If your algorithm is anything like mine, you’ve probably been inundated with videos of kids playing bluesy folk songs on acoustic guitars against a backdrop of green fields or tranquil forests. These shaggy-haired indie artists have been sprouting up like weeds this year in a trend that has some music critics scratching their heads.
For most of the twenty-first century, the trajectory of pop music was to get louder and more extravagant. Technological advancements in sound recording pushed the limits of what was possible, and there was no shortage of artists eager to leave their mark on the industry. Electronic music dominated the landscape with thumping beats, and even rock and metal bands added software instruments to their mixes, making their drums and guitars even more massive than they already were.
But it looks as though the next generation of musicians is yearning for music that calls back to a simpler time. Enter: The indie folk wave of 2025.
Nowadays it seems like everyone with a guitar and a Focusrite audio interface is posting their recordings on TikTok or Instagram. The songs are quiet when compared to most modern music, with relatable choruses and a distinctive lo-fi sound. Sometimes the lyrics are overtly political; other times they bemoan the struggles of modern life in a more general sense. The songs often don’t feature any drums, and if they do, they’re often subdued.
One of my favorite players in this new musical era is Hudson Freeman. He recently unveiled his song “If You Know Me” after clips of it went viral on social media. Within a month of its release, the song garnered over a million plays on Spotify. It has an unmistakable, raw quality to it and was clearly recorded outdoors, something that just doesn’t happen in other genres. You can even hear a car revving its engine in the background. I wouldn’t be surprised if Hudson opted to keep this take—one most artists would scrap—because it gives the song an authentic feel.
In this way, Hudson and others like him are rejecting the notion that music should (or even can) be perfect. They don’t try to hide mistakes or hiccups in their songs, because to them, the flaws are what give their songs character. There’s a kind of punk DIY ethos to it all that’s refreshing after years of glitz and glam being force-fed to us by our algorithms.
With the rise of AI, this gritty authenticity stands as a reminder of the human element that makes music so special. It’s always been the cornerstone of art in every form.
Even the aesthetic of these new artists is its own rejection of modern perfectionism culture. Thrift store clothes and faces without makeup are what you’ll find in clips of musicians who in every way seem like ordinary people.
If you find yourself wondering why folk music is making a comeback now, all you need to do is look at the current state of affairs in the world.
To call 2025 a tumultuous year would be the understatement of the century. With widening income inequality and a political class that makes dystopian fiction feel quaint, things are looking more and more bleak for America’s youth. Add to this a pandemic of isolation fueled by the very tech that was supposed to bring us together, and you have all the ingredients for the current indie folk revival.
Those of us who have been around the block a few times will recall that when the going gets tough, the people turn to folk. This wave isn’t the first one, and it surely won’t be the last. The genre’s inherent anti-establishment qualities come as a respite to young people who are feeling more pessimistic about the future than ever.
So it’s no surprise to see so many Zoomers today abandoning their MIDI keyboards and electric guitars in favor of acoustic ones. Similar folk waves have popped up in a cycle dating back to the Cold War.
In essence, folk is the pulse of America’s music scene. Sometimes it’s more prominent than at others, but it’s never truly dead, and I suspect it never will die. It’s the anthem of the downtrodden masses, the siren song of a rising generation.
And by the looks of things, it’s not going anywhere.
C. P. Bearden is a musician, poet, and author. He’s been involved in the punk and hardcore music scenes since he was a teenager, playing in multiple bands over the years. These days he spends his time begging other bands to come play in the small Georgia town he calls home.
SLUGGER 