GOTH NIGHTS AS A TOOL FOR BUILDING COMMUNITY IN THE

NASHVILLE GOTH SCENE

Kaysha Iverson

Dr. Ken Spring

Sociology of Music, Spring 2016

April 14, 2016

Goth Nights as a Tool for Building Community in the Nashville Goth Scene

INTRODUCTION

Studying music through a sociological viewpoint allows us to look at music in a new light. Music is

not merely sound or lyric. Without centuries of people coming together to consume music, it is likely that

society would have forgotten about it long ago. Today, music is a major aspect for a lot of people. The

music that a person chooses to listen to and identify with, or to not, and the groups that use music to

identify themselves is an important sociological phenomenon that can show us how people use music to

form their personal identities and how music can also determine the joining of a group and that group’s

identity. Roy and Dowd (2013:38) state that individuals and groups “use music to give meaning to

themselves and their world.” One of they ways this is done is through the meaningful construction of

identity using music to signal and help constitute the identity of individuals and collectives.

Roy and Dowd state that “music is identified by people inside (and outside) the group as belonging

to it, and membership in the group is marked partly by embracing this music (2013:40).” So how does

music helps to create a group identity through attracting people with similar taste in music, art, style, and

thought? One way that people come together is in music scenes. In a local music scene, the music is

often a determining factor in who joins or doesn’t join the scene, and how involved they are. Music scenes

attract individuals who appreciate similar types of music.

While music helps many different types of groups come together, the local music scene is one

example of how music is used to help identify and define a group. Through researching the Nashville Goth

scene, I have determined that the scene is mainly held together by the two Goth nights in Nashville,

Fascination Street and She’s Lost Control. These two club nights geared specifically toward the Goth

subcultural community in Nashville allow the members of the Goth scene to come together, socialize, and

be the insiders who know and identify with the different aspects of Goth night. In this paper, I am going to

look at how music scenes might allow people to come together through a collective identity in a place that

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is made comfortable to the group’s members. In the case of Nashville’s Goth scene, I will explore the two

Goth nights and how their location, the music played, the aesthetics of the attendees and the event norms

allow the members of the Goth scene to socialize. I will also briefly look at the way that the social hierarchy

in the Nashville Goth scene plays out at the events.

MUSIC SCENES

Since this paper looks at the Goth scene in Nashville, it is important to take a look at music scenes

and how they are defined and viewed. “The concept of music scene typically refers to a particular local

setting where a particular style of music has either originated, or has been appropriated and locally adapted

(Bennett 2004).” Music scenes are groups of individuals who come together based on a particular type of

music.

The term music scene originated in journalism and the everyday context in the 1940s about the

jazz scene. The term is used to describe the shared music, style of dress, and demeanor that was

appropriate to the scene (Peterson and Bennett 2004). The scene also provides a cultural resource for

fans, allowing them to find one another, forge collective interests, and identify cultural distinctiveness to

differentiate themselves from the mainstream.

In academia, Will Straw (1991) put out a paper significant to scenes and attempted to present the

concept of scene in a theoretically grounded model of analysis. Describing scenes as “actualizing a

particular state of relations between various populations and social groups, as these coalesce around

specific coalitions of musical style (1991:379). Straw’s work is now a model for academic research on

production, performance, and reception of popular music. The scenes perspective looks at “situations

where performers, support facilities, and fans come together to collectively create music for their own

enjoyment (Peterson and Bennett 2004).”

According to Straw, the term scene allows for a more varied and dynamic series of social

relationships than does the term subculture (1991). To be a part of a subculture, the individuals all must

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buy into everything about the subculture to be considered a true member. In music scenes, there is a

greater range of fluidity in becoming a part of a scene. While the subcultural capital one might have can

help them attain a higher hierarchical status in a scene, having subcultural capital in a scene is not

necessary to identifying with it. Class, gender, and ethnicity do no restrict scene memberships. (Straw

1991). As observed by Stahl (2004:52), scene acknowledges that “different interpretive tools are called for

in order to account for the many-layered circuits, loose affiliations, networks, contexts, and point of contact

determining the socio-musical experience.” Because of this, the notion of scene is better able to

incorporate different elements and allow for an expanded consideration of “the industrial, institutional,

historical, social and economic contexts alongside the ideological and aesthetic strategies that underpin

music-making.”

