Nick Cave

Sean O'Hagan

Faith, Hope and Carnage

Ivana Varesko

The luminous and shocking beauty of the everyday is something I try to remain alert to, if only as an antidote to the chronic cynicism and disenchantment that seems to surround everything, these days. It tells me that, despite how debased or corrupt we are told humanity is and how degraded the world has become, it just keeps on being beautiful. It can’t help it.

To be awed. To experience a communal sense of awe. I can feel it on stage and see it in people’s eyes. And I experience it too. It’s certainly something I have felt many, many times at other artists’ concerts. It’s about reaching an essential and shared state through music – sometimes for a moment, sometimes for an entire concert. We’ve all experienced that. Not just a physical release, although there is that, too, but to be held by an artist at the crucial moment of expression – to be awed, second by second, at the way a song or piece of music unfolds, to be held on the edge of tears by the drama of it all, and to be, as an audience member, an essential participant in the drama itself. That is a wonderful thing.

The creative impulse, to me, is a form of bafflement, and often feels dissonant and unsettling. It chips away at your own cherished truths about things, pushes against your own sense of what is acceptable. It’s the guiding force that leads you to where it wants to go. It’s not the other way around. You’re not leading it.

The more overtly unshakeable someone’s beliefs are, the more diminished they seem to become, because they have stopped questioning, and the not-questioning can sometimes be accompanied by an attitude of moral superiority. The belligerent dogmatism of the current cultural moment is a case in point. A bit of humility wouldn’t go astray.

Vulberability is essential to  to spiritual and creative growth. […] You’re being open to whatever happens, including failure and shame. There’s certainly a vulnerability to that, and an incredible freedom. […] To be truly vulnerable is to exist adjacent to collapse or obliteration. In that place we can feel extraordinarily alive and receptive to all sorts of things, creatively and spiritually. It can be perversely a point of advantage, not disadvantage as one might think. It is a nuanced place that feels both dangerous and teeming with potential. It is the place where the big shifts can happen. The more time you spend there, the less worried you become of how you will be perceived or judged, and that is ultimately where the freedom is.

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