Revival to Repetition: The Struggle for Originality in a Nostalgia-Driven Music Scene

We're unpacking the mythology behind musical nostalgia and what originality means in the Black creative field.

Missy Elliott by Madison Symone. Image property of @1.madi

In the ever-evolving realm of Black music, the allure of nostalgia has become a prevailing force, weaving its way into melodies that have begun to shape our sonic experiences. The intoxicating embrace of bygone eras often acts as a comforting refuge for listeners seeking solace in the familiar and major corporations using a "formula that works" to guarantee success and monetary value. 

However, it becomes evident that perhaps the pendulum has swung too far, as we begin to delve deeper into mere recreations of the past rather than towards a landscape that pushes innovative musical expression and creativity—a problem that has already begun to permeate into the UK music scene. 

In an era of rapid change where what is considered "cool" changes frequently, artists and producers cognizant of this desire for the known, weave threads of the past into contemporary compositions to essentially… ensure a hit. The 1990s and early 2000s were transformative periods of music that exemplified the essence of originality with artists and producers challenging conventions, pushing the boundaries, and in all, becoming highly recognisable innovators whose influence is distinguishable decades later. 

The "Golden Age of R&B" was characterised by the diversification of sound as producers began to experiment with a fusion of soul, funk and hip-hop elements, birthing a multitude of subgenres. For example, 'The King Of New Jack Swing' Teddy Riley can be credited for defining a sub-genre that became a cultural phenomenon through his work with artists such as Michael Jackson, Bobby Brown, Blackstreet, Guy and SWV. A brand-new sound was shaped by Riley's forward-thinking approach to production techniques and willingness to create music that stands the test of time. 

Another pioneer, Timbaland has had a profound impact on multiple genres through his unique sonic experimentation, unconventional use of sampling and his humanistic approach to rhythm through vocal percussion being a hallmark of his sound. Timbaland's influence extends far beyond his discography; working with some of the greatest acts of the 90s and early 2000s such as Aaliyah, Missy Elliott, Ginuwine and Usher—Timbaland continues to be a source of influence for producers today due to the distinctive trademark sound sprinkled in a lot of the chart toppers of the new millennium.

So, what is the point I'm trying to make here? I would be overstating my argument if I were to say that we have not seen any form of innovation in the last few years, but my concerns are rooted in the blurring of identity when artists become way too easily comparable to what we have already seen, and sometimes it is not even their own fault. The over-reliance on nostalgia is an algorithmic-based decision informed by consumers that say "bring back real R&B" which inadvertently stifles innovative expression. 

Immediately, a name that comes to mind is the emerging British boy band NO GUIDNCE, whilst being incredibly talented vocalists oozing with stage presence, observing their social media platforms I often see comments comparing them to the likes of Boyz ll Men and 90s Boy Bands in general. Their soulful ballad "Is it a Crime?" is extremely reminiscent of "End of the Road" by Boyz II Men, with the harmonies, composition and even a monologue at the beginning of the song just like the ''original'' This being the band's most successful song quite literally is a depiction of the fact "familiarity sell" especially when they have other incredible songs that sound new and fresh.  

Audiences will continue to gravitate to what they know rather than yearning for something new but the creatives involved in musical production need to be the ones pushing for change. If Jermaine Dupri didn't take a risk and push the norm, would we have an album like Usher's 8701? If Lauryn Hill, Erykah Badu, Bilal, Jill Scott, D'Angelo et al. relied on 80s R&B and what those before them created would they be considered pioneers and play significant roles in the neo-soul movement? I will never fault an artist for drawing inspiration, but what sets you apart? What makes you identifiable? When new sonic territories are not explored, we begin to see an unfortunate lack of diversity.

As previously mentioned, I would be overstating the issue if I said there are no individuals in our scene able to navigate the delicate balance between homage and creating something dynamic and progressive. Lewisham's very own, Jim Legxacy has formulated a sound that is completely unprecedented due to his ability to bend genres drawing from his various influences such as MF DOOM, Kendrick Lamar, and Bon Iver creating a unique sonic experience. His sophomore mixtape Homeless Nigga Pop Music is even difficult to define, from Afropop, grime and drill to the occasional jersey beats. That's innovation! Creating something so unique to your artistic identity that it is undefined. Natanya, in her own words, stated, "I don't subscribe to a genre."

Seeing her open up for FLO in London, I was intrigued by her compelling vocal style, confidence and versatility, leading me to become an avid listener of her discography. Her tracks "Foolish" and "Raining Tomorrow" are both fusions of Afrobeat, R&B, neo-soul and jazz, but the execution of both tracks is done masterfully through her appreciation and love for previous eras whilst still being able to add her creative flair. Nostalgia can also be identified in her work but rather through the lens of capturing youth through her lyricism which again…is innovative! 

The 90s and Y2K era did its part. We saw changes in production, the formation of subgenres, an increased awareness of the importance of music videos and in all we saw black artistry reach heights that have never been seen before and pioneers leading the conversation. Industry stakeholders now, from producers to record labels, bear the responsibility of championing innovation, which involves the nurturing of new voices that bring fresh perspectives to the forefront rather than throwing it back to the "good old days" in the pursuit of guaranteed success.

While paying homage to musical legacies is a celebration of the arts' timeless nature, artists who can reinterpret rather than replicate will pave the way for the evolution of musical styles, ensuring that the music landscape remains relevant and a true reflection of the ever-changing human experience.