Here’s another of our in-depth articles from our London-based correspondent Zakia Uddin. This time, she looks at the increasingly prevalent modern phenomenon of the comeback artist …
Justin Timberlake announced his comeback this year – yes, JT. Put it this way, the 32-year-old’s first release was back when Dubya had been in power for less than a year and the first dot com bubble had just exploded (‘Like I Love You’, below).
The comeback has always occupied a special place in the world of music. Unlike political comebacks, musical ones rarely the same renewed vigor. You don’t humour a politician (or at least we don’t think we do) but the force of nostalgia is enough to get people excited about a singer or band’s return. We’re never quite sure whether to take it seriously – arguably, we’re even more cynical about musicians’ abilities than we are about those of politicians. Will they be as passionate as they used to be? What if they aren’t as good as we remember? What does that say about us? Worst of all, they remind of us how old we’re getting.
There was a more (or less) cynical time – depending on your point of view – when making a comeback was like doing an encore. Or comebacks were only for the kind of musicians who did encores, who couldn’t get enough, and were willing to spin out the old hits for an unimaginative audience. So what’s changed? It’s a real truism that touring is the only way to generate money – correspondingly many bands have sucked it up and gone touring together, including legendary fall-outs like the Stone Roses (below).
Generally, rock music comebacks have always seemed more dignified. It involves a different kind of struggle, as though they just didn’t want to come back until they were truly inspired. Click on ‘more’ to continue!
