The R&B/Folk Crossover
Divided by History, Re-united in the Future
It’s no secret I love a Genre-blend. This isn’t the first nor the last ‘crossover’ article I plan on doing, but this one may be one of the most history rich ones that’s come up. Two seemingly disparate music styles, R&B and Folk (for the purposes of this article I’m focusing on American Folk Music) actually have more in common than at first glance and though the wheel of history forced them into two separate styles with distinct vibes. However, even the divisions of American History can’t keep the two apart and as we enter a world with more genres blending into one another its worth examining the ‘why and when’ of this crossover.
For starters, lets look at the geography of the birth place of American Folk music and, some time later, R&B; The American South. Most music Historians place the origins of American Folk around the early 1900’s. Around the Southern American landscape, folk traditions from across the world (the Colonizers, Slaves, and Indigenous people) meshed together and created the blue-print for American Folk music, a mixture of the Gospel/Religious music performed as worship, ‘work’ songs, and stories told and musically passed down. Music being the great unifying force even a strict and violent racial caste system couldn’t keep these influences apart from creating a musical community of sorts. At least for a brief moment.
While Folk Music, Blues, and Gospel branched across the racial divide of the South, the advent of records and the growing interest in collecting and commodifying music, it was soon segregated as with all things at the time. Eventually, white musicians spun the American Folk of the 20’s and 30’s into ‘Country/Blue Grass’ and (via appropriation) ‘Rock and Roll’ while black musicians of the 20’s and 30’s were labeled as ‘Race Music,’ (gross, I know. I didn’t enjoy typing it) and from there developed ‘Soul’ and ‘R&B.’
The above, of course, is a bit simplified as the history and paths of music are as layered and nuanced as the people who create it. There are many moments in American Music history where the branches of music crossover, not the least of which includes the Folk explosion and Protest music of the 60’s and 70’s where a thematic and stylistic bridge constructed from the shadow of the Civil Rights struggle and Anti-War movements. While ‘Country Music’ (exceptions include Dolly and Johnny) and some segments of ‘Rock and Roll’ (Skynard) steeped themselves more in the Conservatism of the status quo, the Folk Revival sought the origins of American Folk in tandem solidarity with Soul and R&B, and musicians across the spectrum sought to shine a flashlight on the ugliest of American traditions.
Perhaps, that’s what brings us to the moment that sparked this article; the modern crossover. There isn’t a big boom but there are a few artists are mixing the genres in new and interesting ways to create a type music that speaks to both the roots of American Folk music (with a dash of the most recent 2010’s ‘stomp, clap, hey!’ revival) and a consistently developing R&B landscape. Of course, there are certain musical acts that have ‘appropriated’ the popular trends in R&B to give themselves the façade of edge before they quietly retreat back to their standards after piling up a bit of pop-renown, but the artists I’m talking about aren’t as callous with their crossover. Instead, they blend the elements of each while making sure to attribute credit where its due and only using that which they can organically and authentically express.
A few of them I’ve reviewed on this page before, such as Dijon, whom I feel most confidently blends both genres, and Wet, who on one track can go full Alt-R&B and another full-Folk while often meeting in the middle with a bit of experimental ambience thrown in on other tracks. You also have a group like Night Beds, who started out with a well received album of Folk/Country tracks that landed them a spot behind the famous Tiny Desk at NPR (Country Sleep). Night Beds had a ready made fandom laid out before them, and instead of refining what they already had, a series of personal tragedies and moments awakening, they forsook that comfort of the ambitious-beyond-its-means follow up album Ivywild. Here they threw everything at the wall, from the established folksy confidence with the brooding experimentation of Alt-R&B and electronica. It doesn’t all stick but its so audacious and passionate that its impossible not to admire.
What is the motivation behind this modern crossover? Maybe it’s just the increasing availability and readiness of music from all walks of life. Maybe it’s our ability to find communities outside of our bubbles with an ease rarely experienced in human history. Maybe, in America at least, it’s a desire to share experiences that may be foreign or denied by a still deeply troubled country and create another sonic community where sounds are shared like memories and empathy grows. It’s my hope for the future that the latter holds true and for all the division and struggles we experience or witness, we can grow beyond what we’ve so far seems intangible.
(enjoy the links in the second to last paragraph in lieu of a playlist this crossover!)
