Something Else Matters Most: Music for an Anxious Age

“Just do your best. It’s the only way to keep that last bit of sanity. Maybe I don’t have to be good, but I can try to be at least a little better than I’ve been so far.”
~ The Avett Brothers, “When I Drink”

I dearly love music.

The ability to create (good) music remains a bit beyond my grasp, and so I’ve always admired the creations of others—preferably at a volume suitable to parse nuances of vocals and instrumentation. This fact is to the frequent chagrin of family, co-workers, and fellow vehicle passengers. Thank the Lord for headphones. My tastes, such as they are, range all over, leaping genres and centuries from one hour to the next. I have affinity for particular bands or composers (and even interpretations thereof) more so than broad, industry-determined categories. I own plenty of albums/songs from years of gathering (more than I have time to listen to regularly), but even that collection doesn’t reflect the full spectrum of preference with access to of Pandora, Spotify, and the maddening diaspora of choice.

It is probably not surprising then that I could not name a single “favorite” song or musician. Taste is a horrible thing to quantify. Still, if there has been a soundtrack to life of late, though, it has been the Avett Brothers.

Perhaps there is some deep, rumbling affection toward them from my North Carolina expat heart. Maybe it is their legendary engagement with fans throughout an always-full tour schedule. It could be their relentless creativity, as they reinvent themselves from album to album without losing their core dynamic. At bottom, though, I engage with Scott, Seth, Bob, Joe, et al., as poets as much as musicians.

Avetts

Photo © James Nix, Independent Tribune

The success of their recent albums comes as no surprise to those of us who’ve been listening for a while (and if having Judd Apatow direct a documentary on your band isn’t the heights of popular culture, I’m not sure what is). Plenty of better critics than me have reviewed the Avett’s music and chronicled their rise to fame. I’ll even sidestep the question of taste. What interests me is not whether their music is good (though I’d fight anyone who says otherwise), but why it has risen to the heights of culture right now.

Why, in a culture obsessed with the new, do songs dealing with the pain and sorrow of the past chart right behind poseur pop stars and forgettable tween idols? Why, in a world where familial, social, and political bands have all but dissolved, does simple, honest music cut through the mess to draw people together? Something else matters most, and, try as we might, there is no escaping it. The Avetts are among a very few musicians who dive right into the spiritual/relational hunger of our anxious age.

The Avett Brothers’ style is hard to nail down. Ostensibly beginning as a bluegrass group, they simultaneously evoke Southern Rock, folk, emo, and even electronica. Somehow they manage to be both high-hipster and down-home country. They remind me most broadly, though, of 70s music.

I know that’s not a genre either, but the 1970s were a golden age of music. It was the mainstream glam pop of Elton John and David Bowie, but not just that. It was the arena rock of Boston, Kansas, or Journey, but not just that. It was the R&B, Funk, Disco, or Memphis Soul, but not just that. It wasn’t even just the zenith of soft-rock, with James Taylor, Billy Joel, Carole King, John Denver, Dan Fogelberg. The 1970s was all of this, humming in the background of a decade-long cultural trainwreck.

That trainwreck (Vietnam, Watergate, Roe v. Wade, the Cold War, coups & revolutions, stagflation, and general malaise) could’ve been precisely what made the music go. In a time of political, economic, and social dysfunction, we turn inward, searching for our lost stability in love, family, and faith. Enduring art always needs a little prodding from external discomfort—when the black hole yawns widest, the artist feels most alive.

Culturally, it seems that we are now living through a 70s redux (though 2016-17 has seemed a little more 1968 than any of us are comfortable with). Musically, then, it stands to reason that the explosion of soul-searching indie-folk (Sufjan Stevens, Iron and Wine, Head and the Heart, etc.) would be a natural result. It is the Avetts, though, who emerge as the second coming of all your 70s favorites, because they manage evoke them all.

Though there is something reassuringly familiar about each of their songs, they do not subsist on nostalgia. Each album manages to be fresh and new. Rather than spending all their reserves on their debut project, they work and mature, genuinely getting better with age. They are even getting more overtly religious, boldly incorporating biblical language and flouting the increasing pop-culture taboos against Christianity.

The vapidity of much of what passes for “Christian music” these days may be driving the rise of thoughtful voices in the rest of the industry just as much as it has led to the decline and fall of the Christian Contemporary labels. When the Avetts can earnestly lament depression, alcoholism, pornography and rejoice in the promise of friendship and redemption (all in one song!) with musical excellence, why bother creating a counterculture? Moreover, they’ve recently announced that a new recording project (a joint effort with Scott & Seth’s dad, Jim Avett) will be a gospel album.

So it’s here I’ll take my stand, proclaiming an undying love for this band. Taste? Sure, but some things matter even more. While the mainstream continues rushing away from truth and beauty, we need more and more to be reassured that the simpler themes of life, death, love, loss, joy, and pain still carry the day. People are looking for other things to live by, and the mournful hope proffered by the Avetts is pointing the way for many.

I went on the search for something real.
Traded what I know for how I feel.
But the ceiling and the walls collapsed
Upon the darkness I was trapped
And as the last of breath was drawn from me
The light broke in and brought me to my feet.

There’s no fortune at the end of the road that has no end.
There’s no returning to the spoils
Once you’ve spoiled the thought of them.
There’s no falling back to sleep
Once you’ve wakened from the dream.
Now I’m rested and I’m ready,
I’m rested and I’m ready to begin.

~ The Avett Brothers, “February Seven”

Photo credit: James Nix, Independent Tribune

Cultural Appropriation

“Write what you know,” wisdom conventional,
Threatens to morph into ironclad law.
Fearing aggressions unintentional;
The best lack all conviction in its claw.
Sympathy is nice; empathy divine,
But you’d better think twice (or more), you cad,
If you think your words can ever touch mine;
If you, you WASP, you geezer robed in plaid,
Dare deign to make artist’s gestures this way!
What you know (not much!), keep it over there,
While I sit here and type, to my dismay
Using all your best English words with care.
Forsooth! Never could I more clearly see
That your culture appropriated me.

Photo: Feeding Time, Tracy Aviary, Salt Lake City, Utah, October 2016.

Epigrammar

A comma belongs between each of your great thoughts;
Otherwise folks might confuse your “is” with their “oughts.”

Verbs make the world go ’round, ’tis true,
But for their acts, nouns are the glue.

To end a sentence, a preposition is more
Apropos than something else you could use it for.

“Every day” is an everyday phrase,
But using it rightly earns you great praise.

The rain in Spain stays mainly in the plain.
Why that matters is just too hard to ‘splain.

“If Ogden Nash could see me now,” I said,
“He’d tell me, ‘Write about a cow instead!”

Metered verse constrains the form of these words,
If only we could trim these thoughts by thirds.

Gimmericks

In the days of the glorious smartphone,
Dearly beloved by every heart known.
To make a sole call
Fills me with gall.
From my brain has every good part flown.

The most terrible things about books
Are the awfully puzzled, cruel looks
You get from afar
As you sit in your car,
Reading and read-ending schnooks.*

As you serve up an order of ribs,
All who can smell will shout “Dibs!”
The aroma of smoke,
Draws every near bloke,
To sit down and don their cheap bibs.

Writing your poem as a Limerick
Is like building a home with slimmer brick.
The whole thing may rhyme,
And keep perfect time,
But everyone knows it’s a Gimmerick.

*No books, cars, or drivers where harmed in inspiring this drivel.