Research Post #1 - Okkervil River

On the 3rd of May, I attended the live show of Texas folk-rock band Okkervil River. They performed at The Zoo in Fortitude Valley, which has long been a staple setting of the live indie music scene. It is arguably something of a cult venue in Brisbane, and has played host to a multitude of both local and international artists.

For those unfamiliar with the group, I will provide a brief background. Thanks to the clever wordplay and reflective depth contained within their lyrics, Okkervil River are frequently cited as part of the ‘lit rock’ paradigm also exemplified by Portland indie band The Decemberists (I am of the opinion, however, that the raw, more rock-and-roll-centric sound of the former is quite different to the whimsical storytelling and theatrical aesthetics of the latter). An enduring musical fixture in a constantly shifting and frequently transient market, Okkervil River self-released their first EP, Bedroom, as well as their first album, Stars Too Small To Use between 1998 and 1999. They were signed with indie rock label Jagjaguwar (whose roster includes indie-folk darling Bon Iver and Montreal indie-rock band Sunset Rubdown) on the strength of these records, and subsequently released the studio albums Don’t Fall in Love With Everyone You See and Down the River of Golden Dreams in 2002 and 2003 respectively. Okkervil River’s third studio album, Black Sheep Boy (2005), cemented their success outside Texas, as did their critically acclaimed fourth studio work, The Stage Names (2007). This performance in Brisbane was part of their tour for fifth album The Stand Ins, released in late 2008.

There were many elements of my experience at the Okkervil River show that can be related to an understanding of the indie subculture. Through both observation and contact, it becomes clear that what is most fundamental to the indie subculture is an enjoyment of music for its own sake, especially when it comes to experiencing live performance. Group members appear to focus first and foremost on the aesthetics of music, and find a sense of authenticity in indie music production and performance. With regard to live music consumption, the listening experience is weighted more heavily than the behaviours typically associated with concert attendance, such as dancing within a large space or unconcealed adulation of the performers in question. In her book Empire of Dirt: The Aesthetics and Rituals of British Indie Music, Wendy Fonarow contends that those who attend indie music concerts situate themselves around the physical space in a particular way, situating themselves in three separate ‘zones’ according to levels of devotion, behaviour and community rank. Many of my observations at the Okkervil River concert occurred with this concept in mind.

According to the author, Zone One is the area directly in front of the stage and is populated by younger, more eager members of the indie music subculture. They demonstratively admire the musician and physically manifest the privilege of being near the stage through activities such as dancing or singing along. Zone Two, Fonarow asserts, is an area for the somewhat older member of the culture. This center space is occupied by those more interested in experiencing the music on a near-spiritual level and less physically occupied with it. Zone Three is the final area of participation and comprises members of the music industry. These members reside closest to the back and furthest edges, paying little attention to the musicians or music. According to the author, they prefer to socialize and in some cases are striving to attain elevated status in the industry.

This division of audience was interesting to see at The Zoo. I was unashamedly part of Zone One. I am a big fan of Okkervil River, and at least two of the friends I attended with are even more fanatical than myself. As a group, we have attended many performances at The Zoo. Doors typically open at 8pm, with the supporting artist performing for an hour at approximately 8:30, followed by a break until the main act performs at around 10pm. Our usual practice is to arrive either during or after the performance of the support act. We then position ourselves to achieve as good a view of the main act as is possible by this time, usually still somewhere near the front and occupying Zone Two. If my observations of many of the concert’s attendees are any indication, this is not an unusual practice. There seems to be an unspoken reluctance to appear as overeager amongst the indie community (which has arguably led to their denigration as pretentious by those outside the subculture) and this could certainly be a contributing factor. That said, there are always members of the indie subculture who are visibly committed to their position in Zone One. In this instance, my friends and I arranged to arrive at least half an hour before doors were to open, intent on claiming a position at the front of the stage. Despite this dedication, there were around five people lined up before us and the line grew to around forty people as we waited. By the time we had positioned ourselves at the front, more than half of the people who had queued behind us had placed themselves around the front sections of the floor. The bar and pool area of The Zoo (or Zone Three) was clearly populated by casual observers, perhaps with industry connections, interested in some light entertainment over the long weekend. Zone Two appeared to be comprised of those who happy to hear the band from a little further back, or had arrived too late to be a part of Zone One.

With regard to live performance itself, indie subculture places great emphasis upon the aesthetics and authenticity of the event. Group members like feeling as though they are viewing a personal moment of self-expression for the artist in question, and that the artist is enjoying the experience as much as they are. A sense of the band taking pleasure in their own music and creating intimacy with the audience is paramount. I loved the show, and I believe the energy and passion of Okkervil River contributed to this. Lead singer Will Sheff developed an immediate rapport with the audience, remaining consistently emotive and pushing his vocals to their limit. Drummer Travis Nelsen stopped his frenetic thumping only for brief sips of whisky and newest member Lauren Gurgiolo switched effortlessly between a variety of stringed instruments. The crowd was unburdened by labels traditionally affixed to their subculture, namely those that categorize them as self-important and apathetic. High energy songs such as John Allyn Smith Sails were met with appropriate handclaps, dancing and loud singing, while quieter pieces like A Stone were met with reverent silence (and in some more embarrassing cases, tears).

Overall, it was a great show that offered an interesting insight to the indie subculture and its attitude to live performance.


Fonarow, Wendy. "The Zones of Participation". Empire of Dirt: The Aesthetics and Rituals of British Indie Music. Middletown: Wesleyan University Press, 2006. 79-122.