Sad Music Month: Part 4

Yungblud: Can music scenes affect reactions to sad music?

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Saturday 13/03/21

Journalists first coined the term ‘music scene’ in the 40s and the concept has helped to distinguish different music communities concerning their expression through genre, values and attire (Bennett & Peterson, 2004). As a former member of pop/punk bands, I still find myself emotionally attached to the pop/punk music scene. Even though I don’t wear the same pair of ripped skinny jeans, tattered vans and distressed band t-shirts, some elements of my time as a die-hard pop/punk fan remain. My love of flannel shirts, the stickers that cover my Mike Dirnt signature bass and a wall covered with gig tickets, setlists and photos remind me of the friends I made and all the fun I had playing and seeing shows, losing any sadness I had in the cathartic energy of the music.

That made me sound like a dinosaur but I promise I’m not that old… For me, bands like All Time Low, As It Is and Neck Deep fronted the music scene I associated with, however, new artists are always emerging and creating cult followings with their own style. A recent and popular example is Dom Harrison (YUNGBLUD) who has broken the mould of popular music. Using often morose lyrical content, he manages to communicate a positive message to his audience with his unique, genre-blending music and visuals. In a Kerrang article last year, Harrison discussed his mission; to create a community within his fan-base to give everyone at his shows a sense of safety, belonging and freedom from judgement Richardson, 2020).

He uses his platform to reach out to a young and disenchanted fan-base, using the brutal honesty of his lyrics to relate to his audience so that they can navigate through difficult periods of their lives together rather than alone.

My favourite example of one of his songs that does this is ‘parents’. The graphic detail of the lyric grabs the attention of fans who are having issues with their parents or authority figures. He addresses issues such as parent’s disapproval or ignorance of homosexuality and mental health issues and the rebellious nature and anger behind his vocal performance let his fans know that they aren’t alone in anything they’re experiencing.

However, other alternative bands and artists, who have referenced the issues above have come under fire from the press for condoning negative, depressive behaviours. For example, the Daily Mail referred to the emo scene as a cult that glorifies self-harm after the tragic suicide of a young girl who had begun listening to emo music just weeks before her death (Levy, 2008). This links back to some points made last week regarding some listeners experiencing negative psychological fallout from listening to sad music, even if they believe it is helping them. As I mentioned, listening to music with morose themes can become a coping mechanism, especially in those prone to depression.

That being said, I believe that being part of a vibrant, engaging scene can alter the negative effects of sad music because, with a strong network of like-minded friends, fans can have people to support them if they experience a decline in their mental health. Having a sense of belonging in a community or family is invaluable for psychological well-being (Hall, 2014) and belonging itself is a crucial part of Maslow's Hierarchy of Needs.

Young people who face social exclusion and bullying at school will be eager to find a community in which to belong. The scene Yungblud has created for his fans shares some of its values with metal music scenes such as inclusion for all and looking out for one another (Rowe, 2018 p72-73). Rather than heavy music driving the energy of the audience at his live shows, Yungblud's fans take solace in the community that he has built, making them feel safe and accepted for who they are. Members of his audience have also mentioned feeling as though they are part of a family, being understood by their fellow fans and even by Yungblud himself through a shared relation to melancholy portrayed through music.

We can round off this week with a similar message as last week's blog. If we remain aware of the negative effects that sad music can have on us and keep our friends close there’s no reason to not go out and enjoy it. Being a part of a scene, such as the one Yungblud has created, is a beautiful way for his fans to express themselves, vent their feelings and be there for each other when they need it.

That's the end of sad music month! Thank you for joining me and I hope you've learned as much as I have along the way!

Are there any music-related topics like this you want me to cover in the future? Did I miss something you were dying to hear about regarding sad music? Please leave any thoughts and suggestions in the comments below and stay tuned for future blogs!

Stay safe everyone!

Will.

References:

• Bennett, A. Peterson, A.R. (2004). Music scenes: Local, translocal and virtual. Nashville: Vanderbilt University Press.

• Hall, K. (2014). 'Create a Sense of Belonging' Psychology Today. (online) 24th March. Available at: https://www.psychologytoday.com/gb/blog/pieces-mind/201403/create- sense-belonging Accessed: 08/03/21.

• Levy, A. (2008). 'Girl, 13, hangs herself after becoming obsessed with Emo 'suicide cult' rock band.' Daily Mail Online. (online) 9th May. Available at: https://www.dailymail.co.uk/news/article-564611/Girl-13- hangs-obsessed-Emo-suicide-cult-rock-band.html Accessed: 08/03/21.

• Richardson, J. (2020). 'Why YUNGBLUD Is More Than Music, It's A Community.' Kerrang! (online) 18th February. Available at: https://www.kerrang.com/features/why-yungblud-is-more-than-music-its-a-community/ Accessed: 08/03/21.

• Rowe, P. (2018). HEAVY METAL YOUTH IDENTITIES. Researching the Musical Empowerment of Youth Transitions and Psychological wellbeing. Bingley: Emerald Publishing Ltd.