How does the Australian Indie-Folk scene challenge traditional notions of temporality and location in defining a musical subculture?
Current academic discourse acknowledges that conventional frameworks of time and place are sole dictators of musical subcultures. Music scholar Andrew Bennet argues that "the music scene is a progression forward from the more rigid concept of a music subculture" which relied on the dictation of both temporal and locational contexts on musical outputs.[1] Instead, we assert that a music scene is articulated through shared visual identity, key demographic participation, sound and place. The Australian indie-folk scene somewhat challenges both these concepts, resulting in the theory that music scenes can be founded on attitude and sentiment alone. In this case, we can trace the lineage of Australian indie-folk music from its roots in traditional folk, and thus a relatively neat package of cultural experience, toward the alternative adoption of the modern Australian storyteller.
A Vehicle for the Political?
In formulating a balanced understanding of indie-folk and its place within an Australian music landscape, its chronology must first be traced from its roots in traditional folk scenes. Traditional folk cultures were initially documented by Johann Herder in 1778, and split into three categories; the nationalist, the radical populist and the authentic. These categories articulate 'folk’ as a movement — being the sound of a nation which is performed by the everyday participant or observer.[2] Through an ethnomusicological lens, folk music is formed on the basis of cultural experience, often coloured by the instruments and timbres of respective geographical origins. This is why the sonic identity of folk music varies from country to country, albeit its Western adoptions follow a similar musical anatomy.
To further analyse this musical anatomy within the Australian experience, the comprehension of Western folk dissemination into the country is required. In Australia, there is a distinct perception of what early folk music entailed. Rarely is Aboriginal music referred to as folk, instead we attribute the early Australian folk scene with its connections with immigrant cultures and the later wave of American favour. Moreover, the term 'folk’ used to describe Australia’s musical emergence within Western popular culture is loosely synonymous with 'Hillbilly', 'Bush Ballad' and ultimately 'Country', in its initial existence.[3]
European influence on the then fledgeling form of Westernised Australian storytelling was used as a template for discourse on modernity and respite from the drudgery of the everyday. The balladry of early 19th century English folk also offered a linearity to the Australian form, of which simple lyrics suited national ideologies of unpretentiousness and pragmatism.[4] However, country music in particular was born out of the blues. Following similar traits of harmonic language and performance dynamics of African American musical tastes, and inserting these ideas into a new musical environments tied what would later become Australian folk, and thus Australian Indie-folk, to American class relations. Even though Australia’s adoption of the country scene was a patriotic documentation of everyday life, it was associated with low brow communities.
Whilst not a clear stream of musical evolution, in that country music and folk music exist separately in their own right, the identification of class divisions in early Westernised Australian music creates a platform for which the political drivers of American folk scenes are transferred. In particular, the post Dylan-era folk revival of the 1960s saw Western folk music solidify its political currency in our society as a commentary on global ethics and governed morals. Folk music has been articulated through its roots in Americanised political discourse; practitioners like Bob Dylan, Don McLean and Tim Buckley all sought out the folk scene as an outlet for observing war, peace, unity and political disillusionment. Although the musical nuance between these musicians are prominent, they still retain a sonic identity that thereafter became inextricably tied to the folk scene; acoustic.
Whilst it would be easy to attribute this timbral characteristic with the economic landscape of music recording in the 1960s alone, it is important to note its relationship with a value of authenticity, especially as a musical support to leftwing activism. Whilst in contemporary musical landscapes, the specifics of lyrical allegory are no longer strictly confined to certain sounds or genres, the political rebellion of Western folk music is noted for its use of acoustic support.[5]
Indie-folk however, was born out of the desire to connect with people outside of political divisibility, and through the telling of everyday stories, finding magic in the mundane. Indie-folk is dictated not by an overriding political agenda, rather an attitudinal concurrency facilitated by the sonic spectrum of fused acoustic styles. Indie-folk exists apart from traditional Australian folk and alternative non-commercial music scenes, through its ability to identify with people without a crutch of political persuasiveness or the frivolous soundscapes of mainstream popular music. What we are left with is a fundamental celebration of the troubadour, encouraged by an ideology of music making which creates a scene unified on the common understandings and fears of the human experience.
