38 avsnitt • Längd: 50 min • Oregelbundet
Sean Adams hosts conversations on the future of music. From inclusion in the industry to the sustainability of music journalism, the founder of the pioneering music blog Drowned in Sound (est. 2000) explores the importance of justice, truth, possibilities, and the joy of music.
The podcast Drowned in Sound is created by Sean Adams. The podcast and the artwork on this page are embedded on this page using the public podcast feed (RSS).
What does a melting glacier sound like? Can a rainforest sing? And what happens when the last bird of its species hears a recording and tries to reply?
In this special live edition of the Drowned in Sound Podcast, recorded at Tallinn Music Week, host Sean Adams moderates a powerful conversation on music, ecology, and collective action. Joined by artists and innovators from the EarthSonic project, the panel explores how field recordings, plant biofeedback, and immersive sound can shift our understanding of the planet — and why that emotional shift matters.
From Brazil’s disappearing biodiversity to sound fossils in the Swiss Alps, this episode weaves together music, activism, and indigenous wisdom in an urgent yet hopeful conversation about art’s role in averting climate collapse.
Plus Ruth from In Place of War reveals their new project with Bicep in Greenland that launches in summer 2025.
Featured Guests & Projects:
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What did the future sound like when the synthesizer first arrived? What does it feel like now, with AI looming and immersive audio spaces on the rise?
In this special episode of the Drowned in Sound Podcast, recorded at Tallinn Music Week, Sean Adams speaks with Martyn Ware — founder of The Human League and Heaven 17, producer for acts ranging from Tina Turner to Erasure, and creator of some of the UK’s most ambitious sound installations.
This is a conversation about optimism and dystopia, about punk and purpose, and about how DIY culture in Sheffield shaped a career that’s still future-facing today.
Martyn also reflects on his podcast Electronically Yours, the legacy of sound, and how creative freedom can reshape confidence, community, and cultural memory.
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About the Guest:
Martyn Ware is a pioneering British musician, producer, and sound artist. As a founding member of The Human League and Heaven 17, and co-founder of British Electric Foundation, he helped define the sound of synth-pop while pushing boundaries in spatial audio, immersive installations, and political music-making. He also hosts the acclaimed podcast Electronically Yours.
About the Host:
Sean Adams turned his passion for music into Drowned in Sound, a UK-based music platform that launched in 2000. He also manages artists like Charlotte Church and The Anchoress, and works across strategic communications in the music and creative sectors.
What's it like to be an artist right now? And what does the future of music look like? Will it be AI-generated slop or a joyful return to community and creativity?
In this episode of the Drowned in Sound Podcast, Sean Adams speaks to Becky Hawley from the art-pop trio Stealing Sheep.
From the launch of their new label G-IRL (Girl In Real Life) to their reflections on DIY culture, Liverpool’s music scene, and 15 years of creative evolution, this episode is full of inspiring insights about building something real in a digital world. Expect discussion of Daft Punk, community over algorithms, mechanical bulls, offline joy, and what it really means to be a band in 2025.
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About the Guest:
Becky Hawley is one-third of Stealing Sheep, a Liverpool-based band known for their innovative, genre-defying sound. The trio recently launched their own record label, G-IRL (Girl In Real Life), to support their own work and that of other boundary-pushing creatives.
About the Host:
Sean Adams is the founder of Drowned in Sound, a pioneering music webzine launched in 2000. He also manages artists like Charlotte Church and The Anchoress, and works across campaigns that support independent and ethical approaches to music and media.
A conversation about Fresh Hell, subcultures in nature, and shifting the climate narrative through creativity.
In this episode of the podcast that maps what music will be like in 2050 by meeting cultural changemakers and pioneers, Sean Adams explores how the Fresh Hell zine - a collaboration between creatives from the agency Iris and Purpose Disruptors (download it here) - reframes our relationship with nature through goth culture, beauty, and imagination.
Featuring clips from Freya Beer’s special Gothic Disco radio broadcast recorded at Walthamstow Wetlands (listen to it on Mixcloud here), featuring reflections from Lira Valencia and Chris Packham, which inspired the zine, we explore what happens when goth culture meets the natural world.
This conversation with Purpose Disruptors who run the Agency for Nature & the creators of Fresh Hell zine, examines how creativity can help us move from awe of the natural world to cultural transformation—and what musicians, media, and fans can do to help shift the climate crisis narrative.
