Change is never easy, especially for fans who come to expect a certain sound, a certain feeling, or a specific identity from an artist. But for Steven Wilson, pushing against those expectations isn’t just part of being a musician; it’s central to it.
The reaction to Wilson’s 2017 album To the Bone was mixed among his devoted progressive rock audience. Many were surprised — even frustrated — by the shift toward a more accessible, pop-influenced sound. But for Wilson, that tension wasn’t something to shy away from. In fact, he saw it as a sign he was doing exactly what he should be.
“Not many people, but a small minority, were very upset by To the Bone, that it had more of a pop sensibility,” Wilson said during a recent appearance on The Vinyl Guide Podcast (via Ultimate Guitar). “That, to me, kind of made me happy. Because it meant that I had not simply delivered more of the same, that I had not catered for my audience. I’m still moving forward, and I’m evolving. And if they want to come with me, that’s great. But if they don’t, of course, I’m sad, but I also recognize that that’s part of the ‘contract,’ that I’ve done the right thing. I’ve moved forward and I’ve evolved.”
This idea, that real artistic growth often comes at the cost of immediate fan approval, lies at the heart of Wilson’s creative philosophy. When asked if he ever fears alienating longtime followers, he responded with a degree of honesty not often heard from artists navigating the commercial side of their careers.
“It’s a complicated answer, it’s a complicated question. Do I fear it? In a way. But I also relish it. That sounds like I’m deliberately going out of my way to upset people, and I’m not.”
“But I also recognize that part of the ‘contract’ that exists, the ‘unwritten contract’ that exists between an artist and their fan base, is that you have to confront their expectations. Because, if you don’t, as you say, you’re not really being a proper artist. You’re kind of moving more to the realms of being an entertainer.”
For Wilson, there’s a clear line between art and entertainment — and it’s tied to the notion of creative risk. He argues that being an artist isn’t about satisfying demand or offering familiarity. Instead, it’s about making something honest, even if that means some people walk away.
“I always say that being a musician… The music industry it’s not a service industry. You’re not trying to understand what people want and give it to them. It’s a very strange industry where, in a way, to be an artist, you have to be very selfish about what you do, do it for yourself. But then, the paradox of that is you have to then go out and find an audience that wants that.”
“So, that’s kind of a dichotomy that you can never reconcile completely. So, I guess what I’m saying is that if I do something that’s very different, I know that if I’m upsetting people, I’ve done the right thing. If you understand what I mean.”
That contradiction, between making music for oneself and finding listeners who connect with it, is something Wilson accepts as unsolvable, but necessary. It’s also a reminder of what it truly means to evolve as an artist.
“It kind of goes to the very root of what it is to be an artist in the first place. Should you ever worry about displeasing your audience? I don’t think you should. I think, in many ways, you should worry about not displeasing them. Because if you’re not, then it means you’re not really evolving.”
Wilson‘s development from prog purist to boundary-pushing solo act won’t be to every fan’s taste, but that is precisely the idea. His refusal to stand still — stylistically or creatively — keeps the music alive, and, above all, true to what music needs to be: an ongoing process of exploration.