A Closer Look at the 'Indie’ in Indie-Folk:
The above scholarship has traced the folk behind indie-folk, however the independent side of the scene is a little harder to navigate. Independent music, like folk, has this specific value of authenticity. Independent artists work with a DIY approach to production and creation, with a rationale that entails sidestepping everything that makes popular music, mainstream. Ethnomusicologist Graeme Smith argues that like traditional country and folk, indie-folk shares a conscious "distance from the mass music industry".[6] The semiotics at play here relate back to this theme of authenticity, with artists valuing their relationships with audiences on a level outside of the algorithms and higher-order suggestions which shape and mould the lineage of popular music. Indie-folk "defines itself more by musical ideology" than a calculated economic structure.[7]
The Australian independent artist is therefore rarely financially successful outside of their locality. However, indie-folk success is formed not on fiscal conclusions, rather upon a cultivation of audience connectivity. As a result, the ’independent' in indie-folk doesn’t reduce the scene’s popularity to geographical dictation. We see first hand evidence of this in the surprisingly widespread international tours that these artists partake in, as well as in youtube analytics and lyric translations. The Australian indie-folk artist, whilst not internationally renowned, often find themselves saturated in niche popularities that span the globe. Why? This question is not one answered simply, and its solution runs deeply within the experience of its sonic realisation.
The Sound of Australian Indie-Folk
There are three main concepts in describing the sound that the indie-folk scene produces; acoustic authenticity, programmatic structures and lyrical balladry, and contemporary instrumentation.
Generally, folk music holds authentic performance paramount to virtuosity.[8] Instead of being coloured with extreme vocal ad libs and shredding electric guitar solos, folk-induced authenticity is founded on thinner textures. Not to say that virtuosity doesn’t exist in the indie-folk scene, it’s merely explored in a different way. Sounds are not overpowering, nor are they overworked; there is an intimacy about its sound that is found deeply rooted within intricate acoustic guitar voicings and rich vocal harmonies. These musical ingredients not only form a baseline sonic formula for the indie-folk scene in part, but generally exist under the guise of major tonalities and in turn, happier sounds. Using Bob Evan’s 2006 single ‘Don’t You Think It’s Time?’ as an example, the piece begins with an audible count in, opening up into a mix which incorporates a heavy room tone ornamented with a descending acoustic guitar progression, creating this sense of physical closeness with the listener.[9]
What we also find hidden behind this mask of sonic contentment and comfortability, is an enigmatic housing of melancholia. This acoustic authenticity is used to create an environment which is genuine and relatable to the ear, whilst simultaneously pairing such accompaniment with lyrics which often portray the anxieties of the human experience. Josh Pyke’s ‘Memories and Dust’, is the quintessential Australian indie-folk sound; audible count in akin to Bob Evans, strummed guitar motif embellished by a languid pedal steel guitar, choral harmonies and kettle drums exude this sense of grandeur and light. [10] There is a lyric disjunction here with tone, which is not uncommon within the style. The track is about growing up; “first I was a hatchling, waiting for my little bones to form”, but it’s not a celebration of life, its a misunderstanding and anger of loss; “comfort comes to those with faith in mysterious ways, but for me faith don’t make up for what we lost”.[11]
The indie-folk scene follows an ideology which presents music as a tool for connection and friendship through the exploration of the everyday. Structurally, whilst many indie-folk tracks follow a standard verse chorus binary arrangement, most poignant songs tend to follow lyrical phrasing under the influence of traditional narrative form or balladry. Vocal content is presented as a linear flow of experience rather than a recurring theme. These songs drip with imagery which is supported both textually and texturally; the lyrics evoke stunning landscapes, paired with musical storytelling that runs deeper than a tonal centre. For example, Josh Pyke’s lyrical style is one that meshes incredibly plain and hauntingly metaphoric language together in an intimate bundle of musical reflection. 'Middle of the Hill' is example of this- a linear narrative describing a childhood suburb, told through acoustic guitar ostinati, a simple vocal melody and supplemented with a harmonic language and percussion which mirror lyrical events.[12] We also see this comprehension of narrative in the metaphorical references to national affairs. Bob Evans shows this idea in 'Pasha Bulker'; an allusion to a coal ship that ran aground in 2007.[13]
These programmatic storytelling ideas run deeper than individual songs. It would be naive to say that all indie-folk practitioners rebel against the commerciality of the 21st century music industry, and that the release of singles isn’t a marketing tool to showcase their best work. However, whilst singles pave the way for a multitude of career opportunities, indie-folk albums are works in and of themselves, and have the intention of being listened to as such.[14] The craft of track listings create this interconnection between songs and allow the listener a sense of musical familiarity and confidence. We see this clearly in Winterbourne’s debut LP, 'Echo of Youth'. Track 6 'Sunday Night' marks halfway on the album.[15] It’s a sorrowful lament of passed time and draws the energy of the first half of the album down, paying homage to the duos first EP. The instrumental break includes a cello motif which reappears on the title track of the album.