Aimee Brewerton – Comms & Engagement Manager at Purpose Disruptors, working across climate-focused storytelling, brand strategy, and cultural transformation.
Nicole Vanner – Designer at Iris, co-creator of Fresh Hell, blending gothic subculture with natural aesthetics in visual communication.
Andrew Hadley – Copywriter at Iris, co-author of Fresh Hell, exploring language that rewilds desire and reframes our connection to nature.
Purpose Disruptors – A UK-based network of 5,000+ creative professionals transforming the advertising industry to align with climate goals and societal well-being.
Iris – A global creative agency known for working with progressive brands and championing purpose-driven campaigns.
Agency for Nature – A project platform by Purpose Disruptors that reimagines communications through a regenerative, nature-first lens — including campaigns like Fresh Hell.
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Drowned in Sound founder and DiS podcast host, Sean Adams answers your questions. Send Qs for future episodes to [email protected].
Links mentioned in this episode
Music 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 like
Simon 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 Music
01:45 – Meet Linda Coogan Byrne & Her Data Reports
04:30 – The Shocking Gender Disparity in Radio
07:00 – Industry Reactions: Denial, Excuses & Pushback
11:00 – Thin Lizzy, Protest Billboards & Music Activism
15:30 – Has the Industry Improved or Is It Lip Service?
21:00 – Can Music Ever Be Equal?
30:00 – Why Not Everyone Can Be an Activist
38:00 – What Needs to Change for Lasting Equality?
45:00 – How Data Holds Power to Account
50:00 – Final Thoughts & Actionable Takeaways
Links
Why Not Her? Reports → https://whynother.eu/data-reports
Gender 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:
🗣 Discuss this episode over on the Drowned in Sound Community → https://community.drownedinsound.com/
📩 Email Sean → [email protected]
🔵 Follow on Bluesky → https://bsky.app/profile/drownedinsound.bsky.social
📩 Get the DiS Newsletter → https://drownedinsound.org
ABOUT THE GUEST
Linda 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 HOST
Sean 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 protected
Music as an economic and public good: Why governments should treat music like any other essential sector
Emerging music markets: Where the global music hotspots of the future might be
Live Nation: How monopolies shape local music ecosystems
The importance of local media and community spaces in sustaining music scenes
How cities can future-proof music amid climate, economic, and technological shifts
Shain 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 Industry
04:44 – Music as an Economic & Public Good: Why Governments Should Care
09:11 – Shain’s Journey: From Record Shops to Global Music Policy
14:08 – Music Cities: How Governments Can Invest in Local Scenes
19:51 – Global Music Growth: Why Africa & Southeast Asia Are the Future
28:25 – Community & Local Government’s Role in Music Sustainability
35:50 – The Live Nation Monopoly, Local Media, & How Cities Can Push Back
40:00 – Final Thoughts: What Needs to Change & What Fans Can Do
Further Reading & Resources:
Sound Diplomacy – Leading global consultancy on music and city planning
Making Places Better Newsletter – Shain Shapiro’s insights on improving urban spaces through music and culture
Music Venue Trust – Protecting grassroots venues
Cardiff Music Strategy – A model for city-led music investment
Fonds de la Musique Canada – Canada’s funding model for music exports
Live DMA – European network for live music venues
Join the discussion on the Drowned in Sound Community, message me on Bluesky, or email me at [email protected].
