Another letter to the poor sods at Uncool magazine…
By Lucy Cage
“Mumford & Sons’ singular importance in rock’s current moment cannot be underestimated,” is not a sentence I ever imagined I’d read.
Especially not in the debut article deployed by a potential music webzine as a Kickstarter carrot, and especially not one which trumpets itself as offering A NEW KIND OF MUSIC JOURNALISM.
And extra especially doubly definitely not in one which has just come under articulate fire for its lack of diversity/ambition.
Mumford & Sons! Seriously?
Look, here’s the thing, Uncool: Mumford & Sons have become the embodiment of the kind of privilege-blindness you’ve just been accused of; why on Earth would you write a feature focusing on their apparently glorious, genre-spawning ascent at all, let alone this week?
Maybe it didn’t cross the water, all the righteous furore about them and their nu-folk compadres, the privately-educated kids with guitars hijacking rock’s avant cool and using their boorish mass to de-claw its fury at the exact same point in history when the working class is being battered by cuts and joblessness. (Here’s an overview of the debate; unfortunately Simon Price’s fantastic article in The Word which sparked it off is not available online.) Maybe it hasn’t bitten the blogging rock writers of America how fucking frustrating it is that people who are top of the heap privilege-wise (I’m thinking specifically of the frontman of M&S pals Noah And The Whale, Charlie “I don’t think where we come from really comes into it” Fink) can dismiss class as way of analysing music. Or that they can refute so easily the idea that someone’s sociocultural location might contribute to the content/sound/reception of their music in ways worth dissecting. Maybe this particular Brit-crit seethe, the reason why the band is referred to the length and breadth of Facebook GB as Bumford & Cunts, has escaped the editors of Uncool?
Which, OK. Whatever. You’re missing it because they’re missing it because you’re both from the same particular dominant demographic in the indierockverse. As Dorian Lynskey says in his perceptive blog post on rich kids in rock, it’s not a coincidence. That’s the way the kyriarchy works. (He also says this: “Entitlement and complacency – the sense of going through life without touching the sides – are the enemy of good art, and I hear them in a lot of young bands” which is a crucial consideration if you’re not just going to be slagging off posh boys for being posh boys, fun though that might be.)
If kyriarchy’s a new one on you, I’d advise you to stop what you’re doing, click and learn and come back when you know what the hell I’m talking about. You’re welcome; here to help. It’s all about who you are (in terms of your race, sexuality, gender, physical ability, age, financial security, cisbodiedness, education, class etc) and how where you’re caught in those complex intersectional webs of dominance/oppression affect what you understand of the world and what you project out into it.
You’ve just projected Mumford & Sons. This – see above – is not a coincidence.
So when people respectfully suggest that you take a long hard look at the way your own privilege and sense of entitlement gives you cultural and political tunnel vision the last thing I’d suggest you do is run your first article about a band infamous for epitomising just that.
And, furthermore, don’t use that old chestnut, the Death of Rock, as leverage to give your new-minted genre oomph. Because if you think “festivalcore’s ascent has sacrificed some nuances upon the altar of mass appeal” and then go on to say, “So be it: let them die so rock may live on among EDM and hip-hop and pop” then that’s its appeal stone cold dead for me. (Dampening nuance for mass appeal is meant to be a good thing?! Since when where those things necessarily at odds anyway? Who the hell are you writing for? And why?)
Plus, of course, anyone who says, “And it might be the last hope for the future of rock music” about ANYTHING, even the most sparky, eccentric, outsider strain of pots’n’pans girlcore gloriousness, let alone heard-it-all-before, happy clappy nu-folk waistcoatery, has not a single clue about history. We have no idea at all what marvels will unfold before us but the ever-mutating, ever-evolving, curve-ball-chucking glittershow that is rock music keeps on rolling on. (Lord help us if its only salvation were really in the kind of meh music even the author of the piece says doesn’t move him unless he’s watching it at sunset with his mates at Coachella. Fucksake. The only people who think rock’s dead are those who are mourning the death of their own youth. Rock does not belong to one generation. Write that out a hundred times and go listen to some Micachu.)