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A Compass Called Doubt

A Compass Called Doubt

A Compass Called Doubt

What happens when uncertainty enters the creative process? Instead of viewing it as a feeling we constantly try to escape from, we could allow it to guide us into creating at our highest potential.

by

Agota Marija

4 min read

4 min read

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Mikalojus Čiurlionis, Friendship. 1906.

Mikalojus Čiurlionis, Friendship. 1906.

Mikalojus Čiurlionis, Friendship. 1906.


You have a song sitting on your laptop that you can’t seem to release. You’ve listened to it a hundred times. You’ve changed the mix, rewritten the lyrics, added a chord, then taken one away. At some point, you were proud of it. Maybe you still are. And yet, every time you think about putting it out into the world, something stops you. Will it respond to an audience? How will people receive this? So you sit on it. But you keep sitting on it, doubting if it’s ever even going to be put out. A lot of artists describe getting to the end of the creation of a piece and feeling disappointed, doubting if this work is worthy, questioning, and that doubt leading to a complete block of releasing the music itself. All of a sudden, it seems even the work you were proud of starts bringing in hesitation. In this way, you allow doubt to become an all-consuming feeling; you give it this immense power to dictate whether or not your work is worthy.


However, not all doubt comes from the same place. There is the doubt that asks, “What will they think?” and then there is the doubt that quietly asks, “Is this actually me?” The first can be paralysing. The second might serve as a vessel to remind you to trust your intuition from the start. Or rather, throughout the entirety of your musical process. Let’s go back to that song you’re sitting on. Maybe there isn’t anything missing with you as an artist; perhaps it’s just in the piece itself. If there are so many questions, so much hesitation that a certain song seems to be unleashing in you, there might just actually be something missing there. Something your subconscious notices, that little voice in your head that doesn’t even have to talk for you to hear it. Yes, doubt can certainly play around with our emotions even when we’re seemingly proud of our work. But more often than not, it creeps in when you yourself don’t believe in the piece; something in your gut is saying, “this isn’t me”.




The hardest, or most demanding aspect of creation is not in the artwork that comes easily. It’s not in the song that, it seems, wrote itself. You craft it up, and it just works. You listen to it again and again, completely enthralled with the fact that it’s your own work. See, that’s the smoothest part. The hard part is the pieces that require more. Perhaps there’s an aspect of the piece that you absolutely adore, but as a whole it just doesn’t agree with you. Or rather, you don’t agree with it.


Brian Eno. 1980.

Steve Lacy, Oh yeah?. 2026.


But how does one begin to actively combat all these seemingly disruptive emotions? Sometimes you get so bewitched by your own craft that it starts to seem like it’s in control of you, like it’s the one taking you on a journey completely detached from your own agency. So, during these times, one has to completely disconnect from the work that is right in front of them and begin to look at themselves. Revisit the values you hold when it comes to releasing music.


Is it to experiment, to reach a wide audience, or simply to unravel the mess that lives within you at times? Start from there. Now, going back to your core values, strip the music down to its core. For example, if lyrics are the first thing that comes to you, remove all the extra layers, all the chords, melodies, and rhythms. Go back to first base. The same goes if you naturally start with chord progressions or a melody; remove the words, strip it fully down. Start again, and then when you make something completely new, circle back. Is the doubt still ripping you apart?



For his newest 2026 album, “Oh yeah?” , Steve Lacy revealed that he scrapped around 300 songs over the four years that he was crafting it. Not only that, but he also ditched two full albums in order to get to a point where he genuinely believed in all ten tracks enough to finally put “Oh yeah?” out. And this is after his last album won the 2023 Grammy for Best Progressive R&B Album. This feeling never leaves you, no matter how much of your work is out there in the world, however many and whichever awards you receive, no matter if you have 34 million monthly listeners on Spotify. No matter, doubt will always linger.


The same goes not only for the process of cooking up a tune, but for performing live as well.There are so many forms and ways in which doubt can manifest in our lives. But one of my coaches in high school once told me: “Don’t be scared of nerves; nerves tell us we care”. So, if you care about your craft, which I’m fairly sure that you do, don’t be surprised when nerves and doubt come creeping in.


In actuality, increased self-doubt can often enhance performance even more. Researchers say this increase in output is heavily related to complacency. When we’re too confident, we don’t try as hard, and trying is an art. When you know you care, on the other hand, you have something to prove. Not necessarily to others, but to yourself. Trying is allowing yourself to understand that, yes, you may fail in this endeavour in some sort of fashion. But, within this so-called failure, you begin to realise that if failure is an internally realistic end result, one will do just about anything to prevent that.


