Hi everyone, thanks for tuning in. My paper is too long, so I’m going to get right to it. The purpose of this paper and its broader idea is to formulate one of many possible responses to the question, What happened to feminism in indie rock after riot grrrl?1 In both mainstream criticism and in music scholarship, the conventional and to a large degree accurate narrative about feminism in popular music usually pivots away from rock around 1995, when The Spice Girls heralded the coming postfeminist turn.2 But while postfeminist pop music—from The Spice Girls to Avril Lavigne all the way to Taylor Swift—has clearly constituted the dominant articulation of feminism in popular music since that time, feminist indie rock has continued to exist, and more recently, to thrive.Here, I am not concerned with describing the state of indie rock generally, nor do I want to limit the question to women performers per-se. Within the increasingly heterogeneous indie rock space, I want to focus on a particular, limited affect that I hear as indicative of some of the aesthetic and political shifts that indie rock has undergone in the past decade, and which continues to bind together certain sensibilities in our contemporary moment. Big Feelings attempts to name and trace this affect.3In trying to understand this change, I’ve compiled a working list of what seem to me the essential characteristics of the music I’m trying to identify. Together, these characteristics produce a feminist affect that is irreducible to any one component, but is perceptible nonetheless.4 We have almost no time for a sampling, but I’ll play a bit of music from Snail Mail and Land of Talk to give us an idea of the aesthetic I’m trying to get a handle on.[Play “Heat Wave” (:50-1:45), “This Time” (23:35-24:40)]How do we begin to talk about music like this? It certainly presents some common characteristics, but at the same time, I don’t know if these characteristics constitute a genre, because not all of them are present in all of indie rock, or even, as we’ll see, in feminist indie rock from the post-2000s period. This is what makes Big Feelings more of a tendency or an orientation than a genre. I’ll spend the rest of the paper outlining what seem to me the key elements of this approach.Together, these are the five elements that at least right now seem central to producing the kind of affect that I hear in Big Feelings, a too-much sound that puts feelings first, using them as a vehicle to explore other themes. This affect is in my view inherently feminist, because of the historical effeminization and therefore de-valuing of feelings and emotionality, the traditional segregation that as Lauren Berlant puts it, keeps women “the default managers of the intimate.”11 This is obviously not the only music that deals with feelings in the umbrella of indie-rock, which is itself difficult to define. But it does seem to me a distinct, 90s-based and feminist-inflected approach to playing that is not shared by other groups. I hope that it could prove promising for future research: if the aesthetic that I have sketched here is coherent, then the next step would be to trace its origins and its effects, both socio-politically and musically. It is also critical to caution that—as a concept that relies on affect—all of the dynamics outlined in this paper, especially the political reading, must be understood as singular and relational. That is to say, if these characteristics hold across several bands, they nevertheless manifest and function in different ways for every case. This is another reason I am eager to explore these dynamics and musicians further in the future. Thanks so much for listening, and I hope to see you out there in the real world someday.