Emo Modernity: Intellectualizing Indie Male Voice

Emo Modernity: Intellectualizing Indie Male Voice

Before Philadelphia band Sorority Noise launches into the last song of its 25-minute set, "Using," frontman Cameron Boucher addresses the audience. He begins by letting us know he's going to address us, to hang on tight, we'll get through it. He starts with something along the lines of, "I suffer from manic depression, it's a real thing." His affectation is delicate but not somber, the exact opposite of his singing persona. Here, it's not so much that he's making excuses, but that he feels the need to let us down easy. He's completely right.

We're inside Brooklyn D.I.Y. punk space Market Hotel. In a previous life, the venue doubled as a home to local acts, most notably, brother band The So So Glos. Art weirdos lived in cubbie-style capsule rooms that rivaled the '70s mysticism of a NYC prior; it was pretty dingy. In 2016, it's remarkably clean. On a very sold-out night, Sorority Noise is the second of four bands. Judging by the ferocity of distinctly female voices shouting along, you'd think they'd pack the room solo.

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