3 Musicians Who Have Taken Big Risks in Their Careers–and Won Big

Success in the music industry is something that can be gone in a minute if you don’t play your cards right. Audiences are fickle and easily distracted. Largely, every decision is paramount to your future as an artist. Because of that, you might be tempted to play it safe. However, the three musicians below threw caution to the wind, taking big risks and earning even bigger rewards.

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Beyoncé

Artists have been teasing their album drops for decades. The pre-promotional period guarantees a certain level of listenership that might not tune in otherwise. However, if you’re a big enough artist, you might be able to skip that promotion–at least that’s what Beyoncé thought when she surprise-dropped her self-titled album in 2013. She was right. Beyoncé became one of her most successful albums to date, with no campaigning required. It could’ve been a lackluster release, but Beyoncé and her incomparable name managed to defy the odds.

Mama said, “You’re a pretty girl
What’s in your head, it doesn’t matter
Brush your hair, fix your teeth
What you wear is all that matters”

Just another stage
Pageant the pain away
This time, I’m gonna take the crown
Without fallin’ down, down, down

Paul McCartney

Next up on our list of musicians who have taken big risks, we have Paul McCartney. After being in one of the biggest bands of all time, you’d likely never want to try and recreate that magic. Unless you’re McCartney, you might be risky enough to give it a go. McCartney once described starting Wings as one of the biggest risks of his career. Despite this, he managed to earn success as part of a rock outfit for the second time. Though Wings might not have measured up to the fame the Beatles enjoyed, they weren’t entirely eclipsed either.

Someone’s knockin’ at the door
Somebody’s ringin’ the bell
Someone’s knockin’ at the door
Somebody’s ringin’ the bell
Do me a favor
Open the door and let ’em in

Michael Jackson

For many years, Michael Jackson was a tried and true hitmaker. His songs were tailor-made for radio success–aptly short and snappy. However, in the ’90s, Jackson decided to experiment more. His songs grew longer and more complex. With this, he ran the risk of alienating his audience. They had come to know and love him for one thing, only for him to switch things up late in the game. However, he managed to make those complex songs hits too–which is a testament to his chops in the hit-making department. He managed to secure the impossible balance of following your artistry and creating successful songs.

What about sunrise?
What about rain?
What about all the things
That you said we were to gain?

What about killing fields?
Is there a time?
What about all the things
That you said was yours and mine?

(Photo by Mark and Colleen Hayward/Redferns)