Scene implies an urban context. Where a subculture looks at a group of people, scene helped to

determine location as a factor. This means that the same subculture can look different when the context of

location and all the factors that come with it are factored into the scene of a particular city. For example,

Spring (2004) looks at the Rave scene in a city near Detroit and determines the reasons it was able to

occur; Eckart (2005) looks at the Gothic scene is Germany; Kruse (1993) looks at the Grunge scene in

Seattle; and there are articles upon articles unmentioned here that look at other scenes, location-based

groups that come together as a community over music that might be tied to a subculture but looks different

depending on the factors of the location.

Peterson and Bennett have divided the music scene into three subcategories: local, trans-local,

and virtual. In their book Music Scenes: Local, Translocal, and Virtual (Bennett and Peterson 2004), they

describe each of the subcategories and explain their importance to the study of scenes. When thinking of

scenes, most people will typically think of local scenes. These are scenes that are based within a specific

geographic location (Peterson and Bennett 2004). Studying local scenes allows sociologists to look at

different factors in a particular area that contribute to the development and identity of the areas music

scenes. Rather than looking at a subculture or genre as a whole, music scenes can help us understand

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why certain people in certain areas are attracted to particular styles and sounds, and how the area works to

allow those people to come together to form a scene.

Boundaries play a key role in music scenes. While entry into a music scene is readily available

and fluid, music scenes still utilize boundaries in determining who is and is not a part of the scene. Scene

members find their individual identities through interaction with the scene’s social space (Cohen 1985).

The identities of the scene determine the boundaries between the insiders and the outsiders. People in the

scene who are looking outward construct what they see in terms of their own stereotypes.

Nashville’s Goth scene shows how the scenes perspective and the other aspects of scenes in

previous sociological research can be used to look at how the interaction of the individuals in the Nashville

Goth scene work to define the scene through a variety of aspects.

NASHVILLE’S GOTH SCENE

What Is Goth?

Before delving into the specifics of the Nashville Goth scene, it is important first to determine what

Goth is. The Goth subculture came about in the early 1980’s in London as a genre derived from punk and

post-punk music. Stemming out of the punk subculture, the Goth subculture took the darker aspects of

punk style and punk music and adapted them into the aesthetics that we now view as Goth: dark music,

black clothes, dark makeup, etc. Today, the Goth subculture is a worldwide phenomenon. There are

subcultural insiders in nearly every country (Issitt 2011). Those who are a part of the Goth subculture have

a “reverence for those phenomena considered frightening unsettling by most people (Issitt 2011:13).” They

prefer Goth music, which has come to include a variety of genres and subgenres such as classic gothic,

post-punk, electric body music, aggrotech, apocalyptic folk, black metal, cybergoth, darkwave, deathrock,

futurepop, gothabilly, gothic rock, gothic metal, hellektro, industrial, neo-folk, neo-medieval, old school,

power noise, psychobilly, and synthpop (Van Elferen and Weinstock 2016). The Goth subculture is

primarily white and middle class, between the ages of 16-30 (Hodkinson 2002:70).

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Goth In Nashville

Nashville has a small but decided Goth scene. Because of the small number of participants, there

are very few places that are dedicated to and cater to the Goth scene in Nashville on a daily basis. Since

2012, there have been two separate Goth nights that have allowed the Goth scene in Nashville to come

together for events twice a month. These two events, Fascination Street and She’s Lost Control, show how

a variety of components have come together for the participants of the scene to be able to interact with one

another in a place that is specifically tailored to the Goth aesthetics.

NASHVILLE GOTH NIGHTS: FASCINATION STREET AND SHE’S LOST CONTROL

The next sections of this paper will take a deeper look into the details behind Fascination Street

and She’s Lost Control (SLC). Starting out, I will give a brief description of each event. After a quick

description, I will take a look at the details of the two events’ Facebook pages. Then I will look at some of

the other factors of these events that are involved in helping to foster a sense of community in the Nashville

Goth scene.

Fascination Street and She’s Lost Control (SLC) are both once-monthly Goth events that take

place in Nashville. Both events have been happening for years. Fascination Street started in 2012, and

She’s Lost Control followed closely behind in 2013. Fascination Street, which takes its name from the song

title of a Gothic anthem by the Cure, occurs every second Saturday of the month. She’s Lost Control

happens place on the fourth Saturday of the month and takes its name from the title of the Joy Division

song. Between the two events, there is often a Goth night every other weekend. Both events take place in

venues in East Nashville, Fascination Street at the East Room, a music, comedy, and art venue, and SLC

occurs at Foobar, a bar and music venue, and both run from 10pm-3am.