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 crisis
How music fans can help shape the climate conversation
The role of artists, venues & labels in pushing for a sustainable future
The reality of music’s carbon footprint and what needs to change
The Solar-Powered Pink Bus—and why Climate Live is taking a message of climate justice straight to festival crowds whilst applying glitter and temporary tattoos
From 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 Fox
Episode 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 Involved
Further Reading & Resources:
Climate Live – Join the movement and apply to perform
Fridays for Future – Global climate strike movement
Choked Up – Campaigning for air quality in marginalized communities
Disha Ravi – Indian climate activist's Wiki
Roles in the Resistance Poster – Find your place in climate activism
Julie's Bicycle – Sustainability in the creative arts
Tori Tsui – Climate activist and author of It's Not Just You
Dominique Palmer – Climate activist and speaker
Music Declares Emergency – Musicians demanding climate action
Music Venue Trust – Protecting grassroots music venues
Safe Gigs for Women – Creating safer environments for women at gigs
Teach The Future - teachthefuture.uk
Rozzi - Artist who wrote a song about LA fires
Stop Rosebank – Campaign against new oil fields
Fossil Fuel Non-Proliferation Treaty – Ending fossil fuel expansion
EarthPercent – Brian Eno’s initiative for climate funding
Make My Money Matter – How your bank funds fossil fuels
Rainforest Foundation UK – Protecting the Congo Basin
Reverb – Eco-friendly music tours
Massive 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 SoundMirror
Why 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 Fit
The 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:
Further Reading:
Episode Timestamps:
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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 struggling
How streaming giants control music discovery
The economic realities of being an artist today
Lessons from past music movements and how they shaped the industry
Why 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.org
00:00 Introduction: The Future of Music in 2050
00:25 Personal Journey with Music
01:45 Climate Activism & Music’s Role in Change
02:20 Challenges Facing Artists & the Music Industry
03:34 Streaming, Labels & Who Holds the Power
06:13 Economic Disparities & the Struggles of Independent Artists
07:36 The Importance of Community in Music
10:46 Conclusion: The Power & Potential of Music
What do you think the future of music looks like?What challenges should the industry fix first?
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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 202500:35 Reflecting on 25 Years of Drowned in Sound02:07 Challenges Facing the Music Industry04:22 Exploring Solutions and Innovations06:53 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 [email protected] 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.
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
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:
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:
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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
Links
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:
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:
Insightful Quotes from Atlanta Coombs:
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:
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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
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
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:
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:
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:
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."
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
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
Kickstarter's co-founder Yancey Strickler shares lessons from Fugazi's label and Beastie Boys' Grand Royal magazine and discusses the forward-thinking ethos of The Royal Society, a prestigious fellowship of the world's most eminent scientists.
Yancey is a big thinker, a music lover, writer and a 'zine publisher. He wrote about music for Pitchfork, Village Voice, eMusic (with many of the current Bandcamp Editorial team) and more, before becoming a notable figure in creative project funding at Kickstarter and now Metalabel. He shares a wealth of insights on the intersection of music journalism and the quest for authentic creative expression in the digital age.
Some Yancey Strickler quotes from this episode:
"To use the most obvious example, but you know, what if Taylor Swift had a magazine, right? Like, what if? What if Taylor Swift wanted to create a space to platform things that she celebrated, the things that she cared about, things she thought her fans wanted."
"Frank Ocean has been on that, you know, I think a lot of people in the hip-hop space have done a lot of creating wider platforms for themselves through fashion. Through other lines of cultural output that I think have proven to be extremely meaningful."
"...what is music journalism? I'm just gonna say it's ethnography and I'll go to your cartography comment. To me it's explaining lineages... What are the connections? What are the origins? What is the broader sweep in which this work appears? ...like, take me inside a world I wouldn't know otherwise. Help me appreciate that world the way people inside do. And I would say any, any, any piece, anybody that can do that I'm interested and that I think is a, true service and not that music journalism needs to be a service, but if I think it, how do you elevate above sharing an opinion, which is something that anyone can do. And so that has been rendered... Mapping the context, making that context, something that people can appreciate, that I think is maybe the highest form it can attain."
The Big Issue's Culture Editor Laura Kelly on their campaigning work, like Venue Watch to help save grassroots music venues across the UK.
As Laura says, "Across the UK, there was more than two venues closing every single week." Through Venue Watch, The Big Issue is raising awareness of the challenges facing venues and driving action by "telling the story of a venue" each week.
As part of Drowned in Sound's new season of podcasts about where music journalism is headed, we explore how sharing these stories and putting "values to the fore" allows The Big Issue's activist journalism to kickstart national conversations and create change.
We asked Laura how music journalism can go beyond entertainment to activism, and she responds "I think music journalism is about building that bridge between the art and the artist and the world around."
Laura offers an insightful look into The Big Issue's unique social mission and using journalism as "a force for good." We also shoutout James O'Brien, The Skinny, Music Venue Trust, Beyond the Music Festival, Duran Duran, Nick Cave, and Smash Hits.
