Skip to content
1981
Podcasting and Popular Music
  • ISSN: 1476-4504
  • E-ISSN: 2040-1388

Abstract

The COVID-19 pandemic has led to unique restrictions on human sociability. In response, exceptional initiatives using a range of existing technologies and platforms have emerged to mitigate lockdown isolation. , a kind of hybrid DJ set streamed from a Glasgow basement, was one of these initiatives. As the lockdown was extended, it became a virtual gathering space, with unexpectedly powerful impacts on its audience. This research seeks to define and describe this phenomenon. In this study, we find new permutations of engagement in space, in time and in presence. We find expressions of joy in the show’s particular sociability. In the isolation of lockdown, here is an experience in which participants felt affirmed, validated and re-constituted as subjects and actors. In their response, we find an enthusiastic push-back in favour of communal musical spaces and against a political economy of music that has pressed relentlessly towards isolation, individuation and commodification.

Loading

Article metrics loading...

/content/journals/10.1386/rjao_00056_1
2022-04-01
2024-09-09
Loading full text...

Full text loading...

References

  1. Althusser, Louis. ( [1970] 2006;), ‘ Ideology and ideological state apparatuses (notes towards an investigation). ’, in A. Sharma, and A. Gupta. (eds), The Anthropology of the State: A Reader, Malden, MA:: Blackwell;, pp. 86111.
    [Google Scholar]
  2. Bauman, Zygmunt. ( 2002), Liquid Modernity, Cambridge:: Polity;.
    [Google Scholar]
  3. Baym, Nancy. ( 2018), Playing to the Crowd: Musicians, Audiences, and the Intimate Work of Connection, New York:: New York University Press;.
    [Google Scholar]
  4. Beadle, Jeremy J.. ( 1993), Will Pop Eat Itself? Pop Music in the Soundbite Era, London:: Faber & Faber;.
    [Google Scholar]
  5. Bentley, Jane. ( 2011;), ‘ Tuning in: Towards a grounded theory of integrative musical interaction. ’, Ph.D. thesis, Glasgow:: University of Strathclyde;.
    [Google Scholar]
  6. Berry, Richard. ( 2016;), ‘ Podcasting: Considering the evolution of the medium and its association with the word “radio”. ’, Radio Journal: International Studies in Broadcast & Audio Media, 14:1, pp. 722.
    [Google Scholar]
  7. Bourdieu, Pierre. ( 1990), In Other Words: Essays Towards a Reflexive Sociology, London:: Polity;.
    [Google Scholar]
  8. Bull, Michael. ( 2007), Sound Moves: IPod Culture and Urban Experience, Abingdon:: Routledge;.
    [Google Scholar]
  9. Butler, Mark J.. ( 2006), Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music, Bloomington, IN:: Indiana University Press;.
    [Google Scholar]
  10. Charmaz, Kathy. ( 2016;), ‘ The power of grounded theory for critical inquiry. ’, Qualitative Inquiry, 23:1, pp. 3445.
    [Google Scholar]
  11. Charmaz, Kathy. ( 2017;), ‘ Constructivist grounded theory. ’, The Journal of Positive Psychology, 12:3, pp. 299300.
    [Google Scholar]
  12. Glaser, Barney G., and Strauss, Anselm L.. ( 2017), Discovery of Grounded Theory: Strategies for Qualitative Research, New York:: Routledge;.
    [Google Scholar]
  13. Heath, Helen, and Cowley, Sarah. ( 2004;), ‘ Developing a grounded theory approach: A comparison of Glaser and Strauss. ’, International Journal of Nursing Studies, 41:2, pp. 14150.
    [Google Scholar]
  14. Hesmondhalgh, David. ( 2013), Why Music Matters, Chichester:: Wiley;.
    [Google Scholar]
  15. Holm, Nicholas. ( 2021;), ‘ No time for fun: The politics of partying during a pandemic. ’, Cultural Studies, 35:2&3, pp. 45261.
    [Google Scholar]