The Facebook Pages and Community

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Each Goth night has a Facebook page and description. SLC uses its Facebook page to describe

itself as being the destination “FOR ALL THINGS DARK!!!!” (www.facebook.com/SHSLSTCNTRL) and

playing “current & classic/the weird & the hits of goth, post punk, deathrock, new wave, darkwave,

industrial, ebm, synthpop, and more.” Fascination Street’s Facebook page goes more in depth with its

event description, identifying the night as “Nashville’s destination for current and classic Post-punk,

Darkwave, Deathrock, and traditional Goth music” (www.facebook.com/fascinationstreetnashville).

Fascination Street claims to be “putting the goth back in ‘Goth Night.’” Both Facebook pages offer the fans

and attendees of the Goth nights to talk to one another and those putting on the events. The Facebook

pages are also used to promote the events, especially as the event dates grow closer. The pages also

allow participants in the scene to post music videos, songs, and other information relating to the scene.

Typically both events have photographers who attend and take photos of the people there throughout the

night, and they post these to the respective Facebook pages a few days after the events. One significant

difference between the two Facebook pages is that Fascination Street’s has the option to look at the

previous shows’ playlists.

While Nashville’s Goth scene is primarily a local scene (Local in the sense that I’m speaking

specifically about the Nashville scene. The Goth scene, in general, would be considered translocal

because of the connections between members of the scene around the world (Hodkinson 2004), the use of

the internet as an extended means of communication shows elements of a virtual scene as well (Hodkinson

2005). While the scene is based in Nashville, the rise of technology and the internet has allowed the scene

to transcend the physical, geographical environment. Now people who live outside of Nashville, or people

who are out of town but want to keep up with the scene, can go online and see what has been happening.

This also gives the members of the Nashville Goth scene a forum for discussing the events and other

interests. Hodkinson (2005:569-570) looked at the virtual online Goth scene and determined that the online

forum can help to enhance subcultural participation, allowing for the facilitation of “providing special

knowledge, contrasting values, offering practical information, and generating friendships.” The virtual

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aspects of the Nashville Goth scene also allow participants to gain subcultural capital (Thornton 1995) in

the scene in addition to gaining or losing subcultural capital in the physical scene. Using Facebook pages

has also affected perceptions of boundaries of inclusion and exclusion in the scene (Hodkinson 2005), in

that a person can “Like” or “Follow” the Facebook pages without ever attending, or having any intention of

attending, an event. The virtual scene has also taken the place of word of mouth promotion.

Location

As mentioned in the previous section both of the Goth nights in Nashville take place at venues in

Nashville. More specifically, Fascination Street, which takes place in the East Room, and SLC, which is at

Foobar, are both located in East Nashville, about two miles away from the active nightlife of the Five Points

area. While two miles doesn’t seem like a large distance, the walk down Gallatin is not one that someone

is likely to take, especially at night. Essentially, the East Room and Foobar, which are located less than a

block away from one another, are what I refer to as destination venues. By this, I mean that they are

venues located in an area that people aren’t likely to wander upon by mistake. If a person ends up at the

East Room or Foobar, they did not stumble in from the bar next door, as there is no bar next door.

As discussed previously, location plays a huge part in local music scenes. Brandellero and Pfeffer

state that “a premium is placed on locations that combine […] innovative potential and creativity with a

supportive infrastructure, while constituting socially constructed sites of shared consumption (2015:1575).”

The case of the Goth scene in Nashville is interesting because it is an example of a fringe social group

placing themselves in a fringe area of the city. Rather than having Goth nights in the Five Points

neighborhood, Midtown area, or another area heavily populated with bars, nightlife, and people, both

Fascination Street and SLC have chosen locations that are out of the way. While people can still go to

these Goth nights without being a part of the Goth scene (I have seen many a person come into Foobar

without realizing it was Goth night), for the most part, these locations are not going to be visited by people

outside of the scene.

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Glass (2012) talks about the importance of some scenes to create marginal spaces for themselves.

This means scenes often create areas that match up with their ideals and aesthetical values. The East

Room is a venue, not a bar, so while it has some alcohol, it is beer-only, and not a location that is going to

be visited by anyone unless they know that there is an event happening there. It is not open nightly, only

when there is an event going on. Foobar, on the other hand, is open nightly and has regular theme nights

of all kinds throughout the week that cater to all kinds of groups, scenes, and personalities. Despite the

different personalities, it can attract throughout the week, Foobar is still located in a place where people go

there specifically to go there. This means most of the people who attend Foobar are regulars, going at

least once a week, and knowing what events are what nights. On She’s Lost Control nights, the people

who don’t want to participate in the Goth scene are likely to avoid Foobar that fourth Saturday of the month.

