Drowned in Sound

Drowned in Sound founder and DiS podcast host, Sean Adams answers your questions. Send Qs for future episodes to sean@drownedinsound.org.Links mentioned in this episodeArticle: Cafe Oto at Oscars - The GuardianArtist Recommendation: Nina VersypArtist Recommendation: TTSSFUArtist Recommendation: Maella Video: Apple on Dolby AtmosTicket App: DiceLink: Tim Burgess listening partyArticle: Bjork immersive album Bowers + Wilkins Drink: Icelandic drink Black DeathVenue Recommendation: Trades Club in Hebden BridgeMusic by Sound Mirror, available on Bandcamp here: https://sound-mirror.bandcamp.com/album/lake-wind-water-mountain Your Questions:Alex Lee Thompson: Are ”scenes” over? Unpack that question as you likeSimon Marshall: After the excellent live bands to look out for article, sponsored by Seetickets, I would be interested in your views on the ticket selling part of the music industry - as a music consumer the DICE app was and is a revelation, what is your experience, and what is the best place to buy to support artists and venues? Ear Protect Req: What three bands or artists should we be checking out live?Soundmirrorworld: Will the Atmos, immersive audio bubble burst? Or keep going ’til we’re full frontal?Alex Botten: What do you think about the hoards of zombie cover bands eating up local venues. Are they helping or hurting the scene? (I believe profoundly hurting)Eric Weiner: Would love to hear your thoughts on the listening party. Are they ever any good? What’s the perfect album release party?Grimes quote in full: Honestly the thing I like most about k pop is its an actual scene - reminds me Canadian punk scenes or the indie scene  back in the day where like if your integrated enough there's like a constant feed of beauty with sort of known rituals, built in community, and like a collective excitement that is contagious and life affirming. I see how music scenes function effectively as a quasi religious institutions in a secular society. The extreme corporatization of music followed by Covid was very culturally harmful imo cuz a healthy modern music scene is actually a functional religious replacement - if one assumes the mind is better served by access to a healthy community that produces art, has events, shared morality and values, messiahs haha etc. Techno and emo rap similarly ensnared me over the last decade to an extent but they seem less "all ages"

Why does gender bias still dominate radio airplay? And how did one data report force the industry to face its inequalities?In this episode of the Drowned in Sound Podcast, Sean Adams talks to Linda Coogan Byrne, activist and music consultant behind the Why Not Her? campaign. Her reports have exposed gender and racial disparities in radio airplay, driving real industry change. This conversation reveals how data is power or as Linda puts it,  “the data validates lived experiences.”00:00 – Introduction: How One Report Changed Music01:45 – Meet Linda Coogan Byrne & Her Data Reports04:30 – The Shocking Gender Disparity in Radio07:00 – Industry Reactions: Denial, Excuses & Pushback11:00 – Thin Lizzy, Protest Billboards & Music Activism15:30 – Has the Industry Improved or Is It Lip Service?21:00 – Can Music Ever Be Equal?30:00 – Why Not Everyone Can Be an Activist38:00 – What Needs to Change for Lasting Equality?45:00 – How Data Holds Power to Account50:00 – Final Thoughts & Actionable TakeawaysLinksWhy Not Her? Reports → https://whynother.eu/data-reportsGender Bias in UK Radio – The Guardian → https://www.theguardian.com/music/2020/aug/21/female-british-artists-underrepresented-on-uk-radio-survey-finds Book More Women (Festival Representation) → https://www.instagram.com/bookmorewomen/Activist Recommendations:Mona Eltahawy → https://www.instagram.com/monaeltahawyEmma Dabiri - Don’t Touch My Hair → https://uk.bookshop.org/a/14603/9780141986289Mary Beard - Women & Power → https://uk.bookshop.org/a/14603/9781788160612Ijeoma Oluo - Mediocre → https://uk.bookshop.org/a/14603/9781529353839Check My Ads (Ad Funding & Misinformation) → https://checkmyads.org/🗣 Discuss this episode over on the Drowned in Sound Community → https://community.drownedinsound.com/📩 Email Sean → sean@drownedinsound.org🔵 Follow on Bluesky → https://bsky.app/profile/drownedinsound.bsky.social📩 Get the DiS Newsletter → https://drownedinsound.orgABOUT THE GUESTLinda Coogan Byrne is a music industry consultant, publicist, and activist known for her gender & racial disparity data reports. She is the CEO of Good Seed PR and founder of Why Not Her?, a campaign pushing for cultural change in music. Her work has influenced radio airplay, festival bookings, and policy decisions. She has been named among the Top 100 Most Influential Women in Ireland, inducted into the Music Week Hall of Honour, and recognized by IMPALA as a Top 20 Woman in Music Activism.ABOUT THE HOSTSean Adams is the founder of Drowned in Sound, a pioneering music webzine launched in 2000. Beyond editorial work, he manages artists like Charlotte Church and The Anchoress, operates the DiS independent record label, and contributes to strategic music industry and political advocacy projects. His passion lies in championing diverse music scenes and supporting artists worldwide.

What makes a great music city? How do governments, venues, and fans keep local music scenes alive? And why is music still not treated as an essential part of a city’s economy?In this episode of the Drowned in Sound Podcast, Sean Adams speaks with Shain Shapiro, founder of Sound Diplomacy and a leading advocate for integrating music into urban policy. Shain has advised cities and governments worldwide on how to invest in music, build better infrastructure, and ensure that artists and venues don’t just survive but thrive.The future of music scenes isn’t just about artists - it’s about infrastructure, investment, and policy. Without real change, we risk losing the cultural spaces that make music thrive.Topics Covered:The future of music cities: Why local scenes are vital and how they can be protectedMusic as an economic and public good: Why governments should treat music like any other essential sectorEmerging music markets: Where the global music hotspots of the future might beLive Nation: How monopolies shape local music ecosystemsThe importance of local media and community spaces in sustaining music scenesHow cities can future-proof music amid climate, economic, and technological shiftsShain Shapiro explains: “We don’t make data-driven decisions about music the way we do about transit, healthcare, or housing, yet music is an essential part of a city’s fabric.”Episode Highlights & Timestamps:00:00 – Introduction: Can We Save Our Music Scenes?01:04 – The Future of Music: What Will 2050 Sound Like?02:33 – The Big Challenges Facing the Music Industry04:44 – Music as an Economic & Public Good: Why Governments Should Care09:11 – Shain’s Journey: From Record Shops to Global Music Policy14:08 – Music Cities: How Governments Can Invest in Local Scenes19:51 – Global Music Growth: Why Africa & Southeast Asia Are the Future28:25 – Community & Local Government’s Role in Music Sustainability35:50 – The Live Nation Monopoly, Local Media, & How Cities Can Push Back40:00 – Final Thoughts: What Needs to Change & What Fans Can DoFurther Reading & Resources:Sound Diplomacy – Leading global consultancy on music and city planningMaking Places Better Newsletter – Shain Shapiro’s insights on improving urban spaces through music and cultureMusic Venue Trust – Protecting grassroots venuesCardiff Music Strategy – A model for city-led music investmentFonds de la Musique Canada – Canada’s funding model for music exportsLive DMA – European network for live music venuesJoin the discussion on the Drowned in Sound Community, message me on Bluesky, or email me at sean@drownedinsound.org.Get More Music Insights – Subscribe to the Drowned in Sound Newsletter for deep dives into the future of music.About the Host:Sean Adams is the founder of Drowned in Sound, established in 2000 as a pioneering music webzine. Beyond his editorial work, Sean manages artists such as Charlotte Church and The Anchoress, operates the DiS independent record label, and contributes to strategic communications for music initiatives like Music Venue Trust. His passion lies in championing diverse music scenes and supporting artists across genres.About the Guest:Shain Shapiro, PhD is the founder and executive chairman of Sound Diplomacy, the leading global consultancy on music and city planning. He also serves as the executive director of the not-for-profit Center for Music Ecosystems. Shain has authored This Must Be The Place: How Music Can Make Your City Better, exploring the intersection of music and urban development. His work has influenced over 130 cities worldwide to invest in music and culture, redefining the value of music in urban settings.

Music has long been a force for change but as extreme weather disrupts events and the industry grapples with its own environmental footprint, can music be a meaningful part of the climate justice movement?In episode 2 of season 3 of the Drowned in Sound Podcast, Sean Adams speaks with Frances Fox, founder of Climate Live and a leader in the UK’s youth climate strikes. Frances shares her journey from music fan to activist, why festivals are powerful spaces for engagement, and how the music industry can move beyond greenwashing to drive real action.This episode explores:Why festivals are at risk from the climate crisisHow music fans can help shape the climate conversationThe role of artists, venues & labels in pushing for a sustainable futureThe reality of music’s carbon footprint and what needs to changeThe Solar-Powered Pink Bus—and why Climate Live is taking a message of climate justice straight to festival crowds whilst applying glitter and temporary tattoosFrom touring impacts to activism strategies, this episode breaks down the intersection of music and climate justice, offering real insights into what fans, artists, and the industry can do next.“Engaging the unengaged is my jam—when you meet people where they're at, like at a festival, it's very chill.” – Frances FoxEpisode Highlights:00:00 – Introduction: Can Music Be a Force for Climate Justice?05:00 – Frances Fox’s Journey: From Festival-Goer to Climate Activist09:20 – Festivals & Climate Change: How Extreme Weather Is Reshaping Live Music15:40 – Touring, Vinyl & Streaming: The Hidden Environmental Cost of Music22:00 – The Solar-Powered Pink Bus: Taking Climate Conversations to Festivals30:00 – Roles in the Resistance: How Fans & Artists Can Push for Industry Change40:00 – Call to Action: What’s Next & How Listeners Can Get InvolvedFurther Reading & Resources:Climate Live – Join the movement and apply to performFridays for Future – Global climate strike movementChoked Up – Campaigning for air quality in marginalized communitiesDisha Ravi – Indian climate activist's WikiRoles in the Resistance Poster – Find your place in climate activismJulie's Bicycle – Sustainability in the creative artsTori Tsui – Climate activist and author of It's Not Just YouDominique Palmer – Climate activist and speakerMusic Declares Emergency – Musicians demanding climate actionMusic Venue Trust – Protecting grassroots music venuesSafe Gigs for Women – Creating safer environments for women at gigsTeach The Future - teachthefuture.ukRozzi - Artist who wrote a song about LA firesStop Rosebank – Campaign against new oil fieldsFossil Fuel Non-Proliferation Treaty – Ending fossil fuel expansionEarthPercent – Brian Eno’s initiative for climate fundingMake My Money Matter – How your bank funds fossil fuelsRainforest Foundation UK – Protecting the Congo BasinReverb – Eco-friendly music toursMassive Attack's Climate Initiatives – Band's efforts for sustainable festivals📩 Get More Music Insights – Subscribe to the Drowned in Sound Newsletter for deep dives into the future of music: http://drownedinsound.org🎵 Music by SoundMirrorWhy This Matters:Festivals are already being disrupted—Boardmasters, Standon Calling, and others have faced cancellations due to extreme weather, and independent festivals may not survive rising insurance costs.The music industry still relies on fossil fuels—From plastic-heavy vinyl production to major labels backed by oil & gas investments, there’s a deeper connection than many realise.Musicians & fans have power—From sustainable touring to rethinking sponsorships, music can lead the way—but only if more people demand change.

From grassroots venues and youth music programs to Mercury Prize winners, early support shapes who gets to make music—and who doesn’t. But is access to music a right or a privilege?Music should be for everyone - but is it becoming a luxury only the privileged can afford?Episode one of season 3 of the DiS podcast, explores how Youth Music -a UK charity funding grassroots projects - is fighting to create fairer opportunities for young musicians facing financial, social, and industry barriers.In this episode of the Drowned in Sound Podcast, Sean Adams speaks with Matt Griffiths, CEO of Youth Music, about hidden inequalities in the music industry and the work being done to create opportunities for the next generation of musicians.From youth-led projects and grassroots funding to the systemic barriers keeping working-class musicians out, this episode explores how music’s future can be more inclusive, diverse, and fair.This episode also features Ezra Collective’s Mercury Prize-winning speech, where they credit their success to the support they received early on:“This is not just Ezra Collective’s moment, this is a moment for every single organisation that’s championing young people making music.”Read the full speech here:The Line of Best FitThe Drowned in Sound Podcast maps the future of music and explores what's happening in the industry right now, with a strong moral compass. It connects music, culture, and ethics, offering deep dives into the issues shaping the way we create, consume, and sustain music.Why This Matters:Music has the power to change lives - but only if everyone has the chance to participate. Rising costs, funding cuts, and industry gatekeeping are making it harder than ever for working-class musicians to break through. In this episode, we explore what’s at stake, what’s changing, and how we can fight for a better future in music.Topics Covered: Why music is increasingly a career for the privileged From youth projects to Mercury Prizes: why access matters How the industry is shutting out working-class talent The critical role of Youth Music in opening doors The funding crisis: why 25% of grassroots projects are at risk “It’s not a pipeline, it’s flight pathways” – how opportunity shapes careers What real change looks like - and how to make it happenFurther Reading: Youth Music – Find out more and get involved: https://youthmusic.org.uk/ "I Will Forever Remain Faithful" Essay – Read more: Oxford American Drowned in Sound Newsletter – Subscribe for music insights: http://drownedinsound.orgEpisode Timestamps: 00:00 Introduction: Is Music Becoming a Privilege? 01:15 Why Youth Music Exists & What It Does 04:30 How the Industry Is Failing Young Artists 07:50 What Happens When You Can’t Afford to Make Music? 11:10 From Youth Projects to the Mercury Prize – Success Stories 14:40 The Funding Crisis: What’s At Risk? 18:20 How We Ensure Music’s Future Is For Everyone 21:30 Ezra Collective’s Speech & the Power of Community 40:00 Final Thoughts & Call to ActionJoin the Conversation: Who really gets a chance to make music today? Join the discussion on the Drowned in Sound forum or leave a review with your thoughts. Support Youth Music – Help fund grassroots music projects: https://youthmusic.org.uk/ Get More Music Insights – Subscribe to the Drowned in Sound Newsletter for in-depth analysis on the future of music: http://drownedinsound.org

How will music survive until 2050? Will streaming monopolies and economic pressures lead to music’s decline, or can we build a fairer, more sustainable future?In this season three prologue of the Drowned in Sound Podcast, host Sean Adams (founder of Drowned in Sound) reflects on his lifelong love of music, the systemic challenges facing artists, and what the next 25 years could mean for independent musicians, grassroots venues, and the future of the industry.In this series, expect big questions, deep dives, and conversations with artists, industry leaders, and changemakers who are shaping what comes next.Drowned in Sound’s podcast is about a life built around music—but also how music shapes culture, communities, and change.Topics in this episode:Why grassroots venues are strugglingHow streaming giants control music discoveryThe economic realities of being an artist todayLessons from past music movements and how they shaped the industryWhy music’s future depends on the choices we make now🎵 Music by Sound Mirror – https://www.soundmirror.co.uk/📩 Subscribe to the Drowned in Sound newsletter: http://drownedinsound.org00:00 Introduction: The Future of Music in 205000:25 Personal Journey with Music01:45 Climate Activism & Music’s Role in Change02:20 Challenges Facing Artists & the Music Industry03:34 Streaming, Labels & Who Holds the Power06:13 Economic Disparities & the Struggles of Independent Artists07:36 The Importance of Community in Music10:46 Conclusion: The Power & Potential of MusicWhat do you think the future of music looks like?What challenges should the industry fix first?💬 Leave a review on your podcast app.🔔 Follow, rate & subscribe to never miss an episode.

This year marks 25 years since Drowned in Sound launched, and rather than obsessing about the past, we will be gazing into the future, trying to work out what music will be like in 2050. In this prologue episode, Sean Adams, the founder of Drowned in Sound, reflects a little bit on his 25-year journey and examines the current challenges facing music, from economic barriers to the impact of technology and AI. He discusses the importance of grassroots venues, the role of music in our lives, and the potential for both dystopian and utopian futures. Along the way, he plans on speaking with industry experts, musicians, and pioneers to uncover insights and envision solutions for a sustainable and vibrant music ecosystem. Join this open research project to explore how we can shape a better future for music. This was an unscripted ramble, so you can read a little more in our recent newsletter. 00:00 Introduction: The Big Question for 2025 00:35 Reflecting on 25 Years of Drowned in Sound 02:07 Challenges Facing the Music Industry 04:22 Exploring Solutions and Innovations 06:53 The Future of Music: Utopia or Dystopia? 08:36 Join the Journey: Open Research Project

In part two of this Q&A experiment, Drowned in Sound founder Sean Adams delves into various topics, including the process of discovering new music, the complexities of the music industry, and nostalgic reflections on MySpace and defunct London music venues. He also touches on the importance of human connection in music curation, potential improvements for music streaming platforms, and the socio-political challenges affecting the UK's music industry post-Brexit. Additionally, Sean reflects on memorable interviews. Thank you to everyone for your questions, please submit any for the next edition to sean@drownedinsound.org and be sure to subscribe to the newsletter at drownedinsound.org

To mark Drowned in Sound's 24th anniversary and before we begin a new season of the podcast, Drowned in Sound founder Sean Adams answers your questions. Here are some links related to topics covered in the Q&A in case you'd like more context. Listen to: Choose a Bright Morning by Jeniferever on Bandcamp Read: Wendy Roby's brilliant review of Plastic Beach by Gorillaz Listen to: Mystery Jets featuring Laura Marling Read: Mike Diver's 2005 interview with Saul Williams Read: DiScover Santigold Questions for this episode submitted by our social media followers and over on the Drowned in Sound forums: Sweetsonix on Twitter: A nice easy one. How do we return respect to, and appreciation of, the arts? Anthony Gibbons who wrote for DiS in the early days: I've had my fair share of interviewing gaffes in my time, so what is the most cringeworthy question you've asked an interviewee and what was their response?  Body in the Thames: If you had to do it all over again, what one thing would you change? My Yada on DiS forums: What was the first review on the site? Drastic Measures: Were you aware that Drowned rhymed with Sound when you came up with the name, or was it just a happy coincidence? Icarus Smicarus: If you could be a DiS album review, which DiS album review would you be? Jamie Cameron: What happened to Jeniferever? Rose Wiles: Favourite gig at Verdis?! Karl Hamilton: Why weren't Microdisney massive? Sign up to our newsletter at http://drownedinsound.org

Elijah is a profound thinker and this conversations draws on his influential grime nights with Stormzy & Skepta, writing about music, DJing and to his Yellow Square instagram posts, which are a form of community-building journalism that act as prods and prompts that agitate thoughts into focus. DiS021 | S2: The Future of the Music Press EP13 From his experience as a pirate radio DJ to running Butterz label & clubnights to being a musician and artist manager, Elijah considers yellow squares to be a former of journalism and the conversation explores the ecosystem that feeds into it and swirls around it. In this conversation with Drowned in Sound founder Sean Adams, we discuss mediums and spaces, online platforms and club cultures. The conversation sways from curation as a form of journalism, the YouTube mindset, Twitter, 10 minute or 10 hour radio shows. We also try to deconstruct the gatekeeper and the creative challenges facing people working in music, journalism and anything that involves publishing online. We also discuss the joy of Tumblr, yow electronic music in the UK clusters around its pirate radio, BBC media structures,  and why not all clubs closing is a bad thing. Quotes out of context: “What’s the musical equivalent of a community note?” “Some people say ‘I don’t make any money’. Well, what do you sell?” “Imagine if a review is all the possibilities that the album lays down” “It's one bit of work.  With all these different mediums,  but it’s just the language hasn't adjusted  to, to serve that yet, you know what I'm saying?” “…there's a hundred thousand, ten thousand histories happening at once. And that's like something that music journalism, the box, cannot fully capture.” “People just think, ‘oh, that's their job to write about music.’ And it's like, no, their job is to sell advertising space  wrapped around the coverage of music. That's what magazines have been historically. Right?” Links Eli1ah on Instagram Various links: https://linktr.ee/Eli1ah YouTube recommendation: Super Eyepatch Wolf YouTube recommendation: Nathan Zed Make The Ting album Eli1ah's Resident Advisor Takeover Further reading: "Close The App, Make The Ting": Elijah's Yellow Squares are making a difference by cutting through the noise (DMY) Podcast referenced with Bandcamp founder Please note, this conversation took place in November 2023. If you're enjoying this podcast, please sign up and support our new newsletter at DrownedinSound.org.

How do you become a magazine editor that can put Kate Bush on the cover? And what’s it like running a genre-specific title in 2023? In a world where the digital age is rapidly redefining media, Sean Adams (@seaninsound) meets a titan of the magazine world, Jerry Ewing, editor of PROG magazine for a rare interview. From his roots starting a Marillion-inspired fanzine to being at the helm of genre-defining publications such as Classic Rock and Metal Hammer, Jerry's journey is a testament to the enduring power of specialist knowledge and passion-driven journalism. Episode Highlights: The Genesis of a Genre Journalist: Jerry recounts the serendipitous moments that led him from crafting a fanzine to steering the course of iconic music magazines. The Art of Magazine-making: Delve into the craft of curating content for a niche audience, the evolution of magazines in the internet era, and the potential resurgence akin to vinyl's comeback. Defining the Undefined: What is progressive rock? Jerry challenges the conventional confines, advocating for a broad, idea-driven definition that encompasses the innovative spirit of the genre. Adapting to the Beat of Change: The discussion turns to the seismic shifts in media consumption and the strategies for staying relevant in a landscape transformed by technology. The Human Touch: Jerry envisions a future where the human element is not just a feature but a proud declaration in magazine-making. Notable Quotes from Jerry Ewing: "Progressive music's reach is quite wide... It's the ideas and the approach to making music that sets them apart." "Understanding your readers is crucial... Be comfortable with your readership, and they'll feel comfortable with you." "The editor guides the magazine... decides what goes in it, helps point the tone." "For our readers, it's the music that matters... They're not interested in sex, drugs, and rock and roll." "Communication between human beings is at the root of journalism." Further Insights: From Court Jester to PROG: Jerry's DIY beginnings and the transition from fanzine to professional journalism. The Inclusive Vision of Prog: Embracing a wide spectrum from prog metal to experimental indie, Jerry's editorial direction is as diverse as the genre itself. The Editor's Role: Setting the tone and creating a dialogue with music aficionados, Jerry's editorial philosophy is about crafting a space for in-depth musical exploration. The Vinyl Moment for Magazines: Speculating on the tangible allure of print in the digital age, and the unique value it could regain. Links: PROG Magazine Jerry Ewing on Twitter Subscribe to Drowned in Sound on Substack

Award-winning reporter Julia MacFarlane explains what the music press can learn from traditional news journalism. As Drowned in Sound's podcast season looking at the future of music media continues, we wander into the world of international journalism with award-winning reporter Julia MacFarlane. With a wealth of experience reporting on major global events for the BBC to ABC News, Julia shares her unique insights into the art of covering huge stories and the challenges of conveying truth in an age of misinformation. DiS018 | Season 2: The Future of Music Journalism EP10 Highlights: From Beirut to Brexit: Julia discusses her experiences covering critical global events. The 'One Decision' Podcast: Learn about Julia's co-hosting experience with former Chief of MI6 Sir Richard Dearlove, where she interviews experts on a range of pressing topics. Challenges of Modern Journalism: Julia reflects on the importance of accuracy and impartiality in journalism, especially in high-stakes international reporting. Self-Shot Journalism: Julia discusses the challenges and rewards of self-shooting journalism and the necessity of recording events impartially and accurately. The Power of Personal Stories: Understand the role of personal narratives in making complex global issues relatable and understandable. Key Quotes: "Recording events as they happen is vital... it's important to have professionals who are trained to record things accurately and impartially." - Julia MacFarlane "The BBC was a crucial connection to home and world events for English-speaking families abroad." - Julia MacFarlane "In filmmaking, whether you're a solo journalist or part of a team, finding compelling stories and voices is essential." - Julia MacFarlane Timestamps: [02:06] Julia's Background and Career Path [14:03] Challenges and Responsibilities in Journalism [29:17] Insights from 'One Decision' Podcast [34:23] Navigating Journalism in the Digital Age More: For more on Julia MacFarlane's work, check out the "One Decision" podcast and follow her on social media (Linkedin | Instagram | X | Threads). Enjoyed this episode? Share it with a friend or leave us a review on Apple or Spotify. For updates about Drowned in Sound, subscribe to our Substack newsletter Hosted and Produced by Sean Adams.

Meet the YouTube music critic who runs whilst reviewing records. Probably not all of them, but there are some people evolving music criticism onto new mediums. To understand what it's like to be a "creator" on YouTube, we spoke to Jimmy Watkins, who gave up his career as an athlete (he reached the 800m final in the World Indoor Athletics Championships in 2006 and set a Welsh indoor record!) to play guitar for DiS favourites Future of the Left. After leaving the band, he started a project called Running Punks with a friend which has become a community of music-lovin' runners. A spin off of this has been his videos where he reviews records, whilst running in the Welsh countryside. In this conversation, Drowned in Sound founder Sean Adams continues his search for where music journalism is headed and explores where the idea for 'running reviews' came from, how Jimmy approaches them, when music writing got under his skin from (spoiler: it was music biographies and reading magazines in Tesco). We also touch upon Jimmy's upcoming documentary running across America and his new music project Joyce, which you can listen to on Bandcamp here. Timestamps 00:00 Sean's Introduction: The Pivot to Video Journalism 00:56 The Running Review of The Art of Losing by The Anchoress 03:17 Understanding Journalism with Jimmy Watkins 04:55 The Evolution of Running Reviews 25:44 The Unique Appeal of Running Reviews 33:43 The Role of Music in Personal and Cultural Understanding 48:31 The Upcoming Projects and Final Thoughts Links Subscribe: Jimmy's channel on YouTube here. Visit: Running Punks Drowned in Sound's newsletter has now left Substack and is available on our new website at drownedinsound.org

The Quietus' John Doran reflects on the demise of Pitchfork and whether music journalism is now destined to be a hobby or can writing/thinking/talking about music thrive in a reader-funded era? DiS020 | S2: The Future of the Music Press EP12 In his widely-shared piece for The Guardian, this episode's guest John Doran, co-founder of the esteemed music publication The Quietus, wrote about the importance of music criticism: "I think a good analogy for writing about music is like composing poetry about the weather. You could spend an entire lifetime writing verse about thunderheads and tornadoes and not come within a mile of creating something that was as literally sublime, but once in a while the writer will connect with the rhythms, the flash of lightning, the spatter of rain, and if they are really focused they will discover entirely new rhythms and be inspired to write something unique." Beyond the beauty and power of words, this discussion with Drowned in Sound founder Sean Adams covers a lot of ground including: how Fela Kuti widened John's horizons and inspired a Guardian column that saw him taking a trip to Cairo to discover the emerging music scenes in Egypt Sophie's impact on artists like Charli XCX Poptimism and the domination of Taylor Swift what it signifies for counterculture when James Blake plays at Chanel parties the 'industry plant' nonsense surrounding the brilliant Last Dinner Party the impact of search engine optimisation on what the music press commissions a bit about the intersection of entertainment reporting with music writing We also delve into the essence of why music journalism matters As with the rest of this season, the conversation also looks ahead to what the future holds, and whether there will be enough voice like Neil Kulkarni's (RIP). Key Timings 03:40 Exploring the Definition of Journalism 16:38 The Impact of Populism on Music Journalism 29:01 Exploring Music from Different Parts of the World 47:08 The Interconnectedness of Music Scenes 48:49 The Influence of Algorithms on Music Discovery 01:07:19 The Importance of Diverse Voices in Music Journalism About The Guest John Doran is the co-founder of award-winning website The Quietus. He has written for a range of publications including Bang!, The Guardian, NME, BBC, Vice, The Wire, Metal Hammer and more. His "misery memoir" Jolly Lad is out now. You can hear his BBC Radio 4 series New Weird Britain on BBC Sounds. Watch his British Masters series for Noisey on YouTube here. You can find him on Twitter @JahDuran. About The Host Sean Adams founded Drowned in Sound, which recently relaunched as a weekly newsletter here. Alongside hosting, he does all the production on this solo project podcast and wrote a little more about the process here. You'll find him on all social media platforms as @seaninsound.

Does the music industry still need the music press? Do new acts still care about media coverage? Explore the shifting landscape of music promotion in the digital era with Atlanta Cobb, the award-winning Music Business Coach and manager of multi-platinum selling artists. In this episode, Drowned in Sound's founder Sean Adams delves deep into the existential questions surrounding the relevance of traditional music press in a time of TikTok. Atlanta shares her journey from Florence + The Machine fan site creator to consultant and coach, aiding hundreds of artists in navigating their evolving careers. DiS017 | Season 2 - The Future of the Music Press | EP9 Key Topics and Time Stamps: 00:00 The Changing Role of Music Press 00:13 Audience Consumption Shift 00:51 Insights from a New Generation Music Consultant 01:34 Challenges in Getting New Artists Coverage 02:15 Decline of Music Press Influence 03:48 Rise of Social Media in the Music Industry 05:05 Reality of Music Consumerism 06:44 The Impact of Press on an Artist's Career 09:58 Role of Fan Communities in Music Promotion 10:19 Atlanta's Journey into the Music Industry 21:22 Impact of Press Quotes in Marketing 28:10 Effects of Social Media on Artists 29:51 Power of Audience and Fans in Music 30:55 Potential of Social Media Platforms 36:55 Role of Social Media in Music Promotion 51:00 Struggles of New Artists in Today's Industry 57:10 Need for Adaptation in the Music Industry 58:18 Closing Thoughts: The Love for Music Insightful Quotes from Atlanta Coombs: "Consistency is crucial, both in how press champions artists and how I advise my artists in their promotional strategies"​​. "The industry's trend towards TikTok and social media metrics often overlooks talented artists who lack massive followings or resources"​​. "The music industry needs to find different approaches to adapt and evolve, especially in how artists release music and engage in storytelling"​​. "It's like the wild west out there in the music industry, but having a deep love for it is essential to navigate its complexities and stay the course"​​. About Atlanta Cobb: Atlanta's rich background includes roles at Island Records and Columbia Records, working with artists like Post Malone and Drake. Atlanta was recently a day-to-day Artist Manager at Crown Talent & Media Group, working with artists such as Becky Hill, Ella Henderson, and Camden Cox. Links: Atlanta on TikTok Learn more about Atlanta's mentoring for new artists Subscribe to Drowned in Sound's Substack newsletter for thoughts and advice on the modern music industry Subscribe and Follow: To stay updated with the latest in the music industry and Drowned in Sound episodes, subscribe to our podcast and follow us on our social channels.

In a digital world awash with advertising money, why are music publications and media outlets facing extinction? As we explore the future of the music press, we take a detour into the world of marketing to help make sense of the economics of the media landscape. Especially as the brilliant Jezebel closed last week and so far this year we've seen huge amount of job cuts across the media (especially at media behemoths VICE and Buzzfeed) and the closure of publications like Gal-dem. Drowned in Sound's founder Sean Adams invites Darren Hemmings, mastermind behind Motive Unknown and a trailblazer in music marketing, to unravel this paradox. Together, they dissect the perplexing reality of a booming online ad industry ($600 billion a year according to this piece for Harvard Business Review) juxtaposed against the decline of traditional ad-supported music press. From the intricacies of connecting with music fans to the future of music media in the digital era, this episode promises an enlightening journey into the heart of the industry's current conundrum. DiS016 | Season 2 - The Future of the Music Press | EP8 Episode Highlights The Advertising Enigma: A look at how $600 billion is spent annually on online ads while media industry job losses and publication closures continue to rise. Marketing, Money, and Music: Darren sheds light on the challenges of building an audience for artists and spreading music beyond existing fans. The Art of Connection: Insights into the essence of marketing as not just a transaction but a meaningful connection with audiences. Strategies Behind Chart-Topping Successes: The tactical approach to getting artists like Wet Leg and The 1975 to the number one spot. The Evolution of Targeted Advertising: Discussing how the granularity of targeted ads has transformed over the years, impacting the way artists reach their audience. The Rule of Seven in Music Marketing: Exploring the multitude of touchpoints required to persuade someone to invest in music or a product. The Role of Indie Sector in the Evolving Music Ecosystem: A critical look at the role and response of the independent sector in shaping the music ecosystem amid major label strategies like Universal's investment in NTS. Notable Quotes - "Marketing is about connecting with people in a way that doesn't treat them like a cash cow." - Darren Hemmings. - "There's a misconception that marketing for big artists like Robbie Williams is challenging, but in reality, they are the easiest to market due to their established fanbase." - Darren Hemmings. - "We've reached a point where you don't need to buy banner ads on music websites because you can target their readers on Facebook." - Darren Hemmings. - "I've become that person where every headline I write is a question. It's playing the game almost inadvertently." - Darren Hemmings. Related Links - Motive Unknown - Darren Hemmings' Network Notes Newsletter - Subscribe to Drowned in Sound on Substack Darren Hemmings is at the forefront of digital marketing in the music industry as the founder and managing director of Motive Unknown, a strategic marketing consultancy. With a keen eye for the evolving landscape of digital advertising and a deep passion for music, Darren has led innovative marketing campaigns for a diverse array of artists and labels. His impressive roster includes influential acts like The Spice Girls, Wolf Alice, Jungle, Moby, Run The Jewels, Robbie Williams, Underworld, alt-J,, and prominent labels such as Sony Music, Dirty Hit, AnjunaBeats, AEI, Partisan Records, Warp Records, AWAL, LuckyMe, Lex, Platoon, Because Music, Mass Appeal, and B-Unique. Darren's expertise and insights offer a unique perspective on the intersection of music, marketing, and digital media, making him a sought-after voice in the industry. This episode was produced, researched, and hosted by Sean Adams.

NBC News' tech and culture reporter Kat Tenbarge has her finger firmly on the pulse of internet culture and the influencer economy. She honed her expertise at Insider through investigative forays into the complexities of digital fame. Her coverage is much more than product launches and squillion dollar deals, and touches upon MeToo, fandoms, exploring how internet mobs chill free speech, and so much more. In this episode, we explore what the music press can learn from technology journalism. Related links Read Kat's reporting on NBC here. Q&A about how Kat reported on the David Dobrik allegations for Insider Kat's piece about Angelina Jolie and Amber Heard Find Kat and her tweets about Evan Rachel Wood and others cases against Marilyn Manson here Reporting: 'Free Britney' organizers and influencers took over a bar, threw a drag brunch, and blasted Britney Spears in a weekend devoted to the pop star Follow Kat on Threads here Reporting: How Tory Lanez trial bloggers are shaping the conversation around Megan Thee Stallion Also mentioned on this podcast was the defunding Check My Ads and Stop Funding Hate Podcast recommendation: Offline by Crooked Media Episode Highlights: "The Influencer Economy": Sean and Kat unravel the fabric of online influence, pondering its implications on cultural consumption and the MeToo movement's resonance within this sphere. "Music and Memes": They delve into the curious interplay of internet culture and the music industry, where virality can be both a career catalyst and a capricious whirlwind. "Ethics in the Age of Exposure": The conversation takes a contemplative turn, probing the moral compass guiding journalists amidst the relentless glare of the digital age. "The Future of Influence": Kat shares her prognostications on the influencer culture's trajectory, contemplating its impact on the internet's burgeoning denizens. This podcast was produced, researched, and hosted by Sean Adams (@seaninsound), the founder of Drowned in Sound website (est. 2000). For more deep dives into cultural currents and explorations of the musical zeitgeist, tune in and subscribe to DiS' Substack. Quotes from this episode: “I’m telling the story of our downfall as it's happening” on reporting on the downfall of the media “Honestly, one of the most, like, mind bending things to watch someone like say to the public what they do and then have those people turn around and be like, he could never do this.” On Marilyn Manson “I think that reporting that takes a point of view is actually going to be what is successful” “This is a period that's going to redefine the next few centuries. "The way that technology has evolved in the past 15 years. is going to change the rest of history. It already has” “I worked at News websites that were dominated by the clicks and the traffic. And I recognized that in order to get people to click on something, there had to be conflict. This is how all storytelling, whether it's fiction or non fiction, works. You have to have conflict. There has to be a narrative. Um, if you're telling a story about a new product being launched, no one's going to click on that unless There's some element of this product launched and it's offensive “