  16. Keightley, Keir. ( 1996;), “‘ Turn it down!” She shrieked: Gender, domestic space, and high fidelity, 1948–591. ’, Popular Music, 15:2, pp. 14977.
    [Google Scholar]
  17. Langlois, Tony. ( 1992;), ‘ Can you feel it? DJs and house music culture in the UK. ’, Popular Music, 11:2, pp. 22938.
    [Google Scholar]
  18. Loviglio, Jason. ( 2005), Radio’s Intimate Public: Network Broadcasting and Mass-Mediated Democracy, Minneapolis, MN:: University of Minnesota Press;.
    [Google Scholar]
  19. Marx, Karl. ( 1974), Economic and Philosophic Manuscripts of 1844, Moscow:: Progress;.
    [Google Scholar]
  20. McHugh, Siobhan. ( 2016;), ‘ How podcasting is changing the audio storytelling genre. ’, Radio Journal: International Studies in Broadcast & Audio Media, 14:1, pp. 6582.
    [Google Scholar]
  21. Mills, Carl Wright. ( 1959), The Sociological Imagination, New York:: Oxford University Press;.
    [Google Scholar]
  22. Mills, Jane,, Bonner, Ann, and Francis, Karen. ( 2006;), ‘ The development of constructivist grounded theory. ’, International Journal of Qualitative Methods, 5:1, pp. 2535.
    [Google Scholar]
  23. Montgomery, Martin. ( 1986;), ‘ DJ talk. ’, Media, Culture & Society, 8:4, pp. 42140.
    [Google Scholar]
  24. Rabinow, Paul. (ed.) ( 1991), The Foucault Reader: An Introduction to Foucault’s Thought, London:: Penguin;.
    [Google Scholar]
  25. Scannell, Paddy. ( 1996), Radio, Television, and Modern Life: A Phenomenological Approach, Oxford:: Blackwell;.
    [Google Scholar]
  26. Sherrill, Lindsey A.. ( 2020;), ‘ The “Serial effect” and the true crime podcast ecosystem. ’, Journalism Practice, article first , https://doi.org/10.1080/17512786.2020.1852884. Accessed 3 February 2022.
    [Google Scholar]
  27. Skues, Keith, and Kindred, David. ( 2014), Pirate Radio: An Illustrated History, Stroud:: Amberley Publishing Limited;.
    [Google Scholar]
  28. Smith, Kenneth S.. ( 2014), Emile Durkheim and the Collective Consciousness of Society: A Study in Criminology, London:: Anthem Press;.
    [Google Scholar]
  29. Spinelli, Martin, and Dann, Lance. ( 2019), Podcasting: The Audio Media Revolution, London:: Bloomsbury Academic;.
    [Google Scholar]
  30. Taylor, Timothy. ( 2001), Strange Sounds: Music, Technology, and Culture, New York:: Routledge;.
    [Google Scholar]
  31. Taylor, Timothy D.. ( 2017;), ‘ The commodification of music at the dawn of the era of “mechanical music”. ’, in Music in the World, Chicago, IL:: University of Chicago Press;, pp. 5073.
    [Google Scholar]
  32. Taylor, T. L.. ( 2018), Watch Me Play: Twitch and the Rise of Game Live Streaming, Princeton and Oxford:: Princeton University Press;.
    [Google Scholar]
  33. Thornton, Sarah. ( 1995), Club Cultures: Music, Media, and Subcultural Capital, Cambridge:: Polity;.
    [Google Scholar]
  34. Wittgenstein, Ludwig. ( 2010), Philosophical Investigations, New York:: Wiley;.
    [Google Scholar]
  35. Wuest, Judith. ( 1995;), ‘ Feminist grounded theory: An exploration of the congruency and tensions between two traditions in knowledge discovery. ’, Qualitative Health Research, 5:1, pp. 12537.
    [Google Scholar]
  36. Wolfenden, Helen,, Sercombe, Howard, and Renzo, Adrian. ( 2022;), ‘ Banging tunes in the basement: Finding online community in COVID-19 lockdown. ’, Radio Journal: International Studies in Broadcast & Audio Media, 20:1, pp. 6584, https://doi.org/10.1386/rjao_00056_1
    [Google Scholar]
/content/journals/10.1386/rjao_00056_1
Loading
  • Article Type: Article
Keyword(s): DJ; Facebook; liveness; music; pandemic; party; podcast; streaming
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error