Against Philistines: On The Importance Of Vibes And Cultural Aesthetics
What follows is a series of observations on what captivates a musical listener; specifically, how the power of music, both socially and aesthetically, exercises an influence on its listenership. Moreso, this essay meditates on key variables such as vibe and hype, and how they stimulate listeners and audiences in a manner that goes beyond their reason, argument and logic. Put differently, to the epigone of a style of music or a particular artist this may be called the “magic” which entrances them. I wish to focus firstly on some contemporary Irish music — namely Fontaines D.C. Thereafter, I will expand on some observations of my own.
I recall a recent conversation with a younger relative who, like myself, is keen on music and also a musician himself. Like many zoomers, he is captivated by what he perceives to be the “authentic” and the legitimate in contemporary and popular music, and the sense that what he is hearing is, in some way or another, gritty, true and real. We briefly spoke about the Irish band Fontaines D.C., whose commercial and critical success has accorded them their own unique centre stage in Ireland’s present “mainstream alternative” cultural zeitgeist. My relative expressed a minor gripe with a small, albeit important and distinguishing component of the band’s output; that being, Grian Chatten’s (lead vocalist of Fontaines D.C.) perfunctory North Dublin accent,
Indeed, Chatten is from Skerries, a place far removed from - not merely geographically! - Dublin’s inner city and working class suburbs. All the other band members are from outside Dublin. Based on their lyricism, songcraft and soundscaping, the unknowing listener may wish to assume Fontaines D.C. offer “the real deal”, with both artist and output rendered inseparable.
My relative was quick to bring up his appreciation of The Rolling Stones. All the same, he was fully aware of the fact that Mick Jagger, along with other contemporaries of the 1960’s “British Invasion”, sung with a heavy American accent in their vocals, and such a fact didn’t undo his enjoyment of their music.
I brought up that whilst Tupac Shakur was a “college kid”, it should not undo the fact that his creative output spoke to, animated itself, and gave “legitimacy” to, conscious everyday social and cultural experiences of many African Americans, nor should it in any way render him aloof from the realities he was conveying in his work. Music that has lyrical output often contains a element of performative theatricality that allows the sonic content to be aestheticized and narrated in a particular form. This is what ultimately allows people to immerse themselves in, or “get lost” in, musical output and it’s accompanying poetics, whether that takes place in the style of gritty social realism or the escapist realms of high fantasy.
Whilst Belfast hip-hop trio Kneecap would have likely found themselves kneecapped by Republican paramilitaries before the end of the Troubles for being cheap peddlers of Skangersploitation, it should not undo the fact that their music and image speaks to and authenticates lived experiences, whether that takes the form of being nuisanced by the PSNI, Irish language advocacy, or getting loaded on ecstasy tablets and Buckfast. Their output, whatever you think of it, provokes, engages and stimulates a sense of Irishness.
For decades, Irish singer-songwriting veteran Christy Moore has entertained and raptured many with his ability to craft simple and easily digestible “ditties”, mixing social commentary, Irish history, and satire, which those of a “common” disposition find themselves capable of relating to. That he is a champagne socialist who lives a life of opulence in Dalkey (the Beverley Hills of Ireland) does not undo the fact that people have long been bought and sold on his music, and will continue to be as long as he and his legacy remains alive.
Music that is effective and highly praised by audiences, whether you like it or not, is rich in vibe. By vibe, this refers to a distinct emotional or atmospheric quality experienced by listeners and audiences. Detractors of a band such as Fontaines D.C are not without their merits; strictly speaking, deconstructing the band’s lack of ties with the city of Dublin is not problematic. The claim that their image and output is a novo-variant of “manufactured Irishness” has its place.
Irrespective of said critique’s validity, it remains true that the music of Fontaines D.C achieves emotional and poetic depth, manifested in the ethereal gloom of albums such as 2022’s Skinty Fia and the bittersweet nostalgia of their latest smash, 2024’s Romance. Stating that they aren’t true Dubs, or remarks to the effect that Brendan Behan and Luke Kelly would turn in their graves, is only useful insofar as it might make an abstract point, but it will do nothing to convince their fans to abandon listening to music they love and enjoy.
Through something as small as a sung Dublin accent, Fontaines D.C. allow their listeners to situate their music in a certain time and place. This is sufficient to convince listeners of their credentials as an Irish band — even if expressed in a fashion which is downbeat, self-loathing, and brimming with existential woe, it is still something that distinguishes.
Having built this reputation on the back of their earlier raw and visceral releases such as 2019’s Dogrel and 2020’s A Heroes Death, and accompanied by flawless management and promotion, Fontaines D.C. have imprinted and immortalized their image and presence in music venues such as The Workman’s Club, Whelan’s, The Grand Social and The Button Factory.
