaf. 

    Make music because creating is living, just like baking bread. 

    Don’t measure the value of your art in terms of money. Create because you love it. Create because you are alive. There are few greater pleasures than producing something that comes from within you, and its worth is not determined by how it compares to other works or the profits they may make. 

    Whether your work is seen as better or worse than others is not your concern.

    The act of creation is a reward in itself. The satisfaction of making something with integrity is your royalty check. So contribute something of substance, and make it with heart.

  • What Is a Song Worth?

    As I write this, the price of gold is about $94 per gram. Gold has an agreed-upon value, meaning a bar of it is worth the same in Beijing as it is in London.

    But how much is a song worth? And who decides?

    Songs aren’t traded on the stock market. There’s no universally accepted price. Yet, we know “Yesterday” made Paul McCartney a very rich man. Artists sell their back catalogues for millions, relinquishing ownership of their work for an often hefty sum. Their songs, at least in financial terms, have immense value.

    But what about Dave from Coventry, who has spent years honing his songwriting craft? His wife and friends agree he’s talented, but will a company pay for his back catalogue? Highly unlikely.

    Dave’s songs are worth next to nothing in monetary terms.

    Of course, they mean a lot to Dave. Maybe they matter to a few others, too. And if he enjoyed writing them, then his time wasn’t wasted. Monetary value is just one form of worth. Maybe that’s enough for Dave.

    But what if, deep down, he believes he’s written a truly great song—something that could stand alongside McCartney’s best? How does he shift the perception of his work from worthless to valuable?

    He uploads it online, crafts eye-catching thumbnails, pitches it to companies. He plays it live wherever he can. Still, nothing. The song gains no traction.

    Does this mean it wasn’t as good as he thought? Maybe. But is it that simple?

    Talented songwriters have watched their albums sink because record labels failed to push them. The songs weren’t bad—other professionals praised them—but praise doesn’t pay the bills. Meanwhile, certain artists are famous more for their image than their music, yet they rack up billions of streams. Their songs might be painfully generic, but their commercial value is undeniable.

    This tension got me thinking about Seth Godin’s The Practice. He argues that if your work isn’t resonating, you need to work with more empathy. You can make art solely for yourself, or you can make art for an audience. But if you try to do both, you’ll be trapped—forever trying to convince others to see what you see.

    So what does this mean for Dave? Should he stop writing from the heart and start studying the Spotify Top 10? Should he strip out personal lyrics, simplify melodies, and ensure his songs are festival-friendly bangers? More bass drops, more synth stabs—don’t forget a catchy pre-chorus.

    Godin surely can’t mean this, because elsewhere he argues that mediocre work is neither loved nor hated—it’s simply ignored. Yet the reality is, bland and predictable songs do become valuable commodities, while thoughtful, well-crafted ones often go unheard.

    Why?

    Maybe there are a thousand answers. But here’s mine:

    If a song is reasonably good but poorly packaged and marketed, it doesn’t matter how good it is or how empathetic the songwriter might be. An attractive pop star in the right clothes, with the right attitude, in the right moment, is infinitely more important than the song itself. And if the artist isn’t willing to relentlessly promote their work and make serious personal sacrifices, the song might as well not exist commercially speaking.

    I’d go even further:

    The Beatles had the songs, but just as importantly, they had the packaging, the hustle, and the perfect timing. Their music isn’t worth millions today just because of its quality. It’s because of the effort that went into pushing it into the public psyche. Without that, Paul from Liverpool might have done something else entirely, his songs buried on an old tape—just like Dave’s are on his hard drive.

    There’s no guarantee that a good song will bring financial reward. It doesn’t matter how well you listen to your audience or how much you sacrifice.

    Rick Rubin put it best: “Make art for yourself. Not the audience.” When it comes to songwriting, that rings true. You have to move yourself before you move others.

    Selling, on the other hand, requires constant iteration until you hit what the market wants. But real art isn’t business. 

    Art ceases to be art when it’s refined to maximize mass appeal. 

    That’s why the music industry is filled with soulless, manufactured hits. Just because millions of people eat burgers at a fast food restaurant doesn’t mean they’re good food. Just because Taylor Swift and Ed Sheeran dominate the charts doesn’t mean they’re making quality music.

    I’m not saying they aren’t. 

    I’m just saying: business and art should not be confused, and the value of a song should not be determined by how well known it is, or how it performs commercially. Some songwriters have even dismissed their biggest hits as lacking real quality.

    This leads to a difficult realisation: if money and popularly don’t determine the actual value of your song, what does?