The Sonic Spectrum of Indie-Folk
Whilst there are key voicings that belong to the scene, its sonic identity resides on a spectrum. Venturing outside of acoustic guitar roots, we find that this scene compliments this authentic sound with contemporary styles of music making. Bennet argues that generalisations regarding the topography of musical scenes are inadequate in describing the musical makeup of a world so globalised through the internet. As a result, the "cultural boundaries of popular music are widening" so much so that a musical scene is now a "cultural space in which a range of musical practices coexist".[16][17] We see this riddled throughout the sonic identities presented within indie-folk. Often times artists within this scene will have a renowned sound apart from their acoustic guitar backbone.
So, Who’s Listening?
The thematic content and harmonic makeup of indie-folk render its sound accessible to many; it speaks to the experience of life. With an exponential increase in the ability to create, produce and access music, a multitude of scenes have risen and so there exists a massive wall of noise. As a result, the people listening to indie-folk are either partaking in independent musical discovery, often facilitated by live performance, or follow along with traditional formats of folk dissemination; via word of mouth or familial introductions. Whilst there are patterns of 35+ year old followers of musicians like Bob Evans and Josh Pyke, the demographics of audiences usually centralise around the same age of the musician themselves. This is because the nature of the indie-folk scene is to speak to [generally, working class] experience; these experiences are going to change as people age. As an example, 'Happy Tears' and 'Beautiful You’, both Bob Evans tracks released post fatherhood, in contrast to the anxieties of life after teen years in Winterbourne’s 'Floating Around'.[18]
Indie-Folk, Authenticity and the Underground
Independent music is widely celebrated through youth stations like Triple J, although the parameters of the style have drastically changed. What used to be a scene of underground music is now a term given to a multitude of sub-genres which have a faux underground sound. Indie music is at its most popular in Australia, with respective artists gaining airplay, top ten chart placings and festival headlines, with widespread young adult audiences.
Indie-folk however faces a different public reception. The majority of indie-folk music in Australia is overlooked by mainstream radio, and instead offered a place where authentic independent music listeners will find them. Instead, Double J is a key player in the dissemination of indie-folk, for an older audience with a focus less on mass music scenes.[19] Whilst this vehicle is appropriate for some, there seems to be a miss in audience targeting for younger indie-folk bands. Winterbourne’s 2019 debut album 'Echo of Youth' was a feature album on Double J in August, presenting their work to a much older audience than what the band has already cultivated through 8 years of city busking.[20] However, this could be seen as a ploy for broadening a demographic, or to connect with a community of people who share the same attitude for supporting the quintessential Australian troubadour.
Where Are We Listening?
The audience which the indie-folk scene culminates is one facilitated by venues. Winterbourne first established their name by busking throughout the country’s cities [generally at Pitt Street Mall]. Their story from the streets to the studio is one which fosters this aura of authenticity that all folk subcultures strive for. Regarding gigging, the indie-folk scene is supported mainly by medium sized venues in cities, and regional boutique pubs and clubs, the majority of which are open to all ages which helps to underpin the accessibility and scope that the indie-folk scene supports; "a social movement, rather than an industry, and as a collective experience".[21]
Whilst time and location have massive impacts on the sonic flavours each artist portrays, these factors are superficial in the sustenance of the indie-folk scene. Bennet asserts that "the operational logic of a specific music scene … is occupied with how value is aligned with the passing of time", however the parameters of indie-folk aren’t determined by location or era, which we can see in the patterns of aforementioned case studies.[22] Kevin Mitchell’s solo project Bob Evans is a late 1990s creation out of Perth, Josh Pyke, a mid 2000s Sydney dweller and the contemporary Winterbourne duo, from the Central Coast, all share musical and attitudinal similarities which tie them to the indie-folk scene.
