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Empire of Dirt: The Aesthetics and Rituals of British Indie Music
Inside the culture of an artistically influential music community
Britain is widely considered the cradle of independent music culture. Bands like Radiohead and Belle and Sebastian, which epitomize indie music's sounds and attitudes, have spawned worldwide fanbases. This in-depth study of the British independent music scene explores how the behavior of fans, artists, and music industry professionals produce a community with a specific aesthetic based on moral values. Author Wendy Fonarow, a scholar with years of experience in the various sectors of the indie music scene, examines the indie music "gig" as a ritual in which all participants are actively involved. This ritual allows participants to play with cultural norms regarding appropriate behavior, especially in the domains of sex and creativity. Her investigation uncovers the motivations of audience members when they first enter the community and how their positions change over time so that the gig functions for most members as a rite of passage. Empire of Dirt sheds new light on music, gender roles, emotion, subjectivity, embodiment, and authenticity.
Britain is widely considered the cradle of independent music culture. Bands like Radiohead and Belle and Sebastian, which epitomize indie music's sounds and attitudes, have spawned worldwide fanbases. This in-depth study of the British independent music scene explores how the behavior of fans, artists, and music industry professionals produce a community with a specific aesthetic based on moral values. Author Wendy Fonarow, a scholar with years of experience in the various sectors of the indie music scene, examines the indie music "gig" as a ritual in which all participants are actively involved. This ritual allows participants to play with cultural norms regarding appropriate behavior, especially in the domains of sex and creativity. Her investigation uncovers the motivations of audience members when they first enter the community and how their positions change over time so that the gig functions for most members as a rite of passage. Empire of Dirt sheds new light on music, gender roles, emotion, subjectivity, embodiment, and authenticity.
336 pages, Paperback
First published July 10, 2006
About the author
Wendy Fonarow
5 books2 followersWendy Fonarow aka "the indie professor" is an anthropology professor at Glendale College, writer and music industry professional. She is best known for the book Empire of Dirt, and for her column Ask the Indie Professor in The Guardian.
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Displaying 1 - 4 of 4 reviews
August 11, 2026
The concept of "indie"
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I’ve participated in several discussions about independent music, and invariably, the conversation ends up circling back to the question: "What exactly *is* indie?" This happened in the discussion I just mentioned, as well as in recent comments I’ve seen on Weibo.
I’ve always held a pretty firm view on the concept of "indie"; to me, the situation is simple: "indie" is a catch-all term for anything outside the "Big Four" record labels. If you look back a few years, the Big Four dominated the music industry, commanding vast financial resources and influence. All other labels were lumped together as "indie." They lacked the clout of the Big Four—whether in terms of media influence or financial muscle—and couldn't afford massive promotional campaigns, advertising, or elaborate marketing and packaging strategies. This lack of power is the root cause of the romanticized image of "indie." Attributes often associated with the term—such as being "niche," "counter-cultural," or possessing an "independent spirit"—stem from this lack of resources and influence; they are essentially extensions of the core concept. However, not all indie acts are niche. Take Suede or Radiohead, for instance—they are huge stars, yet they remain "indie." In reality, though, the landscape has shifted: the record industry has declined while the internet has surged in power. The Big Four aren't as wealthy as they used to be, and artists signed to them often enjoy significant creative control. The "long tail" effect has intensified, meaning the Big Four have lost some of their dominance, while indie acts aren't necessarily struggling—breaking into the charts isn't the impossible feat it once was (just look at Adele).
Still, seeing everyone debate this so passionately made me second-guess myself. Was my understanding flawed? Why is "indie" so often used to describe a musical genre rather than a business model? And if it *is* a genre, what exactly does it refer to? I decided to email my teacher to explain my understanding and ask for her take. She confirmed that I was right, but noted that the confusion arises because the term is also used to describe a specific genre. As she put it in her email: "When 'indie rock' is used to describe a genre, it refers to alternative rock—also known as shoegaze. Yes, it is confusing." In other words, "indie rock" is synonymous with alternative rock and shoegaze.