Sign up to Venue Watch here:
https://www.bigissue.com/venuewatch
Read Laura's writing: https://www.bigissue.com/author/laura-kelly/
Follow Laura on Twitter: https://twitter.com/laurakaykelly
In this episode we mentioned that 16% of people working in the creative industries are working class, you can find the data behind that study here.
The Big Issue is a British magazine that provides a platform for homeless and vulnerably housed individuals to earn a legitimate income by selling the publication on the streets. It features a mix of social and cultural content, and its mission is to empower disadvantaged people through employment while raising awareness about homelessness and poverty-related issues.
Where is music journalism headed? Sean Adams (@seaninsound) introduces season* two of the Drowned in Sound podcast in the style of an editor's letter meets a meandering, unscripted voice memo.
TL;DR? To mark 23 years of Drowned in Sound, I decided to embark on a series of interviews with TikTokkers, rock writers, tech reporters and more to try to figure out whether things could be headed.
* = series?!
Everyone from Radiohead to Sugababes to industry insiders are raving about a new book by therapist and live music expert Tamsin Embleton. It's an extraordinary body of work entitled Touring and Mental Health: The Music Industry Manual, which includes contributions from a series of mental health experts providing insights and advice covering everything from breath-work to nutrition, and resilience to rest.
The book contains interviews with people who live and work on the road, alongside musicians including Pixies, Pharoahe Monch, Nile Rodgers, Radiohead, Four Tet, Lauren from Chvrches, Will Young, Justin Hawkins from The Darkness, and many more.
In this conversation with the author you'll learn more about the realities of the road, how touring with Nick Cave & Anna Calvi fed into the initial stages of this book, and why Live Nation has bought 3000 copies of it to put in dressing rooms. We discussed some of the topics in the book such as dressing room environments, dealing with the media and some simple changes the industry can make.
This is what Nile Rodgers had to say about the book: “The life of a musical artist can be a magnificent thing when you’re on stage experiencing the enthusiasm and appreciation for your work and seeing first-hand the incredible impact it can have…. There are however another 22 and a half hours in the day when you are not performing. Being away from home and the watchful eye of your loved ones can be incredibly hard work mentally as you go around the world at a pace dictated by the tour. Having what is effectively a mental health wellness manual to keep yourself in check is a wonderful initiative.”
Learn much more about the book over here touringmanual.com and you'll find @TamsinEmbleton on Twitter here.
Host: Sean Adams (@seaninsound)
Our series of conversations about Artificial Intelligence and music continues with a look at the ethics and legal implications of these new forms of technology that inhales creativity and spits out creativity using everything that has been fed into it. And not everything has gone in with permission, let alone consent.
At the spring 2023 budget, the UK government announced that they would be allowing AI firms to more easily access copyrighted material.... this seemed somewhat alarming to us as people who run a record label, manage musicians and care about the creative industries. Should be be worried?! We asked Dr Hayleigh Bosher, a leading expert on intellectual property to help us understand the law and the bigger philosophical issues with Artificial Intelligence technology using existing music to create new music.
Dr Hayleigh Bosher (@BosherHayleigh) is the author of Copyright in the Music Industry, is a senior lecturer in Intellectual Property Law at Brunel University, and hosts the brilliant Who's Song Is It Anyway? podcast.
Related Links
In case it wasn't obvious, this a music podcast that hasn't had enough of experts and to mark International Women's Day 2023 we spoke to Vick Bain the founder of The F-List and President of ISM (the independent society of musicians), to her PhD research into inequality in the music industry.
This episodes covers everything from her research into the Ivors songwriting awards having a pitiful amount of women winners to setting up the F List database of female+ musicians.
In recent days, Vick Bain has appeared on the BBC's flagship programmes Woman's Hour and Newsnight, as well as spoken to The Guardian about what Glastonbury's Emily Eavis called a "pipeline problem" in trying to secure festival headliners that aren't male.
This is the first in a series of conversations about inequality and the future of the music industry.
If you've been impacted by harassment within the music industry, visit WeAreMusic for a selection of links.
For more about Drowned in Sound, join our Substack newsletter and follow our founder and podcast host @seaninsound.
“If you start out and it doesn't do something that you're very impressed by, your assumption should be that your prompt wasn't very good,” this summarises the advice from music industry veteran David Boyle, who specialises in understanding audiences, and over the last few months has become an expert in using ChatGPT (if you've not already, give it a go here). So much so he's co-written a book called PROMPT about, you guessed it, writing prompts to get artificial intelligence to give you better answers.
This conversation is aimed at musicians and people who work in the music industry, but the takeaways should be fairly obvious whatever you're trying to achieve. Our host, Drowned in Sound founder Sean Adams, shares some of the ways he's been using ChatGPT to get movie recommendations based on the songs that are on the soundtrack and using it to better understand the complex legalese in a contract.
This conversation has also inspired David and his team to write a new edit of PROMPT for musicians, taking in some of the elements and workflows we discussed. Drowned in Sound listeners can grab it at a special rate using this link.
We hope you will find the practical examples and advice in this episode useful, and we would love to see screenshots or hear about how you've used it. Tweet @seaninsound and @beglen if you get chance. Actually, a sneaky tip, there's also a Twitter bot that you can send Qs to here.
Related Links
The robots are coming, and people are fearful and excited about the potential for AI and music to collide. It's hard to escape the discourse surrounding artificial intelligence, with various projects launches or low-level things reaching critical max in 2023.
As someone who is pretty cynical and emo about everything, Drowned in Sound founder Sean Adams is oddly optimistic about some of AI music's potential futures, especially surrounding the collision of science, technology and more 'functional' strands of music. As a lover of Sigur Ros, side two of Bowie's Low and contemporary composers like Poppy Ackroyd and Grouper, he's been a heavy user of the Endel app, which composes/generates music in real time, using sounds, textures, samples and frequencies, to create a soundscapes to listen to whilst you focus, relax, walk, sleep and more.
In this episode, two of the co-founders Oleg Stavitsky and Dmitry Evgrafov (listen to some of his non-AI music on bandcamp here) discuss everything from circadian rhythms to their love of Brian Eno. They also explore the science and tech behind the launch of an 8-hour Sleep Science playlist (listen here) with Amazon Music, which opens with an Amazon Original track featuring electronic duo Kx5 (Kaskade and deadmau5) that was produced using the hit EDM track “Escape”. The source material, including synths and chill vocals, was processed by Endel Pacific to create a high-quality, relaxing soundscape activating the parasympathetic nervous system and getting the listener ready for sleep.
Using this link, you can get a free month trial of Endel to better understand what we're talking about: https://code.endel.io/?code=drownedinsound (worth getting it just to hear the James Blake soundscape)
Also mentioned in the intro to this episode was Bronze Format, Max Richter's groundbreaking SLEEP album, and toward the end Oleg encourages you to join Endel's Discord community, which is here.
As always, if you have any thoughts or ideas, contact our host @seaninsound on your social platform of choice and subscribe to our mailing list here.
TikTok is so important, but what on earth are you meant to be doing on it? Here at Drowned in Sound we have not had a enough of experts, so we found one who can help us and you get our heads around TikTok. Our guest this week is musician and producer (and soon to be stand up comedian) Eleanor Fletcher, who's also a member of festival favourites Crystal Fighters, to find out how she's garnered 900k like on the platform and found a new audience in just a few months. Give her feed a scroll and follow her here tiktok.com/@eleanorkishere
This is part of a sub-series of podcasts, looking at the foundations of where the music industry is at. It's sort of a mini masterclass for musicians but the advice applies for anyone who wants to have a better understanding on creating "content" for the platform.
There's some really simple tips about how to introduce a video (the first few seconds are known as the 'hook' to 'hook people in', rather than the melody of a pop song...) and Eleanor mentions the key things of being "interesting and intriguing", keeping a list of ideas in your notes app, and makes the whole thing feel a lot less daunting.
Would love to know what you took away from this episode and anything you feel I missed to cover in future episodes.
Links to bits mentioned in the show
Faith Vern has collaborated with the likes Iggy Pop and Maxine Peake, and played huge sets on main stages of festivals such as Reading with her band PINS.
In this episode, Faith tells us all about the debut single of her new solo project The Faux Faux, which is the first release on the rebooted Drowned in Sound Singles Club (drownedinsound.org).
Drowned in Sound founder and podcast host Sean Adams (@seaninsound) introduces the podcast with a little history of the Drowned in Sound label and asks questions about how this solo material is different to the fun party punk that PINS were known for, what it's like writing music for big HBO, Netflix and Apple TV shows, how a mixture of Plath and moving out of Manchester inspired the track, and in a world where liner notes are rare, there's credits and more background to the track.
