From Kurt Cobain espousing the middling Melvins to Kanye West signing a singer from the library circuit, an artists ability to make great music doesnt always mean they can identify it
Last week saw the release of the painfully bland new album by Vance Joy, one of the many proteges of Taylor Swift, who took him out as a support act on her 1989 world tour (though apparently they dont talk any more). Swift has form for bigging up other musicians: she has championed not just Vance Joy, but Haim and Ed Sheeran (who in turn has championed Foy Vance, another singer-songwriter confusingly close in name to Vance Joy, but no relation).
However, Swifts proteges have tended to be artists already on an upward curve, already with major label deals and some success. She has not yet mastered the art of picking up on an artist no one has displayed any interest in and incessantly shouting about them, until all her fans have gone to the gigs, bought the T-shirt and discovered for themselves how dubious their heros judgment is. Unlike this lot
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