The Goth subculture, while not against the mainstream culture but an alternative to it, prefers to stay out of

the mainstream eye when possible, and the locations of the Goth nights in Nashville’s scene both follow

Glass’s (2012) framework for creating marginal spaces that fit the scene.

Music: Goth Music, DJs, and Dancing

Both Fascination Street and She’s Lost Control utilize music as their primary source to gather the

Goth scene together at their events. Music is important to the Goth scene because the Goth subculture

was formed around Goth music when it started in the late 1970s with Bauhaus and became more in the

mid-1980s in England. Based on my experience in the music scene, all the participants listen to some form

of Goth music, and that is what they associate with most. The music at Nashville’s Goth nights allows the

community to come together to enjoy something that they hold as a strong part of their identity. From a

symbolic interaction lens, in the Goth scene, a lot of meaning is placed on music, and the individuals and

the group as a whole use this to identify themselves as part of the Goth scene, and those who don’t are not

part of the scene.

The genres of music that are considered Goth were previously noted. Both of these events utilize

DJs rather than live bands. The DJs at both events are key players in putting the event together,

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promotion, and providing a good time by playing at the shows. Goth music was most prominent in the

1980s, so to capture the history of Goth music, the DJs must be able to play classic Goth music because

that is the music that gave meaning to the Goth subculture.

The main difference in terms of music at She’s Lost Control and Fascination Street is that She’s

Lost Control caters to the more Goth music; the music that has worked it’s way closer to the mainstream.

Fascination Street chooses to stick with the classics and the music that is most important to the Goth

subculture itself, regardless of whether or not it has been introduced in the mainstream in any form.

There are two Fascination Street DJs, and they both pride themselves on their use of records

rather than computers. They use their music to control the dance floor, providing a mix of music that

appeals to the Goth scene. Fascination Street is often looked at as being more authentic to the Goth

scene, playing music that lets the members show off their knowledge of the truly Gothic and gaining

subcultural capital through that knowledge. They will typically play a few songs well known by the Goth

community, and then introduce some new songs or artists. The DJs at Fascination Street go by their DJ

names: Baron von Birk and Icabod, taking on names that go with the Goth subculture.

She’s Lost Control has had a variety of DJs throughout its years. Currently, there is one main DJ

and often guest DJs. SLC provides a different atmosphere than Fascination Street. The DJ uses a

computer and playlist to play music. The music is also more geared toward people who don’t know the

Goth scene or Goth music as well, and it is typically more mainstreamed (think popular Nine Inch Nails,

The Cure, The Smiths, Gang of Four). The DJs don’t try to gain subcultural capital in the scene; rather,

they attempt to keep the attendees drinking and the dance floor filled throughout the night.

Dancing at these two venues differs as well, showing that the identities of the two different Goth

nights vary from one another. At Foobar, the dancing is often what you would see at a typical nightclub.

With the music tending to be more popular and upbeat, the dancing takes on a less Goth-like feel and a

more popular dance club feel, making She’s Lost Control feeling less like a Goth night in terms of the

individuals on the dance floor. There are the occasional Gothic dancers, who ”move like jittery corpses,

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lifting their arms slowly, with the jaded naivete of the dead reawakened to a hostile world” and dancing at

though “pulling taffy,” moving their arms slowly and pulling them apart from one another (Henry Young

1999:82). This is a much more common scene at Fascination Street, where the dancing looks more like

interpretive movement than typical club dancing. According to Driver and Bennett (2015), the use of the

body is pivotal to the way in which scene identities and behaviors are embedded in the individual. The

dancing of individuals at Fascination Street and She’s Lost Control both contribute to the ways the two

different Goth nights are viewed in terms of subcultural capital, and how the individuals define themselves

within the Goth scene. As I will discuss later on, this also plays into the hierarchy that is found in the

Nashville Goth scene.

Style

According to Hebdige (1979:18), subcultures are “intrigued by the most mundane objects…which…

take on a symbolic dimension, becoming a form of stigmata, tokens of self-imposed exile.” The stylistic

choices of the Goth scene in Nashville serve to present the members of the scene as “others,” as outsiders

to mass society, but also as insiders to their scene. At both Goth nights in Nashville, members of the Goth

scene can get dressed up in their darkest and finest clothes, do their hair and makeup however they

please, and utilize whatever kinds of jewelry or body art they desire. The more Goth they look, the more

subcultural capital they gain, and they can do so without the pressure of the rest of society looking at them

as different.

