Iron Maiden’s Bruce Dickinson: Why Talent Isn’t Enough

Iron Maiden frontman Bruce Dickinson recently shared candid advice and reflections with aspiring musicians ahead of his appearance at the Musicians Institute’s MI Conversation Series on April 21st in Hollywood. Chatting backstage, Dickinson delved into the crucial elements needed for success, the nature of performance, and the evolving landscape of the music industry.

The Indispensable Role of Self-Belief

For Dickinson, the journey starts with an internal quality that can’t be taught. “One of the most important things is self-belief,” he stated emphatically (as transcribed by Blabbermouth). “And you can’t teach that. That’s character.” He stressed that talent alone isn’t enough without the confidence to showcase it. Without putting oneself out there, even immense skill remains unnoticed. “I mean, it’s like if you’re the greatest guitar player in the world and you sit in the middle of a tent in the Sahara Desert, you are never gonna make it,” Dickinson cautioned, adding that resilience is vital because setbacks and criticism from peers are inevitable. He also advised artists against becoming too narrowly focused, even within a beloved genre: “And try not to just go down the rabbit hole of a particular type of music…”

However, Dickinson offered a crucial distinction: self-belief should fuel connection, not self-absorption. “Yes, you need the self-belief, but if you make the performance all about yourself, people will walk away, because nobody’s that interesting,” he explained. The real goal is to use one’s talent authentically to tell stories and express genuine feelings that resonate with listeners. Performance, in his view, is a dynamic exchange: “…when you’re performing live, it is like a game of emotional tennis, ’cause you knock it out there and they knock it back…” This back-and-forth energy is why, he believes, “concerts are always better at the end than they are at the beginning. [Laughs]”

Staying Inspired and Valuing Emotion Over Perfection

When asked what keeps him motivated, Dickinson pointed to his most recent work rather than dwelling on past glories. “Whatever the last thing I did, that’s what keeps me going — not the thing I did 40 years ago…” He admitted to being highly critical when revisiting older material, sometimes being “pleasantly surprised” and other times “mildly appalled,” spotting flaws others might miss. “You become hypercritical,” he noted, “And I try and avoid it, because what you want is… It is an instant reaction people get to music…”

Ultimately, Dickinson argued that emotional impact trumps flawless execution for the audience. While hitting moments of both technical and emotional brilliance is ideal (“Hey, we were a 10 today”), he prioritizes connection. “But what’s more important? For the audience, I argue it’s always the emotional nine and a half,” he asserted, dismissing overly technical critiques often found online with a characteristic “F**k off. You know what I mean? [Laughs]”

Adapting to the Changing Music Industry

Dickinson also reflected on the seismic shifts in music distribution. He recalled the early days of file-sharing catching major labels unprepared, leading to upheaval. While initially seeming like a boon for listeners (“All of our favorite music is suddenly free”), it created significant hurdles for emerging artists. For established acts with strong live followings, the impact was mitigated, but for newcomers, platforms like “Spotify [was a] catastrophe…”

In today’s environment, Dickinson emphasized the need for creative adaptation. “So you have to use your creative imagination in trying to present what you are doing in a way that people are excited about it,” he advised. This now involves leveraging online platforms like Instagram and potentially alternative models like subscription-based broadcasts. However, he maintained that these don’t replace the unique power of live performance: “But it’s not the same as going out there with a live concert and building a physical community…” Despite the challenges, he sees resilience in the industry, noting that evolved record labels are more tech-savvy and that the fundamental “endless appetite for consumption of music” remains.

The Mandrake Project Continues

These insights come as Dickinson supports his latest solo effort, The Mandrake Project, released in March 2024. He’s set to bring the project to North American audiences with “The Mandrake Project Live 2025” tour, launching August 22nd in Anaheim, CA. The tour will feature his 2024 band lineup, including Dave Moreno, Mistheria, Tanya O’Callaghan, and new additions Philip Näslund and Chris Declercq.