Indie folk band Big Thief sent shockwaves through the music world with the release of their highly-anticipated single, “Vampire Empire”, this summer on July 19. First teased in live shows nearly a year earlier in November 2022, the song explores themes of unhealthy cycles. However, the song’s release left many fans surprised due to subtle yet significant lyrical and instrumental differences between the studio and live versions, the latter of which had been performed in concert, on Colbert, and promoted on platforms like TikTok for months in advance.
Big Thief, hailing from Brooklyn, New York, made their debut onto the indie music scene in the later 2010s. The band’s unique blend of both folk and rock genres, further drawn out by lead singer and guitarist Adrianne Lenker’s haunting vocals, quickly garnered the attention of the music world and earned their place among the darlings of critics. For many, the band’s signature sound served as a refreshing contrast to the mainstream music landscape.
The consistently personal and introspective qualities of Big Thief’s music have no doubt allowed fans to feel closer to the band, but lines between audience and artist have been especially blurred as of late. Opinions seem to be on completely opposite poles across social media platforms, with some advocating for the artist’s final say over their work versus others who actively advocate for the demo’s release. But what, specifically, changed across the two versions?
For one, certain rhyme drops and line replacements have not gone unnoticed. In verse three of the demo, for example, Lenker sings, “I walked into your dagger for the last time in a row / It’s like trying to start a fire with matches in the snow.” This line conveys the sense of a pattern, a vicious cycle this person’s lover seems to fall into, time and time again. In the studio release, however, the “in a row” at the end of the first line is notably absent, leaving an obvious pause – at least for those who’ve heard both versions. Could this represent the narrator’s final liberation from the loop, and/or a nod to listeners of the demo? A similar case happens in the chorus with the removal of the verse “I’m the fish and she’s my gills”, and the lack of flute instrumental to open the song. So, the question remains – why make all these changes?
Well, the band’s answer is a little more complicated, and lies in their outlook on their craft. Their work is not stagnant, but exists as a living, breathing document.
“Every time we play it, it is a different version,” tweeted Big Thief on the studio single’s release date. “Songs are vessels for the expressions of our present selves, and not highly manicured concoctions polished to be consumed based on demand … You can still listen to [the demo any time] you want.”
The decision to modify the piece stems from a belief in the dynamic nature of artistry, and one that, arguably, should be expressed more – each rendition is something truly special, a specific step in the band’s creative journey. Big Thief’s constant dedication to and reaffirmation of authenticity in their work is a raw testament to music itself, an ever-changing form of self-expression. This approach aligns with a broader critique of consumptionism and transcends the boundaries of song.
Big Thief reminds us to take a deep breath in our quest for instant gratification, led by our insatiable modern appetites for new and disposable content. Additionally, an audience’s emotional connections to their favorite artist can lead to the illusion of intimacy and familiarity. They may even begin to feel a sense of entitlement as to the direction of their art, something Big Thief has openly and unapologetically taken a stand against, leaving one thing clear to us all – the creator’s vision shall remain paramount.