The style of individuals at Goth night, while each different, showcase an effort to be a part of the

Goth scene, by dressing dark and in a Gothic style. The styles represent a shared identity as a part of the

Goth scene, but they also provide individual identities through the clothing, makeup, hair, and body art

choices. Hodkinson (2004) notes that in the Goth scene, the stylistic choices made tend to represent a

theme of darkness, through the color black, and a theme of androgyny.

As already noted, black and dark style of dress is very common at Fascination Street and She’s

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Lost Control. Androgyny in appearance is also a popular theme at both. Many men at both events can be

seen wearing makeup similar to that which the women wear. Many men in the Nashville Goth scene wear

their hair long.

Through their choices in style, the members of the Nashville Goth scene can not only express

themselves, but they are also able to express their identity as a scene. The effort that they put into their

appearance being that of the Goth subculture also plays a role in determining their place in the hierarchy,

which will be discussed next.

Hierarchy

In the Goth scene, members distinguish themselves from non-members and create hierarchies of

status within the scene (Hodkinson 2002:80-81). Subcultural capital, or the degree of status-inducing

properties one holds about the particular tastes or values of a given subcultural group, determines the

hierarchy. Looking at a scene, subcultural capital works the same way as it does in a subculture. Thornton

gives the example that “Just as books and paintings display cultural capital in the family home, so

subcultural capital is objectified in the form of fashionable haircuts and well assembled record collections

(Thornton 1995:11).”

Nashville’s Goth scene is full of individuals at different levels of the hierarchy. I would argue that

those who consider themselves as a part of the Goth subculture, what I would call the “true Goths,” who

identify with the Goth every day through their beliefs, aesthetic choices, and choices in art consumption,

are at the top of the hierarchy, only after the DJs.

The DJs at both events have this subcultural capital, along with the musical knowledge, both of

songs and artists, but also the history of Goth music and the history of the scene itself. The DJs are also

the ones who put the events together, promote them, and play the music that gets and keeps the other

members of the scene there.

After the DJs and the “true Goths,” would be the members who have been a part of the Goth scene

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in Nashville for a long time. These would be the people who know the people at the top of the hierarchy

and attend all the events they can. They dress up for Goth night and go to socialize and enjoy the music,

but they do not buy into the subculture as a daily part of their lives. As clothing is an important element in

identifying the Goth scene, these members gain subcultural capital due to the Goth mentality (Iacob 2012).

Next, would be the members of the Goth scene who attend some of the events. They are usually

friends with someone higher up in the hierarchy of the scene, and they know other members and are

known. They might attend every once in a while, and they may or may not dress up.

The second to last group in the hierarchy would be the newcomers. They are new to the Goth

scene in Nashville and don’t yet have the subcultural capital to move up in the hierarchy. They don’t yet

know the other members and haven’t had a chance to socialize and build up their capital within the scene.

Finally, there are the outsiders. These are the people who have no idea what a Goth night is

about. They don’t know the music, they don’t dress up, and they have no subcultural capital. These are

the people who might stumble into Foobar on the fourth Saturday of the month because they are new to the

area and didn’t know about Goth night. While the Nashville Goth scene accepts these people, they are at

the bottom of the hierarchy because they do not have any subcultural capital and, most likely, no intention

of trying to move up in the hierarchy.

CONCLUSION

Using the Nashville Goth scene as an example, it is evident that many different facets play into

creating a scene that allows for the Goth community in Nashville to come together. From the music scenes

perspective, different elements of the local and virtual scenes have come together to create a scene unique

to Nashville. All of these elements come together with the Goth scene in mind. From utilizing technology

to bring the community together and to promote events, to the locations of the events themselves being in

places that fit with the Goth aesthetics, to the way the DJs utilize music and the attendees choose to

socialize and dance, Nashville’s Goth scene is catered to its members.

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Membership into the Goth scene is easy due to the accessible information about events online as

well as the openness of the events to the public; however, due to the subcultural capital needed to move up

in the hierarchy, knowledge of the Goth subculture is important to achieving and maintaining a high social

status in the scene. Knowing the music and what to wear are two of the most important elements in the

Goth scene, but this subcultural capital is something that can be obtained simply attending more events

and getting to know more people in the scene.

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