History
Nu folk is a relatively new music style that emerged in the late 2000s. The genre combines traditional folk instrumentation and performance techniques with contemporary production styles such as electronic and ambient elements. Nu folk is often associated with indie music, and has seen a rise in popularity over the past decade through the work of artists like Fleet Foxes, Mumford and Sons, and The Lumineers.
Nu folk's roots can be traced back to the 1960s and early 1970s, with the emergence of the British folk revival. This movement saw traditional folk music being embraced by a youthful counterculture, and many artists incorporating folk sounds into their music. Some notable examples include Fairport Convention, Pentangle, and Bert Jansch.
However, it wasn't until the late 2000s that nu folk began to emerge as its own distinct genre. This was largely due to the work of Fleet Foxes, a Seattle-based band who released their debut album in 2008. The album featured lush arrangements and soaring harmonies, inspired by both traditional folk music and the harmonies of artists like The Beach Boys and The Beatles.
Following the success of Fleet Foxes, other bands began to emerge on the nu folk scene, using similar instrumentation and harmonies but incorporating their own unique sounds. These included Mumford and Sons, The Lumineers, and Of Monsters and Men, among others.
One of the key features of nu folk is its incorporation of electronic and ambient elements. This can be seen in the work of artists like Bon Iver and Sufjan Stevens, who blend traditional folk sounds with electronic beats and atmospheric production techniques.
Another defining feature of nu folk is its emphasis on storytelling. Many nu folk songs feature lyrics that tell stories, often rooted in traditional folk tales or personal experiences. This can be seen in the work of artists like Laura Marling and Joanna Newsom, who both incorporate elements of traditional folk storytelling into their music.
Despite its relatively recent origins, nu folk has already had a significant impact on the contemporary music scene. Its blend of traditional folk sounds, electronic elements, and storytelling has resonated with audiences around the world, and continues to inspire new artists and audiences alike.
Notable artists
Fleet Foxes: Seattle-based band known for their intricate harmonies and atmospheric soundscapes, blending elements of folk, rock and Americana.
Bon Iver: Fronted by Justin Vernon, Bon Iver's hauntingly beautiful compositions have earned him critical acclaim and a devoted fanbase.
The Tallest Man on Earth: Swedish singer-songwriter Kristian Matsson's fingerpicking and poetic lyricism have made him a revered figure in the genre.
Iron & Wine: Sam Beam's intimate, stripped-down folk has garnered widespread recognition and influenced a new generation of artists.
The Lumineers: Hailing from Denver, The Lumineers combine Americana, indie rock, and folk to create an upbeat and catchy sound.
Angus & Julia Stone: The Australian siblings' dreamy harmonies and acoustic instrumentation have made them a staple in the indie folk scene.
Mumford & Sons: One of the most commercially successful folk acts of the decade, the British quartet's anthemic sound has won them legions of fans.
First Aid Kit: Swedish sisters Johanna and Klara Söderberg's soaring harmonies and lush arrangements have made them a force to be reckoned with.
The Head and the Heart: Seattle-based ensemble known for their catchy, upbeat folk-pop and heartfelt lyrics.
Laura Marling: One of the UK's most acclaimed folk artists, Marling's introspective and confessional songs have earned her comparisons to Joni Mitchell and Bob Dylan.
Broader context
One book on Folk is "Electric Eden: Unearthing Britain's Visionary Music" by Rob Young. This book traces the history of British folk music from the 1960s to the present day, exploring the various styles and movements that have emerged over the years. Young argues that nu folk is part of a larger tradition of visionary music that seeks to reconnect with the land and the natural world. He writes, "The new folk scene is not simply a retrogressive movement, a kind of musical heritage park. Rather, it is a process of re-engagement with nature, a kind of rewilding of the soul."
Another notable book on the subject is "The New Troubadours: An Introduction to Neo-Folk Music" by Kim Ruehl. This book provides an overview of the nu folk genre, exploring its roots, influences, and major players. Ruehl argues that nu folk is a reaction to the slick, commercialized sound of mainstream pop music. She writes, "Nu folk is a response to the slick, overproduced pop music that dominates the charts. It's about authenticity, community, and connection to our roots."
Many musicians and critics have also weighed in on the subject of nu folk over the years. One musician who is often associated with the genre is Joanna Newsom. In an interview with The Guardian, Newsom spoke about the importance of storytelling in folk music. She said, "Storytelling has always been the cornerstone of folk music. It's a way of connecting with people, of passing down traditions and histories. For me, that's what nu folk is all about."
Another nu folk musician who has garnered critical acclaim is Laura Marling. In an interview with NME, Marling spoke about the influence of traditional folk music on her work. She said, "I've always been drawn to the stories and the melodies of traditional folk music. I think there's something timeless and universal about those songs, and I try to incorporate that into my own music."
Critics have also had a lot to say about nu folk over the years. Some have praised the genre for its authenticity and connection to tradition, while others have criticized it for being overly nostalgic and insular. Writing for The Guardian, Simon Reynolds wrote, "Nu folk is a genre that looks backwards more than it looks forwards. It's about preserving the past rather than pushing boundaries."
The social context of Nu Folk can be traced to the early 2000s, when the music industry was dominated by bland, formulaic pop music. As a result, many music fans began to look toward independent and underground music scenes for something more authentic and meaningful. The rise of the internet also played a significant role, as music fans could now discover and share music more easily than ever before.
In the UK, Nu Folk was championed by influential journalists such as Rob da Bank, who hosted a radio show called BBC Radio 1's One Music. The show featured a wide range of music, including many Nu Folk artists, and helped to introduce the genre to a wider audience. Other notable journalists and broadcasters who supported the Nu Folk movement include Lauren Laverne, Steve Lamacq, and John Peel.
The cultural context of Nu Folk is rooted in the British and American folk traditions. Many Nu Folk artists were inspired by the likes of Bob Dylan, Joni Mitchell, and Neil Young, as well as by traditional British folk music. However, they also drew inspiration from contemporary artists such as Radiohead, Bjork, and Beck, and incorporated elements of these styles into their music.
One of the defining features of Nu Folk is its DIY ethos. Many of the genre's key figures started out as independent artists, self-releasing their music and touring small venues. This DIY spirit was reflected in the production techniques used by many Nu Folk artists, who often recorded their music on lo-fi equipment or in home studios.
Several record labels played a key role in the development of Nu Folk. In the UK, notable labels include Fence Records, which released music by the likes of King Creosote and The Pictish Trail, and Domino Records, which signed acts such as Villagers and Wild Beasts. In the US, influential labels include Sub Pop, which released albums by Fleet Foxes and Iron & Wine, and Jagjaguwar, which released music by Bon Iver and The Tallest Man on Earth.
Technologically, Nu Folk was influenced by the rise of digital music production and distribution. The genre's lo-fi aesthetic was made possible by the availability of affordable digital recording equipment, while the internet enabled independent artists to reach a global audience without the need for major label backing.