"Call it chillbilly, bootgaze, artisanal rock, outhouse, tin can alley, or hobohemian. But dismiss it at your own peril. The homegrown retro scene is here."
In an upcoming article for SPIN, Amanda Petrusich writes about the popularity of American music.
“On a bright Sunday afternoon, I make my way to Jalopy Theatre, a small performance space on Columbia Street, near the glowing entrance to the Brooklyn Battery Tunnel. A scrum of aspiring performers — almost all under 30 and most sporting vintage eyeglasses and nose rings — has gathered near the door. One by one, we check in with a woman behind the counter and watch as a few hopefuls are politely shooed away. Jessy Carolina, wearing a red flannel shirt, aviators, and a black knit cap, introduces herself; we fork over $20 each and follow a massive dog named Pirate to a smaller room upstairs….. A decade ago, few would have predicted that a washboard workshop — in a marginal neighborhood in a big northern city — could ever be so popular that people would be getting turned away at the door. But here we are.”
"This spring and summer, acts like Mumford & Sons, Old Crow Medicine Show, Carolina Chocolate Drops, Those Darlins, the Civil Wars, the Low Anthem, the Head and the Heart, the Band of Heathens, Amanda Shires, O’Death, David Wax Museum, Delta Spirit, and the Brothers Avett, Felice, and Punch are expected to attract rabid, bowler-hatted crowds who will scream along with every heartfelt word, even if they can’t all tell a mandolin from a dobro."
Read more of Amanda Petrusich’s article here
Read her book, It Still Moves: Lost Songs, Lost Highways, and the Search for the Next American Music