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Rolling Stones quotes:Keith Richards on punk rock
KEITH RICHARDS ON PUNK THEATER Keith Richards didn’t dismiss punk—he called it great theater. For him, the music was just background noise to the chaos onstage. He dug the raw energy and the rebellion, but thought the scene leaned too much on style—clothes, hair dye, and attitude—like a recycled trick from the ’60s. What really mattered to Keith was whether a band was good. The rest? Pure costume drama. Punk was wild, but authenticity was always the real show.
“I think punk rock was great theater, and it wasn’t all crap. The music was all incidental, like background music. You just had to see it. It’s a little too image-conscious from my point. It’s like in the 1960s, ‘We’ll put this band in these clothes, we’ll dye his hair.’ As long as the band’s good, I don’t care what color they dye their hair. But anything other than California rock, anything but complacency, yeah, sure. I’m probably a little out of touch with the music scene here, but most of the stuff that’s happened has lost touch with itself anyway. It’s back to fads. One minute it’s the Bay City Rollers, then it’s punk rock, then it’s power pop or new wave, then it’s finished.”
Keith Richards never wrote punk off as nonsense. To him, it was theater—loud, raw, and absolutely something you had to see rather than simply hear. The music itself? More like a soundtrack to the spectacle. He admired the energy and the defiance, but from his perspective, it leaned too heavily on image. Punk seemed obsessed with clothes, hair dye, and attitude, echoing the same tricks the industry pulled back in the 1960s. For Keith, authenticity always mattered more than costumes.
Fads, complacency, and a scene out of touch
Richards couldn’t ignore the bigger picture either: music constantly cycling through fads. One moment it was the Bay City Rollers, the next punk rock, then power pop or new wave, before moving on again. To him, that constant shift made the scene feel like it had lost touch with itself. He wasn’t against rebellion—in fact, he welcomed anything that broke the mold of safe California rock. But he bristled at the idea of style over substance. For Richards, it always boiled down to one question: is the band actually good? If so, dye your hair purple, wear wild clothes, do whatever you want—the music should carry the weight, not the gimmicks.
Keith’s perspective on punk reveals more about his own philosophy than about the genre itself. He respected boldness, loved a shake-up, and didn’t shy away from raw noise. But he drew the line when music became just another passing trend, more about headlines than heart. Punk may have been wild, but to Keith, it was only valuable if it tapped into something real—something beyond the theater, beyond the image, beyond the endless churn of the fad machine. That’s where the soul of rock ’n’ roll lived, and always would.
