John Lydon has never been one to soften his opinions — especially when it comes to other musicians. From the early days of the Sex Pistols through his work with Public Image Ltd (PiL), Lydon’s combative spirit and disdain for convention have defined his career. But beyond his anti-establishment persona, he’s also made no secret of the artists he considers derivative or creatively hollow. In recent conversation, Lydon didn’t hold back when naming two major bands he believes borrowed too heavily from his own work.
Lydon’s ire is rooted in what he sees as a lack of originality and respect for the sources of musical ideas. While PiL always strove to generate “our own ideas,” Lydon suggested that some successful acts instead lifted elements of his work without acknowledgement. “They’ve done several close approximations to us, that’s for sure,” he told Creem, lamenting a band that he felt echoed his approach too closely.
Guns N’ Roses: A Stealing of Riffs?
First on Lydon’s list was Guns N’ Roses. While the band is widely celebrated for its raw energy and classic hits, Lydon argued that one of their tracks bears “an almost identical” guitar line to PiL’s own version of “Stepping Stone.” He bluntly called this resemblance a “rip-off,” urging them to “get your own technique” and accusing them of borrowing rather than innovating. Beyond this accusation, Lydon said he doesn’t fully grasp how the band grew so popular, underscoring his belief that their approach lacked genuine creative depth.
U2: Borrowed Rhythms, Lost Credit
Lydon’s second target was U2, a group whose success has made them one of rock’s most recognizable acts. Despite their commercial achievements, he described the notion of their popularity as “absolutely preposterous.” Lydon didn’t mince words when asserting that several of U2’s guitar rhythms — especially on a track like “Bullet the Blue Sky” — resemble ideas previously explored by PiL. He was equally critical of the band’s self-righteous image, suggesting that they borrow from other influences without giving a “nod or wink” to those origins.
A Broader Critique of Musical Originality
Lydon’s remarks reflect his lifelong skepticism of corporate influence, commercial moderation, and artistic imitation in music. He has argued that the industry’s tendency toward “committee” decision-making stifles genuine expression, and his criticisms often extend beyond individual songs to what he sees as a broader cultural problem. “Record labels are very much a death by committee,” he said, framing his objections as part of a larger disdain for sanitized, market-driven music.
Whether one agrees with his assessments or not, Lydon’s willingness to call out successful acts — even if controversial — is consistent with a career built on challenging norms. For him, artistic integrity means pushing boundaries, owning your influences, and never settling for imitation — a philosophy that has kept him outspoken for decades, even as musical tastes and trends have evolved.
