Midwestern Emo is a classic subgenre of indie rock, originating in (surprisingly) the American Midwest in the 1990s, and is known as the second-wave of emo music. It’s a core baseline for most of the emo stereotypes we see populated today, in movies, online, and in person: the classic shaggy-hair, glasses-wearing, overly-brainy and male-centred audience. Inarguably, this makes the genre seem largely unapproachable, intimidating even, for those who don’t often approach alternative genres, with Midwest Emo seeming like a fairly exclusive fanbase. However, if you have any fondness towards genres like new-wave, indie-pop or even classic rock, you’ll find something you like, assuredly. The sound itself takes pride in its twangy guitar riffs (acoustic or electric), shuffling between slow and mournful beats and ear-splitting hi-hats. The duality and versatility of the genre is no joke, and blends well with my personal stand-out: the lyricism. The poignant lyrics and aching desperation imbued within them makes the genre emotionally evocative.
The genre often touches upon unfamiliar themes within the music scene, making art out of despondency and isolation. The most popular tracks are unmistakable in their unapologetic self-pitying, self-preserving, and self-hating nature. Evidently, the self is at the forefront of this genre, but that kind of narcissistic indulgence is what makes the genre so striking. Many listeners find there’s something intoxicating about being allowed an uninterrupted moment of indulgence, brought to life with the scratching lilt of bands like American Football. The themes within the genre are undeniably dark, often frequenting self-hatred, familial abuse and the nihilism (or aching loneliness) of living in the contemporary age, but controversiality doesn’t negate the importance of their discussion. To catalyse a discussion so taboo, it must be questioned whether the popularity of the Midwest Emo genre hinders or helps its listeners. It could arguably be aiding in a self-destructive spiral, or some insistent cycle of self-hatred, or alternatively it could be creating an understanding and mutuality between artist and listener, acting as an outreach for lost souls. The audience and tight-knit nature of the impenetrable male-oriented community draws some parallels to incel culture at its most toxic, and an undeniable form of emotional catharsis at its best, making the emotional impacts of such heavy-hearted music a thin line.
Midwestern Emo, as the aforementioned second-wave, has played its part in inspiring a whole host of fourth-wave emo music, such as popular band The World Is a Beautiful Place & I Am No Longer Afraid to Die, which redirects the genre back to its indie origins, and the basement band scene. The comparison between third-wave headliners, like My Chemical Romance and the low-budget, self-produced sound of the fourth and fifth generations is stark. However, the heartfelt and passionate intensity of newer bands is undeniably endearing. It makes it very easy for excellent and original music to slip through the cracks, and perhaps a little too niche to garner large enough fanbases to propel these bands beyond small-time gigs. If you fancy widening your music taste slightly, bands like Dead Calm, Modern Baseball and Pinegrove are a great place to start your journey, alongside solo-artists like alex g and Cameron Winter.
Contextually, the genre is undeniably rooted in an American identity, despite its international appeal. The sound makes it known to its listeners that it’s inextricable from its Appalachian roots. In the American 80s, there was a growing threat of urbanisation mingling alongside the budding restlessness of small-town living. This created a ‘certain cynicism’ within the adult population, and a contrarian musical recklessness within younger musicians, bouncing off of the 1960s ‘free-love’ movement of rock, drugs and sex. Ten years later, the second-wave was a parallel reactionary movement that focussed on introspection, and has been dubbed a “much less intense version of emo”.
Midwestern emo is undoubtedly a diverse genre, and one that deserves to be shared. It can be mellow enough to study to, or harsh enough to go on a good walk with. Whatever about the genre may appeal to you, it’s worth a listen!