Unlike political music or a following based off of a shared social attitude, indie-folk is music for the person, rather than the people. The content of the scene is ageless both in terms of its musicality and narrative, which is what provides the scene with its longevity and absence of a visual identifier. Behaviours and vocabulary however, are more pronounced, both online and in person. The above venues are prime facilitators of such communication whereby artists will often make themselves available. Recognition of support appears to be a recurring theme throughout the indie-folk scene. Winterbourne’s sold out Factory Theatre show in April of this year began with Draper’s powerful expression; "this is one of our biggest shows, and it’s incredible to us that we recognise 85% of you!". These artists have taken responsibility to maintain these relationships, painting a scene that is dictated by modesty, relatability, kindness and a genuine gratitude for support.
Graeme Smith, Performative Connectivity and Kim Churchill; The Epitome of Australian Indie-Folk
Due to the relative lack of scholarship surrounding the Australian indie-folk scene, my own active primary comparisons are sourced from applying ethnomusicologist Graeme Smith’s approach to music study. Smith outlines ideas of how academia reads the social attitudes found within popular music, and the confines of such conventional analysis. These cultural readings are found from a strong focus on lyrical study. Whilst this often proves to be an effective method of finding meaning in products of our popular culture, it is subjective and overtly amenable. Smith states that this approach ignores "both the performative and the specifically musical elements of music… as well as the interaction between performers and their audience".[23]Therefore, insider perspectives guided by Smith’s attention to performative connectivity are invaluable in providing a comparison between the evidence of Australian indie-folk in scholarly discourse, and in the everyday. Catalysed by my own personal interest and involvement within the indie-folk scene in Australia, the following primary analysis is guided specifically by Kim Churchill’s Oxford Art Factory performance which took place in June 2019.
Aside from the musical characteristics of indie-folk which run throughout the sonic soundscapes of Churchill’s work, the overall feel that the show fostered is one based off of intimately cultivated relationships with audiences as individuals. The lighting was low and soft, and the sound was relatively untouched by reverb or delay. In the moments when audiences weren’t singing along, we were deadly silent. As a response to the stillness Churchill’s music created, he finished the set completely unplugged, with the front row resting their elbows on the stage. This connectivity was created by the mutual respect of the audience; indie-folk doesn’t necessarily foster a mosh style experience, rather one of quiet admiration and comfort. Moreover, Smith’s theory of connection between practitioner and follower isn’t solely based off of live music experience, rather the relationship cultivated through more personalised means. Message exchanges and online interactions further support the intimacy of certain musical relationships. For example, after speaking to Churchill post show and getting records signed, I came home to a thank you message from the man himself. Music aside, it is this trait of attentiveness and gratitude which seemingly runs throughout the indie-folk scene, and an idea that remains untouched by academic discourse.
Connectivity and Accessibility; A Common Theme
It’s naive to think of the indie-folk scene as solely belonging to seekers of profound meaning and connection. The sonic analysis alone, separate from lyrical content is enough to create a pleasant aesthetic— listening to music because you like the sound of it is no less valid that pursuing a deeper connection with it. However, in light of experiential analysis and acknowledgement of an insider perspective, the following first person encounters create [for me at least] a synthesis of characteristics associated with the indie-folk scene, outside of traditional folk and independent scholarship.
Over the past 5 years, I’ve attended probably upwards of 100 gigs. During that time I’ve written my fair share of album and concert reviews, most of which have seen direct contact between myself and respective artists; in particular, Josh Pyke. Referring back to the differences in experiences of music in a stadium as opposed to a more intimate venue, the idea of 'audience' changes massively. Generally, at a large venue, you, as an audience member, are a part of a bigger entity. At a smaller venue, you are an individual. Many, if not all, indie-folk artists reside at these smaller venues, although this idea of audience individuality is not created by space alone. The 2017 Memories and Dust 10 year anniversary concert saw Josh Pyke sell out the Enmore Theatre; which is by no means an underground or intently intimate venue. However Pyke spent the best part of an hour at the merch desk post show, talking and interacting with fans. Whilst this isn’t unique to indie-folk, the specific conversations perhaps are. A year prior to the Enmore show, I saw him play a reunion gig with Bob Evans at the Factory Theatre, and again, both artists made themselves available to audiences post show. That was the first time I had met either one and to have a casual conversation about gear and production with people who’s albums and careers grew alongside me, was spectacular. Fast track a year later to Pyke’s anniversary concert, he remembered the best part of the people who hung around afterwards. Pinpointing where he’d last met fans or what they spoke about was an incredible display not only of the value of audiences as individuals, but recognising personal links to the indie-folk scene.
