This is why I cannot respect Andy Greenwald’s opinion on emo:
Obviously, taste is taste. Opinion, opinion.
But if this man is the guy who’s supposed to be the emo know-it-all (read: self-created title/Spin created title), I’m not buying it. The guy doesn’t seem to understand the impulse that emo acts have towards evolution, probably because the very thesis of Nothing Feels Good denies this concept.
He denied Sunny Day any post-Diary existence in his book, cramming much of their timeline into a brief paragraph and noting their later stuff for its prog leanings versus any relationship to emo.
He seemed happier to call The Promise Ring’s Wood/Water “joyless” than express the band’s need to let their music grow, saying when they performed it live opening for Jimmy Eat World, “When Davey strummed his acoustic guitar to thousands of eager teenagers at a sold-out Roseland Ballroom in New York City, he was greeted with implacable silence, the sight of an entire generation of music fans regarding him like they had just caught their dad moshing” (NFG, p 125). Opinions abound about Wood/Water, but Greenwald was more than elated to include this one show as evidence that TPR went “dad rock” and left emo, when in fact their new music retained much of the spirit of earlier albums, but held a newfound sense of wonder and exploration into non three-chord territory. And why did the kids greet the band with silence? How many big, sold-out shows did you go to for the opening act? It’s commonplace for fans at big ballroom/arena shows not to know a damn thing about an opener: when they’re playing music like what’s on Wood/Water, what’s a more appropriate response than simply watching in silence? (Go to an acoustic show where you don’t know the musician and see how you react).
Greenwald wrote this about Chris Carrabba:
“And I think: in some small way, it’s already past him. Dashboard Confessional was an emo moment, not an emo career. Carrabba may have many more years and songs ahead of him, but those frustrated, tormented ballads will live on. His worst moments may well outlive his best moments. He has pushed the punk/emo model as far as it can go…” (p 265)
He wrote that just before A Mark, A Mission, A Brand, A Scar came out, before Carrabba really broke emo into the mainstream, remade “Hands Down” into a genuine hit and a car commercial-worthy song, and became a Billboard-topping recording artist at number 2. And then again in 2006 at number 2. And then again in 2007 at number 18. And all performing music that, gasp, was in the exact same vein as before.
Greenwald got all that dead wrong, and he’s dead wrong about Brand New. Considering Greenwald is speaking for what is believed to be the voice of emo for critics, for some reason his voice holds some water, even after emo continued to conquer the Billboard charts in ways he hadn’t properly predicted when he wrote Nothing Feels Good. His opinion is his opinion, but to say that Brand New hasn’t written any new material as an “emo conessuire” all while practically every other critic has hailed the band’s last two releases, and fans have pushed their music to the top of the Billboard charts (number 6 just today). Something just doesn’t add up. Considering Greenwald considers himself the “voice of emo” and yet he cannot seem to fathom why or how or that Brand New could write their new material is plain laughable. I’m all for dissenting opinions, but I find his just kind of ridiculous.
Brand New – “Gasoline”: