Why We Are Augustines Remain Underrated: Book of James, the Rockaways, and Indie-Folk Storytelling

 In the landscape of early 2010s music, the band We Are Augustines, later simply known as Augustines, stands as a quintessential example of raw talent that never fully penetrated the mainstream. Their music, marked by deeply personal storytelling, indie-rock sensibilities, and folk-infused textures, carried a sincerity that resonated profoundly with those who discovered it, yet it never achieved the commercial recognition it arguably deserved. One song that exemplifies this is Book of James, a track that blends the emotive depth of singer-songwriter traditions with the grit and energy of New York City’s indie scene. Written as a tribute to lead singer Billy McCarthy’s brother, James, who struggled with homelessness and mental illness, the song’s authenticity and emotional weight are immediately apparent. Unlike many mainstream tracks of the time, Book of James doesn’t rely on glossy production or catchy hooks alone; instead, it invites the listener into a narrative that is both intensely personal and universally relatable. The storytelling is cinematic, its lyrical arcs capturing grief, longing, and love with a subtle yet impactful poeticism. The music video complements this narrative by grounding the song in New York City, showcasing the A train and even scenes reminiscent of Rockaway Beach, reinforcing the urban, lived-in texture that underpins the song’s narrative.

What makes Augustines particularly interesting from a cultural and historical standpoint is their timing. Emerging in the early 2010s, they were operating in a musical moment that had not yet fully embraced the kind of indie-folk storytelling that would later dominate mainstream charts. While the band had a devoted following and received critical acclaim, the broader public wasn’t yet ready for the blend of emotional intensity and alternative sensibilities they offered. Songs like Book of James, with its mix of folky guitar lines, indie-rock crescendos, and lyrical intimacy, were ahead of the curve. Had the band arrived a few years later, during the peak of indie-folk’s mainstream appeal, their work might have found a far larger audience.

The commercial landscape shifted dramatically in 2012, the year after Augustines released Book of James, when Phillip Phillips’ Home became a breakout hit. The song’s acoustic-driven, folk-infused style demonstrated that mainstream listeners were suddenly receptive to music rooted in authentic storytelling and stripped-down instrumentation. This shift in popular taste highlighted that the audience was ready for heartfelt, alternative music, yet Augustines had already released their material slightly before this wave, positioning them just outside the moment when mainstream acceptance became possible. In this sense, Augustines represent a “right music, wrong moment” scenario, where timing and market conditions constrained their exposure despite their musical excellence.

It’s also instructive to consider Augustines in the context of other contemporary alternative and mainstream artists. Ed Sheeran and Shawn Mendes, for example, represent a more polished, pop-oriented approach to emotionally-driven songwriting. Their global success demonstrates the audience’s appetite for heartfelt, narrative-based music, albeit packaged in a highly accessible, radio-friendly format. While Sheeran and Mendes achieve emotional resonance through relatability and melodic appeal, Augustines’ strength lies in the raw, almost cathartic delivery of their narratives, which incorporate both indie-rock textures and folk storytelling traditions. Unlike the carefully produced tracks of Sheeran or Mendes, Augustines offer a grittier, urban-inflected soundscape that reflects both personal struggle and broader social realities. This contrast illuminates why Augustines’ music, though critically admired, remained underexposed: it required a listener willing to engage deeply rather than passively consume a mainstream hit.

Another dimension of Augustines’ underappreciation lies in their geographical and cultural context. Hailing from Brooklyn and grounded in the New York City music scene, their work is imbued with an urban sensibility that contrasts with the more homogenized aesthetics often found in mainstream pop. The music video for Book of James, featuring the A train and Rockaway Beach, is emblematic of this connection to place, lending authenticity and specificity to their narratives. Queens, and the Rockaways in particular, rarely receive attention in music or film depictions of New York City, which tend to focus on Manhattan or Brooklyn. By highlighting the Rockaways, Augustines not only situate their song in a real, underrepresented part of the city but also contribute to a subtle cultural recognition of these neighborhoods as spaces of resilience, everyday life, and emotional storytelling.

Interestingly, this geographic focus intersects with other pop culture representations of Queens around the same time. Captain America: The First Avenger, which debuted in the summer of 2011, references Queens as Steve Rogers’ childhood neighborhood, portraying it as a working-class, relatable backdrop before his transformation into a superhero. Just a few months later, in October 2011, Book of James showcases parts of Queens and the Rockaways in the music video, embedding the song’s emotionally charged narrative in similarly authentic urban spaces. Later, the MCU’s Spider-Man trilogy would heavily feature Queens as the center of Peter Parker’s life, continuing a cultural trend of highlighting this often-overlooked borough. In this way, Augustines’ video participates in a broader, if subtle, cultural acknowledgment of Queens and the Rockaways as sites of real stories, heroism, and human complexity, whether in music or film.

Furthermore, the song Book of James exemplifies the interplay between indie and folk elements that would later dominate popular consciousness. The acoustic textures, layered guitar work, and crescendos aligned with the kind of alternative-folk that became commercially viable in the years following its release. In hindsight, tracks like this could be viewed as precursors to the success of artists like Hozier, James Bay, and even Mumford & Sons in the broader international market. Augustines, however, remained an indie favorite, praised by critics and fans alike but never achieving the same widespread visibility. Their music demonstrates that emotional resonance and musical craftsmanship do not always translate to commercial success, particularly when a band exists slightly ahead of prevailing trends.

It’s worth noting that the band’s live performances further illustrate their unique appeal. Augustines were known for intense, immersive shows, where the energy of the performance mirrored the emotional intensity of their recordings. Audience engagement was a key component of their concerts, often with the band performing amidst the crowd to create a shared, communal experience. This performance ethos reinforces the idea that Augustines were creating music for deep engagement rather than passive consumption, a factor that contributed both to their critical acclaim and their relative commercial invisibility.

In reflecting on the trajectory of We Are Augustines and the song Book of James, one is reminded of the complexities of musical recognition and the role of timing, marketing, and cultural context. The band possessed all the musical and lyrical elements to achieve mainstream success: compelling narratives, folk and indie textures, and emotionally charged performances. Yet, the market conditions of the early 2010s, combined with a mainstream that was only just beginning to embrace alternative-folk storytelling, limited their exposure. Comparisons with contemporaneous artists such as Phillip Phillips, Ed Sheeran, and Shawn Mendes illuminate both the possibilities and missed opportunities inherent in their career arc. In many ways, Augustines exemplify the notion of a band “ahead of their time,” producing work that would have been celebrated more widely a few years later.

Ultimately, Augustines’ legacy is one of understated brilliance. Songs like Book of James remain emotionally potent, musically intricate, and culturally significant within the indie and alternative music canon. They remind listeners that recognition is not always a measure of artistic merit, and that timing and market forces often dictate the trajectory of even the most talented musicians. By highlighting Queens and the Rockaways in their music video, Augustines not only tell a personal story but also contribute to a broader cultural acknowledgment of overlooked urban spaces. For those who discover them now, Augustines’ music offers a raw, authentic, and deeply moving listening experience, proving that sometimes the greatest treasures are found not at the top of the charts, but in the hearts of those willing to listen closely.