In a compelling article titled “Stop Shaming Adele” (Part I), Dr. Paul E. Kwak, a respected laryngologist and laryngeal surgeon at the NYU Voice Center and Assistant Professor at NYU Department of Otolaryngology – Head and Neck Surgery, articulated a sentiment that resonated deeply with me. Dr. Kwak’s piece shed light on the often-overlooked vocal challenges faced by singers, and I felt compelled to expand on this crucial conversation as a seasoned vocal coach. It’s time we shift our perspective and understand that the human voice, a singer’s instrument, has limitations that extend beyond technique and lifestyle choices. I applaud Dr. Kwak for initiating this vital dialogue.
Adele is more than just a voice; she’s a musical force that touches souls. Her performances resonate with audiences on a profound level. Having witnessed her captivating stage presence on her last tour – the one tragically cut short due to vocal strain – I can attest to her artistry and dedication. Her heartfelt announcement to fans regarding the cancellation spoke volumes about her character and commitment. The barrage of criticism directed at her, questioning her technique and self-care, paints an inaccurate picture of an artist who pours her heart and soul into her music, her voice, and her connection with her audience. The reality is that embarking on an extensive global tour takes a tremendous toll on any singer, especially one performing at Adele’s vocal intensity and scale. Dr. Paul is right – it’s time to stop shaming Adele and start understanding the complexities of vocal performance.
Dr. Kwak poignantly describes the immediate backlash Adele faced after her candid Instagram announcement: “In the hours following the posting of her beautifully candid, heartfelt announcement on Instagram, legions of torch-wielding villagers who identify as voice experts could not wait to validate their negative prophecies as having come true. ‘I’ve heard Adele in concert,’ writes one, ‘and I have cringed every time because of the way she uses her voice. It is a recipe for problems. I hope she studies a little bit more and gets a better technique….’ Another pipes up: ‘6 months of dramatic vocal technique boot camp would have her singing free from vocal nodes.’ Yet another: ‘My bigger concern would be all the young fans who would emulate her vocalisms and then mess up their own voices.’ Still another: ‘The two biggest issues are her smoking and her lack of hydration.’ One marvels at the levels of access to Adele these experts must have, to presume to know the findings from her most recent laryngoscopic examination, her daily fluid intake, and her smoking habits.”
This immediate and often harsh criticism highlights a troubling trend. As Dr. Kwak continues, “We who care for singers are certainly not unused to the chatter, the gossip, the verbal bile that can flow so freely and unbidden in these circles. But at a moment of a singer’s self-professed greatest vulnerability, this kind of backlash is insulting and disgraceful, and blemishes the stone-throwers far more tellingly than it tarnishes Adele’s contributions. This kind of commentary seeks to divide rather than unite those who should work collaboratively to care for and support singers. I constantly reiterate in seminars and conversations with young singers-in- training the importance of multidisciplinary care – as I like to say, the importance of having a voice ‘squad.’ I respect the wisdom of so many voice teachers and coaches, who have built methodologies based on years of experience and training. One of the forefathers of academic laryngology, Manuel Garcia, was himself first a great singing teacher, and indeed, also a forefather of vocal pedagogy. It is right that medical and artistic practitioners should be partners in the education and cultivation of a singing voice. However, what I am addressing here is rather the danger of opinion offered without knowledge of the specific case, or indeed in the absence and disregard of vocal science.” Dr. Paul E. Kwak
1. Singers Are Human Beings, Not Just Voices
Dr. Kwak powerfully states: “Armchair vocal coaching is as useful and welcome in singing as armchair quarterbacking is in football. The peanut gallery neglects to appreciate the singularity of Adele’s voice, but worse, it fails to acknowledge the singular enormity of her circumstances. Assuming that her goals and values are the same as ours, and that her struggles are the same as ours, suggests a presumptuous narrowness of thought and perspective. Singers in training might perform recitals for groups of 20-50; stars at The Metropolitan Opera will often sing to a full house of 3,000. Adele walks out and looks at 20,000 strangers, who know every lyric and note she is about to sing, hang on each one, and are recording her performance on their iPhones. This pressure likely sends adrenaline and cortisol through her blood at levels greater than most of us will ever experience routinely; it may make her pharynx tenser, her neck tighter, her breathing occasionally shallower. Less busy singers can enjoy several days of rest between shows; she has a show every third night, for a grueling total of 120 shows in the past year. After each of those 120 shows, she signs autographs, poses for selfies with fans who want to have a chat with her, then maybe she kisses her sleeping child goodnight before eating a late-night dinner right before collapsing into a different bed each night that is not her own. None of us will ever understand, experientially, the path she walks to that microphone, nor will she ever understand what it’s like to be us – but instead of judging us, she stands at the front of that stage and delivers her soul to us, and all of that force and energy is funneled through two tiny, often fatigued, folds of muscle, connective tissue, and mucous membrane.
Singing is about far more than the act of walking onto a stage, opening one’s mouth, and taking a breath to move air through two small pieces of tissue to create sound. It is our most primal and human act of expression and connection. Functionally, it is athletic; culturally, it is spiritual.”
The immense pressure and physical demands Adele and artists at her level endure are often overlooked. It’s not just about singing; it’s about the relentless schedule, the constant travel, the emotional output, and the sheer force of will required to deliver night after night. Perhaps, instead of criticizing from the sidelines, we should appreciate the dedication and vulnerability these artists display. Imagine Adele, perhaps even singing a few lines in a lighthearted “car program show” setting, and then consider the vast difference between that and the intensity of a stadium performance. The vocal demands are worlds apart.
2. Vocal Health is a Delicate Balance
Singing isn’t about vocal perfection or hitting every note flawlessly. It’s about conveying emotion, connecting with an audience, and striving to sing in a way that is sustainable for the long term. For those of us dedicated to helping artists maintain vocal health, we understand the realities of touring – the constant demands, the wear and tear, and the ongoing need for vocal maintenance and troubleshooting. No matter how impeccable a singer’s technique or preparation, maintaining vocal health on tour is a continuous challenge, a true art form in itself.
3. A Singer’s Voice is Irreplaceable
Our drive to communicate and express ourselves through song is boundless, yet our voices are finite instruments with inherent physical limits. This delicate nature of the voice deserves our utmost respect and understanding. When vocal issues arise, it’s not a simple fix. Unlike a guitarist who can replace strings, a vocalist cannot simply replace their vocal cords. Recovery and vocal rehabilitation take time, patience, and dedicated care.
You can read Dr. Paul E. Kwak’s insightful article in its entirety here: http://www.schmopera.com/stop-shaming-adele/
If you are experiencing vocal challenges, resources are available to support you here.
Thank you for listening. Let’s cultivate a more supportive and understanding environment for singers and appreciate the dedication they bring to their craft, recognizing the human element behind every performance.