Watch the music video shot in the North of England using 500ft of film and find out more here https://www.thefauxfaux.co.uk/music
Go deeper and hear tracks by acts involved in this track on this Spotify playlist.
How do we "fix" music streaming? It's a question that has plagued the music industry and musicians for a decade and a half, whilst debating the pounds, pennies and slithers of a pence per stream... so this discussion about music streaming seemed like a great place to restart our podcast, which is will focus on music, through the prism of creativity, sustainability, pioneers and big ideas.
There are now a range of campaigns around the world and several organisations unifying in the UK to try to change the law, to ensure musicians and those who invest in them receive fairer pay from Spotify, YouTube, TikTok, Apple, Amazon, etc, etc, etc...
In the UK, there's been a UK government DCMS (Department of Culture, Media and Sport) enquiry exploring the issue of music streaming royalties and the challenges faced by musicians in receiving fair compensation for their work.
In this relaunch episode of our podcast, DiS founder Sean Adams (@seaninsound | drownedinsound.org) spoke to Naomi Pohl, the General Secretary of the Musicians' Union, a trade union representing 33,000 musicians about music streaming. We also discussed various campaigns she's the driving force behind to improve things for musicians. The General Secretary highlights the efforts of the Musicians' Union to advocate for and support musicians, including their fight for fair pay and improved working conditions. You'll also learn about the importance of joining a union and how both musicians and music fans can support their campaigns, which you can find here musiciansunion.org.uk (including how new members can join for as little as £1).
The wide-ranging enquiry into music streaming, entitled Copyright (Rights and Renumeration, etc) Bill, also known as The Brennan Bill (named because it's been led by musician and Labour MP Kevin Brennan) is looking into the current music streaming landscape, including the payment structures and methods used by music streaming platforms, as well as the challenges faced by musicians in receiving appropriate compensation from the platforms and their labels. The aim of the enquiry, which has been going on for a couple of years now, is to make recommendations to the UK government on ways to ensure that musicians receive fair compensation for their work, and to ensure that the music industry continues to thrive and support musicians. You can read more about where the enquiry is currently at on MusicAlly here.
In this conversation, Naomi Pohl explains her role and the process of changing the law and discusses her wider challenges over the coming months and years.
Want to help? "A positive step you can take to find out who your local MP is and try and build a bit of a relationship, especially if you find that there's somebody there who's passionate about music" - you can find your MP using theyworkforyou.com
How many musicians are there in the UK? There's a census happening which you can take part in here musicianscensus.co.uk
If this is an "audio publication" then this episode is the editor's (voice) note, as Sean Adams introduces some of the topics, ideas and thinking this new phase of the Drowned in Sound podcast.
To begin, help yourself to a David Bowie and Janelle Monáe sandwich.
Mercury Music Prize 2015 judges John Kennedy from Radio X and Kate Mossman from New Statesman/BBC Four, join DiS editor Sean Adams and podcast co-host Danielle Perry from Absolute Radio to discuss this year's Mercury nominees and what this year's 12 albums say about the current state of music plus we ponder what makes a truly great album?
The winner of this year's Mercury Prize will be revealed live on the BBC on Friday 20th Nov
The 2015 Mercury Prize ‘Albums of the Year’ in association with BBC Music were announced on Friday 16 October. The 2015 Albums of the Year are:
Aphex Twin 'Syro'
Benjamin Clementine 'At Least For Now'
C Duncan 'Architect'
Eska 'Eska'
Florence + The Machine 'How Big, How Blue, How Beautiful'
Gaz Coombes 'Matador'
Ghostpoet 'Shedding Skin'
Jamie xx 'In Colour'
Róisín Murphy 'Hairless Toys'
Slaves 'Are You Satisfied?'
SOAK 'Before We Forgot How To Dream'
Wolf Alice 'My Love Is Cool'
Toby L who founded music website, concert promoter and TV show Rockfeedback, as well as the Transgressive label (home to releases by Foals, The Antlers, Regina Spektor, Alvvays, Songhoy Blues and many more) chats about the past decade and a half with our hosts Absolute radio's Danielle Perry and Drowned in Sound (which also turned 15 this week) founder Sean Adams.
En liten tjänst av I'm With Friends. Finns även på engelska.