A lot of people are confused and interested in the sudden rise of goth music. To understand this event, you need to look at the unique things that have brought it back. There is no doubt that kids and young adults who are not in the goth scene have had a big effect on this revival when seen from a third-person view.
In his informal musings on British popular culture, Michael Bracewell observes that “from the eighteenth-century onwards, mysticism in England can be seen to flourish at times of sudden scientific advancement” (during the Thatcher era however, it was more a case of sweeping economic changes being touted as “progress”).
Popular music as a subculture in late modernity is one obvious space where social identity is negotiated and performed, and there is a wealth of literature on the topic (Bennett, 2000; Cohen, 1991; Frith, 1983; Whiteley, 2000). However, research on music tourism is less developed (although see Connell and Gibson, 2002).
The lyrics of the opening track on Bauhaus’s debut album, ‘In the Flat Field’, are a fitting opening, because they signal the characteristic ambivalence of the gothic “underground.” As someone who has frequented the gothic scene for almost fifteen years, and as someone who has worked to provide a more sympathetic portrayal of the subculture elsewhere, I can easily say that the “shielding pride” of gothic performativity makes it difficult for those on the outside to understand the complexity of being goth, including a recognition of a real dark side (Gunn 1999a and 1999b).