Iconic acts like Nirvana, Elliot Smith, and Weezer, were propelled to stardom by tight-knit fanbases dedicated to spreading the gospel of their somewhat unorthodox melodies. And their brash contrast to mainstream culture was rather comforting; it provided refuge for those who weren’t enthused by the blingy exterior of the 90s and early 2000s.
For female, queer, and people of color in this newfound scene, these insular communities were havens from societal violence. Body modifications like nose piercings and tattoos were seen as burgeoning forms of creativity. Songs revolving around the misgivings of life and romance were deemed spectacular works of art. Simplicity and maximalism were celebrated simultaneously. There was pride in reveling in peculiarity because for most of these folks, normalcy was out of their reach. Singers like revered indie rock musician Liz Phair managed to form close enclaves with hearty verses and electric guitars. Concerts like hers were safe spaces even before the term safe space entered the contemporary lexicon.
By the early 2010s, indie rock lost most of its mythical essence with it stumbling off the charts and slowly leaving the airwaves. Sure, there was The Neighbourhood, Arctic Monkeys, and Cage The Elephant, but most indie rock bands failed to hold as much power as their predecessors who managed to captivate America’s consciousness.
Thankfully, indie rock saw its own artistic renaissance in the latter half of the 2010s. In 2016, Lucy Dacus released her first album No Burden, Japanese Breakfast released Psychopomp, and then-sixteen-year-old guitar prodigy, Lindsey Jordan, also known as Snail Mail, released her EP Habit. Two years later, more projects debuted with Mitski’s Be the Cowboy, Snail Mail’s Lush, and Soccer Mommy’s Clean. Since then, the number of female indie artists has continued to grow, with up-and-coming artists such as Vagabon, Arlo Parks, and Samia making their way to the forefront. These women, like many of their indie-rock elders, have harnessed an inward motivation: They’re not here to save indie rock but instead, to lay out their thoughts, feelings, dreams, and visions about themselves and their futures. Indie rock’s resurgence has just been a positive side effect.
Brutal honesty and mystical familiarity are what draw multitudes of fans to this new era of indie rock. Clairo happens to be a burgeoning example with her gaining online fame after spontaneously posting a video of “Pretty Girl” on Youtube. Immunity, Clario’s debut album, reveled in the complexities of growing up in this day and age. No topic was off-limits, whether it was her depression, anxiety, rheumatoid arthritis, or most notably, her sexuality. “I find it really cool how one of the biggest stars of the indie scene is queer,” Mariana, a college freshman at the University of California, Berkeley, said to Keke Magazine. “I relate to Clairo’s work as a queer artist because there are many parallels between her music, especially [her song] Sofia, and my own personal relationships.”
What follows after indie rocks honesty is its unabashed melancholy. Phoebe Bridgers has fully embraced the shadow of darkness whether it’s in Stranger in the Alps or with her sophomore record Punisher. While daunting at first, her cynicism and woe seem to bring many listeners comfort. Elio, a 17-year-old student from Washington connected to Phoebe Bridgers when they were going through a hard time. They told Keke Magazine, “I will always be connected to that music regardless of which part of my life I’m in because I can go back and reflect on what I was feeling at that time.”
These songs carry an immense load of emotional currency, giving listeners an opportunity to learn more about themselves. These artists are routinely aware of this quality and don’t take their fans’ support lightly. Samia, who released her awe-catching debut album The Baby towards the end of 2020, expressed the role of her fans’ emotions in her work to Keke Magazine: “[I] always feel lucky to have the support of young people, [because] I remember how much I loved and trusted the artists I looked up to as a teenager and it’s the greatest privilege to hear that I’ve affected even one person’s life in that way.”
Elio notes that female and queer indie artists put more care and thought into protecting fans. “I would guess that this is because they’re often more cognizant of the issues surrounding dangerous situations for queer people and women, having directly experienced them or knowing of friends or other loved ones with similar narratives. Of course, this doesn’t mean that male artists are unable to sympathize with the victims and work against the problem, but they’re not forced to constantly consider the pain of these dynamics as non-men often are,” they said.
And Elio isn’t wrong here. Many female and queer artists have an immense concern for concert safety due to their own experiences. Just take a look at Clairo who according to NME wants “to hire security people to look out for and put an end to assault, harassment or any kind of uncomfortable situations that happen at her shows. It’s in a bid to provide a safer environment for all – something that she feels has become more precarious as she’s grown older.”
Even when indie rock was sifting through musical purgatory, unconventionality was always embraced. As Samia said, “I felt heard and understood by my indie music community growing up in New York. It was the first place I felt I could truly fit in. Hearing anyone embrace their weird stream of consciousness poetry, loudness, and disproportionately big feelings meant everything to me. It gave me permission, to be honest.”
Yet, there are still necessary improvements to be made. Even though there seems to be some movement in regards to female indie artists gaining more popularity, most of them are white. “There’s certainly a lack of diversity in the indie genre which is really sad,” Mariana said. The lack of diversity in the indie industry does not allow for new and dynamic storytelling. If indie fans were more open-minded and willing to try new things, maybe the predominately white industry could see some change.”