Since it was an email, her explanation was a bit brief. It left me wondering: why exactly is shoegaze classified as "indie"? So, I picked up the book *Empire of Dirt*, which offers a comprehensive account of the concept of "indie." Rather than providing a direct definition, the book explores various facets of indie; here is a summary of the main points:
1. Indie as a mode of distribution—an industrial definition: This refers to the aforementioned practice of rejecting the "Big Four" major labels in favor of independent distribution.
2. Indie as a genre: As a musical genre, indie traditions include musical simplicity and unadorned arrangements, a reverence for childhood and innocence, nostalgia, an anti-technology stance, and an obsession with the guitar. Minimalism and a commitment to purity are core indie values; this manifests in music that lacks polished production, a lack of focus on technical virtuosity, a reluctance to hype up the crowd during performances, and an unpretentious, modest style of dress. The book also links indie bands to the "skinny suit" aesthetic, noting that "Indie's clothes typically do not fit—either the person or the time." Shoegazing, a genre mentioned by the professor, epitomizes the indie spirit. Emerging in 1991, shoegaze bands would stand motionless during performances with their heads bowed—seemingly looking at their effects pedals, though they might actually have been checking their lyrics, given their amateurish, unpolished nature. They wore ordinary, everyday clothes and sported the quintessential indie look: a student-like hairstyle. Ultimately, indie seeks a return to the basics: simplicity, rawness, and an absence of professional training.
3. Indie as an ethos: An independent spirit free from external control or interference, where bands and artists maintain substantial artistic and creative control. It champions political freedom and, as the book notes, reflects middle-class values.
4. Indie as "pathetic": It frequently expresses sentiments of melancholy, loneliness, and a sense of not belonging. Examples cited in the book include: "What the hell am I doing here? / I don't belong here" (Radiohead's "Creep"); "I'll be the corpse in your bathtub / Useless" (Elbow's "Newborn"); and "I think I'm drowning / asphyxiating..." (Muse's "Time Is Running Out"). Indie is also associated with the film *Trainspotting*. In the UK, the "trainspotter" is a quintessential figure associated with a certain kind of wistful sentimentality. Clad in jackets, they stand at the far end of railway platforms, waiting for trains to thunder past so they can tally the ones they’ve seen. The point of the activity is its very "pointlessness," which marks them out as mavericks. "Indie" culture shares a similar vibe.
5. It is a mode of aesthetic judgment. Members of the indie community prize their own ability to appreciate music and insist on their capacity to evaluate its worth. In short: this is a fantastic book... Further reading: The *Guardian* recently published an interesting article titled "Why do Americans always think they invented indie?" Indie is to the UK what Alternative is to the US. *Empire of Dirt* captures the spiritual distinction between the two: Alternative’s "A" is typically capitalized, whereas indie’s "i" is usually written in lowercase.
star_border
I’ve participated in several discussions about independent music, and invariably, the conversation ends up circling back to the question: "What exactly *is* indie?" This happened in the discussion I just mentioned, as well as in recent comments I’ve seen on Weibo.
I’ve always held a pretty firm view on the concept of "indie"; to me, the situation is simple: "indie" is a catch-all term for anything outside the "Big Four" record labels. If you look back a few years, the Big Four dominated the music industry, commanding vast financial resources and influence. All other labels were lumped together as "indie." They lacked the clout of the Big Four—whether in terms of media influence or financial muscle—and couldn't afford massive promotional campaigns, advertising, or elaborate marketing and packaging strategies. This lack of power is the root cause of the romanticized image of "indie." Attributes often associated with the term—such as being "niche," "counter-cultural," or possessing an "independent spirit"—stem from this lack of resources and influence; they are essentially extensions of the core concept. However, not all indie acts are niche. Take Suede or Radiohead, for instance—they are huge stars, yet they remain "indie." In reality, though, the landscape has shifted: the record industry has declined while the internet has surged in power. The Big Four aren't as wealthy as they used to be, and artists signed to them often enjoy significant creative control. The "long tail" effect has intensified, meaning the Big Four have lost some of their dominance, while indie acts aren't necessarily struggling—breaking into the charts isn't the impossible feat it once was (just look at Adele).