These venues have the same myth-making capacity for a band’s backstory that the likes Liverpool’s Cavern Club had for The Beatles, or The Hacienda for Manchester’s emergent post-punk, indie and, dance music movements. Fontaines have similarly used Dublin’s smaller to mid-sized venues to “cut their teeth”. Having recently played two packed nights at the 3Arena in December of last year, documenting this is always essential to musical lore and fascinates audiences as to how their heroes gestated into something significant.
Listeners and audiences, regardless of a critic’s apt riposte, immerse and engage in the works of certain musicians in a way that is beyond reason and rationality - this has been observed for centuries, whether one looks to Lisztomania or its contemporary analogue: Swifties.
Within post-WWII popular music, what we consider to be “liberal” or “left” leaning artists are often deemed triumphant in the cultural battlespace for these reasons as well. They (or their “handlers”) understand vibe and know how to create a vibe, as well as an accompanying sensation to that vibe which then leads to a craze or a cult-like aura. Whether their worldview is explicit or implicit, they have it packaged in such as way that qualities of the music, such as its aesthetic or the attitude it connotes, have engaged the listener before the fact.
As a result the “product” is less obstructive and more digestible, and if an opinion is there, it does not “smack of propaganda”, even if it lingers in the backdrop. One could say that songs such as “I Love You” by Fontaines D.C. or “Take Me To Church” by Hozier have achieved these qualities, like or hate them. Many with right-leaning, nationalistic, conservative and traditionalist leanings tend not to understand this, or do not want to. This is often manifest in a tendency to be extremely reactive, dismissive, disengaging and in retreat; it does not need to be this way.
I recently had the luck of going to see synthpop artist John Maus play a show at the Button Factory last September. He has already garnered “edgy” credentials owing to him never sufficiently “apologizing” for his appearance on the Sam Hyde led “alt-right” comedy/satire Million Dollar Extreme Presents: World Peace, at a time when other artists whose work appeared on the show disavowed it. His low-key appearance at the January 6th White House protests fueled more controversy, as his presence was never sufficiently “explained”, and was pinned by liberal critics as indicating both support for Donald Trump and the events deemed “insurrectionary” that day.
This did not appear to deter the gig from being sold out; surveying the countenance and style of the crowd was sufficient to conclude that plenty of liberals were in attendance. More than likely, one can assume that many of these people were more than fully aware of John Maus’ past “controversies”. An excitable and energetic Maus played plenty of his more well known songs, which included both “Rights For Gays” and “Cop Killer”.
They are typical of his style, abundant with lush analogue synths, catchy beats and choruses, and bizarrely minimal and deadpan lyrics and vocals that vary from robotic to manic. The delivery is such that the listener can’t determine whether Maus is engaging the content in a sincere, albeit autistic manner or whether its performative trolling at the expense of the audience. This is inevitably a part of his own unique charm. The vibe of his sonic template engenders engagement with his creations, not his politics.
Perhaps the paradigmatic example of this is The Smiths vocalist, singer/songwriter, and indie behemoth Morrissey, who has taken an explicitly rightward turn in recent years. This was something that was often insinuated and implied by the commentary of songs such as The National Front Disco and Bengali In Platforms, along with comments about his disdain for reggae music and remarks regarding a “black pop conspiracy” during his time as vocalist of The Smiths. This is now calcified by the reputation of newer, unreleased songs such as “Bonfire Of Teenagers”, which is about the 2017 Manchester Bombings. It explicitly condemns the “don’t look back in anger” response to the event. The song is an emotional ballad first, and a social commentary second.
The music, execution, and lyrics still maintain the aura and vibe of a wordsmith and musician who knows how to provoke and stir deep emotion in the same way that has generated, and continues to generate, a fanbase for more than forty years. The armies of aging Norwoods with thick NHS glasses and heavily waxed hair, as much as their liberal guts are wrenched by his righteous stance, still remain in awe. Unquestioningly, they still bow to their icon at concerts and tours, engaging in literal rugby scrums for any associated paraphernalia he may toss into the audience. What wins them is his vibe, and everything else is after the fact. This is what cements and calcifies musical culture.
Culture is the sum total of the social and artistic works of various peoples, ethnicities, and masses within a particular zeitgeist or space in time. Culture is allotted the role of animating every facet of human existence and creating meaning, however sacred or profane. By being a cultural philistine, you are divorcing yourself from the possibility of changing your epoch and the creative processes that assists in its animation. Culture is down the stream from the political, and by alienating yourself from this, you are either choosing to lay down and die or commit cultural suicide. If you fail to acknowledge this, any power or leverage you aspire to gain or possess will be far less meaningful and impactful.