Being a 365 touring girl is not the way Charli xcx wants to live her life. Upon confirming the dates for the UK and US legs of the tour supporting her new album _Music, Fashion, Film_ , fans in the comments lined up to express – with differing levels of politeness – the disappointment they felt that she wasn’t playing nearer for them. In the UK and Europe, she’s only playing six shows next January, in Dublin, Glasgow, Manchester, London, Paris and Amsterdam. Interestingly, for that run, she’s never on stage two nights in a row. “I know there’s a lot of frustration in the comments about the fact that I am not doing lots of dates. I am really sorry if you feel disappointed but I have to honor my truth as an artist: touring is really emotionally and physically hard for me,” Charli admitted in the Instagram comments later. “I am not looking for sympathy and I have a huge amount of respect for artists who can handle it at an intense, lengthy and high octane level, but I am just not one of those human beings and I never have been,” she continued. “I’m sorry if you feel I am letting you down; I really am. Perhaps one day I will be built for the kind of touring you expect from me but right now I am not. If you’re coming to a show I hope you have fun and enjoy it, and I will try my best to stay in a healthy and positive mindset and enjoy it too.” She’s not been the only one to speak up about the toll touring can take either. Harry Styles cited that preserving his wellbeing was a factor in him pivoting towards residency shows for his Together, Together touring cycle: “I think there's something in this that allows me to stay in my life while I'm doing it,” he reasoned, “and therefore allows me to take care of myself better, which I think makes me better at doing the thing.” He also wanted to make life easier for his touring crew, who now had families back home. The transparency, of course, is admirable. It’s crucial, even, especially if the general public has only a fuzzy perception of exactly what the life of a touring artist looks like, which can mean that misinformation and parasocial hysteria creeps in. There’s no one universal picture, but it goes without saying that the 22-23 hours of the day when an artist isn’t performing aren’t exactly all cushy. At the same time, the conversation is being led of late by the biggest touring artists in the world. While their emotional and physical difficulties are, of course, extremely real, they make these points from a place of privilege. They’ll be sleeping in hotel rooms instead of vans or floors, they’ll have a greater level of comfort and artists of that level may also be able to bring their partners or families with them. To some extent, they can buy back some bandwidth, if finances are less of a problem and it means they can space out shows some more. Not every artist can play residencies like Styles, or like Ariana Grande, who also recently played a residency at The O2, and the other drawback is they shift the costs from artist to fan, given they have to travel further (and rack up greater emissions) and potentially find overnight accommodation. Charli’s perspective does, however, represent a tip-of-the-iceberg situation. If she’s struggling at the astronomical level she’s at, then what about the artists further down the pecking order? What about the crew members, managers, merch sellers and other members of a touring party who will feel these struggles just as acutely? Travelling is draining, it’s harder to stay healthy – and flying is also particularly taxing for the voice – and the conditions are far from luxurious. “At this small level, it’s a blessing when you find a decent meal,” explains Linda Battilani of Halflives. “I get genuinely excited knowing there’s catering or a decent buyout sum to get something proper to eat without spending our own money, or just having a clean and warm shower. It means accepting living as if you literally are a homeless person sometimes, because you’d do everything just to play your shows. It has happened more than once that we’d come back from a 3-week tour where more than one of us lost a few kilograms. of the time, it’s hard to even break even, and it’s very easy to end a tour in the red.” Music might be loud, it doesn’t mean your head will go quiet. Life rolls on in the background, and I’ve seen musicians in various capacities discuss the strangeness of processing everything from bereavement to their own recent suicide attempt while still having to tour. It becomes even more testing during festival season, with hours-long drives and border checks separating shows, with limited time to set up and play. For some artists, all of that is compounded by the added complications that can come with disability, chronic illness, neurodivergence or all of the above. “As a late-diagnosed autistic person with the dynamic duo of depression and anxiety under their belt, a lot of my struggles with touring are intrinsically linked with said conditions,” explains Conjurer’s Dani Nightingale, who spoke to us last year around the release of the band’s album Unself. “Things like a diminished social battery, the stress of travel, the overwhelm of a gig environment, the pressure of performing, and the unique situation of unpredictability being the only predictable thing about tour can all contribute to unpleasant and damaging occurrences such as meltdowns or shutdowns. “That said, I don’t think it’s unreasonable to assume that most people would struggle with these things, regardless of neurotype,” they continue. “Even if you’re nomadic, falling asleep in one country and waking up in a completely different one can throw you for a loop when it happens day after day. Even if you love the hustle and bustle of it all, it’s not the holiday that a lot of people think it is; it’s essentially another job, commonly underpaid or unpaid, for longer than usual hours and often in suboptimal conditions.” For a small-to-medium touring artist, the demands are even more relentless. There have been times I’ve seen certain bands’ touring schedules and wondered how they’d survive it. Worse still, thanks to soaring costs, merch cuts and everything in between, these tours are money sinks. On a recent episode of music business podcast The Money Trench, booking agent Alex Bruford estimated that a tour to audiences of even 1,000-2,000 a night could make a loss of £30,000. As with any profession, the less you earn, the harder you work. “It’s so hard physically, financially and mentally. Less shows means better performances so I get why she’s doing it,” says Nina Saedi, frontwoman of prog-doom band Lowen. “If there was more support for musicians and the arts by the government and we had a more European model in places like the UK and America for smaller