Still, seeing everyone debate this so passionately made me second-guess myself. Was my understanding flawed? Why is "indie" so often used to describe a musical genre rather than a business model? And if it *is* a genre, what exactly does it refer to? I decided to email my teacher to explain my understanding and ask for her take. She confirmed that I was right, but noted that the confusion arises because the term is also used to describe a specific genre. As she put it in her email: "When 'indie rock' is used to describe a genre, it refers to alternative rock—also known as shoegaze. Yes, it is confusing." In other words, "indie rock" is synonymous with alternative rock and shoegaze.
Since it was an email, her explanation was a bit brief. It left me wondering: why exactly is shoegaze classified as "indie"? So, I picked up the book *Empire of Dirt*, which offers a comprehensive account of the concept of "indie." Rather than providing a direct definition, the book explores various facets of indie; here is a summary of the main points:
1. Indie as a mode of distribution—an industrial definition: This refers to the aforementioned practice of rejecting the "Big Four" major labels in favor of independent distribution.
2. Indie as a genre: As a musical genre, indie traditions include musical simplicity and unadorned arrangements, a reverence for childhood and innocence, nostalgia, an anti-technology stance, and an obsession with the guitar. Minimalism and a commitment to purity are core indie values; this manifests in music that lacks polished production, a lack of focus on technical virtuosity, a reluctance to hype up the crowd during performances, and an unpretentious, modest style of dress. The book also links indie bands to the "skinny suit" aesthetic, noting that "Indie's clothes typically do not fit—either the person or the time." Shoegazing, a genre mentioned by the professor, epitomizes the indie spirit. Emerging in 1991, shoegaze bands would stand motionless during performances with their heads bowed—seemingly looking at their effects pedals, though they might actually have been checking their lyrics, given their amateurish, unpolished nature. They wore ordinary, everyday clothes and sported the quintessential indie look: a student-like hairstyle. Ultimately, indie seeks a return to the basics: simplicity, rawness, and an absence of professional training.
3. Indie as an ethos: An independent spirit free from external control or interference, where bands and artists maintain substantial artistic and creative control. It champions political freedom and, as the book notes, reflects middle-class values.
4. Indie as "pathetic": It frequently expresses sentiments of melancholy, loneliness, and a sense of not belonging. Examples cited in the book include: "What the hell am I doing here? / I don't belong here" (Radiohead's "Creep"); "I'll be the corpse in your bathtub / Useless" (Elbow's "Newborn"); and "I think I'm drowning / asphyxiating..." (Muse's "Time Is Running Out"). Indie is also associated with the film *Trainspotting*. In the UK, the "trainspotter" is a quintessential figure associated with a certain kind of wistful sentimentality. Clad in jackets, they stand at the far end of railway platforms, waiting for trains to thunder past so they can tally the ones they’ve seen. The point of the activity is its very "pointlessness," which marks them out as mavericks. "Indie" culture shares a similar vibe.
5. It is a mode of aesthetic judgment. Members of the indie community prize their own ability to appreciate music and insist on their capacity to evaluate its worth. In short: this is a fantastic book... Further reading: The *Guardian* recently published an interesting article titled "Why do Americans always think they invented indie?" Indie is to the UK what Alternative is to the US. *Empire of Dirt* captures the spiritual distinction between the two: Alternative’s "A" is typically capitalized, whereas indie’s "i" is usually written in lowercase.
June 23, 2025
very insightful book about the influences and impacts of British indie (my favorite genre ever). i just wish it had been written a decade later to include The 1975, arguably the most important British band of the 2000s-present.
January 4, 2011
After the initial off-putting introduction where the author works really hard to show how clever she is by continuously using unessecary huge words, the rest of the book was very insightful and rewarding.
It definitely leans towards the academia style of writing throughout, but luckily the content was of strong enough interest for me to continue slogging on. I learnt a lot from reading this, about the indie scene, and my own believes in this field of music!
It definitely leans towards the academia style of writing throughout, but luckily the content was of strong enough interest for me to continue slogging on. I learnt a lot from reading this, about the indie scene, and my own believes in this field of music!
April 10, 2009
Seriously. YUM! tooo loaded to say too much about this. It's my new bible.Met the author at SXSW conference! Wickedly on it.
Displaying 1 - 4 of 4 reviews