Pavement’s Return Signals a New Era for Indie Film & Legacy Act Revivals
Twenty-five years is a long time to leave fans waiting. But Pavement’s recent release of a cover of Jim Pepper’s ‘Witchitai-To’ isn’t just a welcome return for devotees of 90s indie rock; it’s a bellwether for a growing trend: the multifaceted revival of legacy acts, fueled by documentary filmmaking and a blurring of lines between reality and performance. This isn’t simply a reunion tour cash-grab – it’s a complex, self-aware exploration of what it means to be a band, and how that story gets told.
Beyond the Reunion Tour: The Documentary as Catalyst
The release of ‘Witchitai-To’, captured during rehearsals for their 2022 tour, is inextricably linked to Pavement, the new film directed by Alex Ross Perry. This isn’t a straightforward concert film or biographical documentary. Perry’s approach – blending scripted scenes with documentary footage – is indicative of a broader shift in how musical legacies are being presented. We’re seeing a move away from hagiographic narratives towards more nuanced, often self-deprecating, explorations of the creative process and band dynamics. The film’s premise, encompassing a museum exhibit, a jukebox musical, and a Hollywood biopic, cleverly mirrors the various ways a band’s history can be commodified and reinterpreted.
This approach isn’t unique. Recent documentaries about bands like The Rolling Stones and The Beatles have also experimented with form, incorporating archival footage, animation, and dramatic recreations. However, Pavement appears to push this further, actively questioning the very notion of authenticity. As NME’s four-star review highlights, the film’s focus on actor Joe Keery’s obsessive preparation for his role as Stephen Malkmus – including photographing Malkmus’ tongue for accent work – underscores this meta-narrative. It’s a film about making a film about a band, creating layers of self-awareness that resonate with a generation accustomed to curated online personas.
The Jukebox Musical & Biopic Boom: A Double-Edged Sword
The inclusion of a jukebox musical within the film’s narrative is particularly telling. Jukebox musicals, featuring existing song catalogs, have become a dominant force on Broadway and in regional theaters. While commercially successful, they often face criticism for prioritizing nostalgia over artistic innovation. Similarly, music biopics – from Bohemian Rhapsody to Elvis – have proven to be box office draws, but frequently sanitize or romanticize the lives of their subjects.
Perry’s film seems to acknowledge these pitfalls, presenting them not as celebratory endorsements, but as potential traps. The film’s exploration of these formats suggests a growing awareness within the music industry of the need to critically examine how artists’ stories are packaged and sold. This is especially relevant in the streaming era, where algorithms and playlist curation often prioritize familiarity over discovery. The question becomes: how can legacy acts maintain their artistic integrity while navigating the demands of a commercially driven entertainment landscape?
The Power of the Cover Song in the Revival
The choice of a cover song – Jim Pepper’s ‘Witchitai-To’ – as Pavement’s first new release in over two decades is also significant. Covering another artist’s work allows a band to recontextualize their own sound and connect with a new audience. It’s a gesture of respect, but also a statement of artistic agency. In Pavement’s case, the song’s haunting melody and lyrical ambiguity complement their signature slacker rock aesthetic, while simultaneously paying homage to a lesser-known but influential artist. This strategy is increasingly common among legacy acts looking to refresh their image and demonstrate continued musical relevance. Jim Pepper’s influence on contemporary music is often overlooked, making this cover a particularly thoughtful choice.
What This Means for the Future of Indie & Legacy Acts
Pavement’s return, and the accompanying film, point to a future where the lines between artist, persona, and representation become increasingly blurred. We can expect to see more experimental documentaries that challenge traditional biographical narratives, and a continued proliferation of jukebox musicals and biopics – but with a growing critical lens applied to their artistic merit and historical accuracy. The success of these projects will likely depend on their willingness to embrace complexity and acknowledge the inherent contradictions of fame and legacy. For indie bands, the Pavement model offers a roadmap for navigating the challenges of reunion tours and maintaining relevance in a rapidly changing music industry. It’s not enough to simply rehash old hits; artists must find new ways to engage with their audience and tell their stories in compelling and innovative ways.
What are your thoughts on the evolving landscape of music documentaries and legacy act revivals? Share your predictions in the comments below!