For his newest 2026 album, “Oh yeah?” , Steve Lacy revealed that he scrapped around 300 songs over the four years that he was crafting it. Not only that, but he also ditched two full albums in order to get to a point where he genuinely believed in all ten tracks enough to finally put “Oh yeah?” out. And this is after his last album won the 2023 Grammy for Best Progressive R&B Album. This feeling never leaves you, no matter how much of your work is out there in the world, however many and whichever awards you receive, no matter if you have 34 million monthly listeners on Spotify. No matter, doubt will always linger.


The same goes not only for the process of cooking up a tune, but for performing live as well.There are so many forms and ways in which doubt can manifest in our lives. But one of my coaches in high school once told me: “Don’t be scared of nerves; nerves tell us we care”. So, if you care about your craft, which I’m fairly sure that you do, don’t be surprised when nerves and doubt come creeping in.


In actuality, increased self-doubt can often enhance performance even more. Researchers say this increase in output is heavily related to complacency. When we’re too confident, we don’t try as hard, and trying is an art. When you know you care, on the other hand, you have something to prove. Not necessarily to others, but to yourself. Trying is allowing yourself to understand that, yes, you may fail in this endeavour in some sort of fashion. But, within this so-called failure, you begin to realise that if failure is an internally realistic end result, one will do just about anything to prevent that.


In this way, I want to bend the meaning of doubt a bit and encourage you to allow it to guide you to your highest form of creation. Steve Lacy scraps 300 songs, not because they are lousy in some way; we all know this man could make just about anything, and it would be more than impressive. So, it’s not about that. It’s about knowing you can simply do better. The way I see it, you are the only one who knows exactly what you are capable of and what you want your music to sound, look, and feel like. So, when I speak of allowing doubt to guide you, I don’t mean the kind that comes from external sources, all the “what will they think?” Let doubt come from yourself, from your own capabilities that you’re well aware of. Your musical intuition.


This is not to say that one should live in doubt, let it eat you alive, or stay complacent in that feeling as well. This is for those moments when you just can’t help but feel the doubt, when this feeling does take over a bit; don’t run away from it. Don’t allow it to consume you or turn you away from further creation; instead, take it as your compass towards something better. Towards a result that, no matter whether it is enjoyed or understood by others, you know it’s yours and it’s a representation of who you are.


Nobody can take that away from you.


Steve Lacy, Oh yeah?. 2026.

Ruba Al Kaddah

Ruba Al Kaddah

Brian Eno. 1980.


In this way, I want to bend the meaning of doubt a bit and encourage you to allow it to guide you to your highest form of creation. Steve Lacy scraps 300 songs, not because they are lousy in some way; we all know this man could make just about anything, and it would be more than impressive. So, it’s not about that. It’s about knowing you can simply do better. The way I see it, you are the only one who knows exactly what you are capable of and what you want your music to sound, look, and feel like. So, when I speak of allowing doubt to guide you, I don’t mean the kind that comes from external sources, all the “what will they think?” Let doubt come from yourself, from your own capabilities that you’re well aware of. Your musical intuition.


This is not to say that one should live in doubt, let it eat you alive, or stay complacent in that feeling as well. This is for those moments when you just can’t help but feel the doubt, when this feeling does take over a bit; don’t run away from it. Don’t allow it to consume you or turn you away from further creation; instead, take it as your compass towards something better. Towards a result that, no matter whether it is enjoyed or understood by others, you know it’s yours and it’s a representation of who you are.


Nobody can take that away from you.



But how does one begin to actively combat all these seemingly disruptive emotions? Sometimes you get so bewitched by your own craft that it starts to seem like it’s in control of you, like it’s the one taking you on a journey completely detached from your own agency. So, during these times, one has to completely disconnect from the work that is right in front of them and begin to look at themselves. Revisit the values you hold when it comes to releasing music.


Is it to experiment, to reach a wide audience, or simply to unravel the mess that lives within you at times? Start from there. Now, going back to your core values, strip the music down to its core. For example, if lyrics are the first thing that comes to you, remove all the extra layers, all the chords, melodies, and rhythms. Go back to first base. The same goes if you naturally start with chord progressions or a melody; remove the words, strip it fully down. Start again, and then when you make something completely new, circle back. Is the doubt still ripping you apart?


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