Conclusion
The indie-folk scene in Australia challenges notions of temporality and location in defining musical subcultures by example of a nationwide appeal and following, with its longevity a testament to its authentic portrayal of the human experience. Indie-folk artists reckon with time and invite listeners to do the same; there is this resonating sense of belonging and understanding which is avidly sustained within the indie-folk scene as a result of programmatic musical realisation and intimate production.
Australian indie-folk also challenges the predetermined localities of its success, consciously or not, further separating the scene from traditional folk and independent agendas. Whilst contemporary scholarship has yet to explore the existence of Australian indie-folk, its significance is still retained in primary experience and cultural memory, framed by ethnomusicological theory and application.
[1] Andy Bennet et. al. Popular Music Scenes and Cultural Memory. London: Palgrave Macmillan UK, 2016. pg. 33 [2] Graeme Smith. "How Folk Music went from Daggy to Cool". The Conversation. January 23, 2018. "https://theconversation.com/how-folk-music-went-from-daggy-to-cool-88399" [3] Smith, Graeme. "Making folk music." Meanjin 44, no. 4, 1985. pg. 483. [4] Samantha Bennett. "Explainer: indie music". The Conversation. July 16, 2014" https://theconversation.com/explainer-indie-music-28321 [5] Graeme Smith. "Making folk music." Meanjin 44, no. 4 (1985): 481. Graeme Smith and Judith Brett. "Nation, authenticity and social difference in Australian popular music: folk, country, multicultural." Journal of Australian Studies 22, no. 58, 1998. pg.5. Graeme Smith, Judith Brett. Nation Authenticity and Social difference in Australian popular music, 1998. pg.5. [8] Graeme Smith, Judith Brett. Nation Authenticity and Social difference in Australian popular music, 1998. pg.17. [9] Bob Evans. "Don’t You Think It’s Time?". Suburban Songbook. 2006. [10] Josh Pyke. "Memories and Dust". Memories and Dust. 2007. [11] Josh Pyke. "Memories and Dust". Memories and Dust. 2007. [12] Josh Pyke. "Middle of the Hill" Memories and Dust. 2007. [13] Bob Evans. "Pasha Bulker". Goodnight, Bull Creek!. 2009. [14] leean. "Winterbourne on Writing and Constructing 'Echo of Youth'". Artist 1 on 1. August 23, 2019.https://www.artist1one.com/winterbourne-echo-of-youth/ [15] Winterbourne. "Sunday Night". Echo of Youth. 2019. [16] Andy Bennet et. al. Popular Music Scenes and Cultural Memory. London: Palgrave Macmillan UK, 2016. pg.12. [17] Andy Bennet et. al. Popular Music Scenes and Cultural Memory. London: Palgrave Macmillan UK, 2016. pg.16. [18] Cyclone Wehner. "Bob Evans Talks News LP and Starting His Own Podcast" Music Feeds. May 31, 2016. https://musicfeeds.com.au/features/interview-bob-evans-talks-new-lp-starting-his-own-podcast-the-bewildering-world-of-online-trolls/ [19] Neil Griffiths. "Here’s Why Double J is Australia’s #1 Digital Radio Station Right Now". The Music. March 28, 2017. https://themusic.com.au/article/8SPi5eTn5uk/exclusive-here-s-why-double-j-is-australia-s-1-digital-radio-station-right-now/ [20] Dan Condon. "Feature Albums: Echo of Youth" Double J. August 26, 2019. https://www.abc.net.au/doublej/featured-music/feature-albums1/winterbourne-echo-of-youth/11442306 [21] Jamie McKew "Folk Music in Australia - Scene or New Deal". Music in Australia. September 17, 2011. http://musicinaustralia.org.au/index.php?title=Folk_Music_in_Australia_-_Scene_or_New_Deal%3F [22] Andy Bennet et. al. Popular Music Scenes and Cultural Memory. London: Palgrave Macmillan UK, 2016. pg.16. [23] Graeme Smith, Judith Brett; Nation Authenticity and Social difference in Australian popular music, 1998. pg.3.
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