From revolutions in Iran to the pleasures of Lana Del Rey journalist Emma Garland has written for Vice, Huck, The Quietus, The Face, Crack, Dazed, Sunday Times, Rolling Stone and many more great publications. Emma's interviewed everyone from Emily Ratajkowski to Lingua Ignota, capturing their essence in a style of writing inspired by the journalists from a more literary tradition like Joan Didion and Hunter S Thompson, so who better to talk to about music writing that's intersectional, encompassing far more of life and what it means to be human than 50 word reviews of the latest major label debut. The conversation begins about the differences between journalism, culture writing and music criticism, before spiralling in a range of directions from psychoanalysing the cast of Love Island to the way the culture war means interviewees are now a lot more guarded because they're speaking far beyond the readers and their fans. Emma Garland shares insights into her creative process, using humour to tackle weighty topics and how she spotlights underrated artists and big ideas, often at the same time. We discuss concerns over limited career pathways for emerging writers and calls for more sustainable funding models for music publications (if there are any rich benefactors out there, please get in touch). Additional topics include: The changing appetite for music journalism in the digital age Challenges pitching profiles versus reported features Activism in music media Hopes for more focus on grassroots artists What needs to change leading up to future UK and US elections Guest Bio: Emma Garland is a writer, editor, and journalist with a knack for capturing the zeitgeist of contemporary music and culture. With a career spanning over a decade, Emma has become a voice for countercultural narratives and a champion for the kind of editorial that combines fun with serious critique. Her upcoming book, "Tell All Your Friends," promises to be a seminal work in understanding the cultural history of mainstream emo from 2000-2013 (more info). Read Emma Garland's article on women's role in music's political revolution, ⁠here⁠. Read the Vice and Gal-Dem MeToo coverage, here. For a monthly dose of cultural insights, subscribe to Emma Garland's newsletter, ⁠here⁠. Visit: ⁠⁠Emma Garland's Website⁠ About The Host: This podcast was produced, lightly edited, researched and hosted by Sean Adams (@seaninsound) who founded the Drowned in Sound website. Want to keep up to date? Sign up for DiS' Substack here. A Few Publications Mentioned in This Episode: ⁠Vice⁠ ⁠Gal-Dem⁠ ⁠Huck⁠ ⁠Rolling Stone⁠ ⁠NME⁠ ⁠Rock Sound⁠ ⁠Creem Magazine⁠ Shoutouts in this episode include investigative journalist Sirin Kale, Craig Jenkins (writer at Vulture), and Zing Tsjeng (editor in chief at Vice).

What's it really like to edit a music website? DIY Magazine co-founder Emma Swann joins DiS founder Sean Adams on season two of the Drowned in Sound podcast about the future of music journalism. We journey from the early days of the website to its current print & online format with a discussion that contrasts and compares DiS & DIY's stories, the thrills, the challenges, building a trusted voice, how brilliant the new Bully album is, some White Stripes fandom, a fair few mentions of Wolf Alice, red carpets, and much more. We explore DIY's origin story, the value of human curation versus algorithms, and whether print magazines could make a comeback. Emma shares her unique perspective from the front lines of music media. "Music journalism isn't just about reviews; it's about making connections, about showing the humanity behind every note." "Print magazines have their own magic; they offer a pause, a moment of engagement you won't find online." Learn more about Emma's work at DIY Magazine and follow on Twitter. Emma is a creative force, dabbling in photography, writing, podcasting, and web design. See Emma's photography website here. Check out the new Bully album they raved about.

Journalist, podcaster and climate communicator Greg Cochrane shares how interviewing ANOHNI changed his life, what it was like editing NME’s website, the joy of being involved in Loud & Quiet magazine plus a little bit about writing for The Guardian, interviewing Lady Gaga for the BBC, and plenty more. The focus of our conversation is around the importance of understanding the intersection between the climate emergency and culture. “We need more stories about what’s happening” said Greg, in a really moving section of the podcast involving his hopes for the future of journalism. Toward the end, we also touch upon the economics of media and the creative economy as a self-sustaining ecosystem, including a shout out to Novara Media’s subscription model where people are encouraged to donate an hour of their salary. Related Links Read Greg’s life-changing interview with ANOHNI https://www.loudandquiet.com/interview/anohni-hoping-for-a-miracle-cover-feature-interview/  Greg’s coverage of Billie Eilish’s recent “solutions focussed” Overheated event can be found here https://www.nme.com/news/music/overheated-billie-eilish-mother-maggie-baird-interview-london-climate-event-3491598  Rebecca Solinit on hope in an age of climate boomers is here https://www.theguardian.com/commentisfree/2023/jul/26/we-cant-afford-to-be-climate-doomers  Subscribe to the Sounds like a Plan music & climate podcast that Greg co-hosts with Fay Milton (from Savages, co-founder of Music Declares Emergency and new music project Goddess)  https://linktr.ee/soundslikeaplanpodcast  Learn more about Greg’s work with Heard - the communications charity who support individuals and organisations to tell better stories on climate. https://heard.org.uk/articles/climate-stories-that-work-turning-awareness-into-action/  Listen to Loud & Quiet’s podcast and subscribe to the magazine https://www.loudandquiet.com/podcasts/  Learn more about the Reuters Institute’s Oxford Climate Journalism Network https://reutersinstitute.politics.ox.ac.uk/oxford-climate-journalism-network