artists then the live scene would be so different - and a lot more profitable for everyone involved.” Fortunately, a couple of major artists have stepped in to help. Olivia Rodrigo is known for providing free therapy to her whole touring party, while Radiohead’s Philip Selway is supporting a new project called the Pay It Forward Fund, set up by Tamsin Embleton and the Music Industry Therapist Collective, to provide mental health support for musicians and crews on smaller tours. “You’re expected to get your head down and get on with it, but it can mean times when you’re not necessarily looking after yourself physically and you can feel very isolated,” Selway wrote in The Guardian last week. “There’s an emotional and geographical displacement in moving from place to place and living on top of each other. There’s the sound check, the gig, meeting people afterwards, anxiety that some people guiding you may not have your best interests at heart. You can feel really vulnerable, and there’s no way of getting off that roundabout until you get home. It’s difficult to talk about because nobody wants to rock the boat, and other people might be going through the same thing, so you don’t want to burden them.” These initiatives, of course, can be invaluable, especially in an industry where almost a third of those involved in it report experiencing poor mental wellbeing, which is especially acute for those at the start of their careers). Chiefly, however, this is a systemic problem. With the current precarity and poor financial return of the music industry, this is a system where we all lose, whether on stage, backstage or watching the stage. Talk might be valuable, but it cannot resurface the foundations of an industry that has been broken for a long, long time. It’s the love of the game that keeps artists piling into their van time after time. “Being in a band like ours and doing it on a pot noodle sized budget is unglamorous – there’s nothing rock ‘n’ roll about ‘rock ‘n’ roll’,” says Matt Sutton of industrial band Tayne. “It can feel like a grind for sure when you’ve got such small fees coming in to barely pay the logistics of it all. You really have to love it to do it, which I absolutely do. It’s one of the craziest adventures I’ve ever experienced.” “Much has been said about performing live being like a drug, an unbeatable high, and it’s absolutely true in all the best and worst ways,” Nightingale adds. “It’s a rush like no other but it comes at a cost, sometimes against our better judgement and at the expense of our health. The balancing act of following your dreams, going out on the road for weeks or months on end, trying to break through and make ends meet, all while keeping on top of your commitments and relationships back home is a damn tricky one that can have devastating consequences. People succumbing to addiction, having partners leave them, burning out, falling out of love with something you’ve spent your whole life chasing, and the financial issues that can come with all of that is enough to put any sane person off this lifestyle. Yet we risk it all anyway.” Some of this might be part of the territory, but the resounding feeling must be that there has to be a better way for people to do what they love. Enjoy this? Please consider upgrading to support our independent journalism Learn more

More accurately, Emma Wilkes' essay for Drowned in Sound just won a journalism award! Yesterday, at The International Music Journalism Awards, which takes place at Reeperbahn Festival, the winner for the Best Work Of Music Journalism Text was... "Deftones is for the Girls" by Emma Wilkes (Drowned In Sound) In the year since Emma became our newsletter editor, she's published a great piece every week. This one was a bit different and I couldn't resist submitting it to the awards. It's such a brilliant essay, bringing together Emma's unique perspective as both a feminist deconstructing misogyny in metal and as someone who is "Drowned in Sound years old" seeing Deftones for the first time, surrounded by more women than the heavy shows she usually covers for publications like _Kerrang!_. The piece goes deep but also has Emma's personality and wit, like the pay-off on this paragraph: > One of the significant things about Deftones is that they have always gone beyond metal’s basic aggressive tropes. The aggression is still present, conveyed in their mountainous riff work and low tunings, but it’s often suffused with something softer. Sometimes it’s with elements of shoegaze or the sultry tones of their influences like Prince or Sade, maybe it simply pours through in a gentle melody or the mere coolness of Moreno’s sensitive tenor. There’s something more sensitive about it, both in melody and lyrics. He’s mysterious and abstract but with a burning emotional core. And, infamously, he’s often quite horny. It's a generous piece of writing too, shouting out the book _Under My Thumb: Songs That Hate Women & The Women Who Love Them_ edited by Rhian E. Jones and Eli Davies (order it from your local Bookshop here), and a range of artists including Lorna Shore, Babymetal, Halestorm, and Spiritbox. If you missed the piece when we published it or fancy a re-read, here's **Deftones is for the girls** by the now award-winning music journalist Emma Wilkes. Deftones is for the girlsTo get into arenas, heavy acts have to get women on their side. And who does that better than Chino and co?Drowned in SoundEmma Wilkes The judges chose Emma's piece over a shortlist that included articles from The Atlantic and The New Yorker, and Eliza McLamb's viral Substack essay about fake fans. * Spencer Kornhaber: How Lizzo Became One of Pop Culture's Great Flops - The Atlantic * Eliza Mclamb: Fake Fans - Substack * Kelefa Sanneh: How Music Criticism Lost its Edge - New Yorker * Alexander Vladimirov: Let the Underground Club Scene Go Under - Times Movement Learn more about the awards and see the full list of winners. This award-winning essay was only possible because of many of you who support this newsletter with your subscriptions and allow us to commission articles like this. If you'd like to become a supporter, you can contribute for as little as £2.50 per month. Learn more Subscribers can browse the archive of Emma's articles here: Emma Wilkes - Drowned in SoundDrowned in SoundNewsletter

Hello hello, and thank you for having me in your inbox once again. We've got some exciting things cooking behind the scenes, but to keep you fed while you're waiting, I've taken a trawl through the music news. Here's the digest from the last couple of weeks... ## Macklemore and music's big Palestine tussle I never expected to see Macklemore, Pink, Ed Sheeran, Paloma Faith and Boy George all piling into one specific conversation, but the news cycle is stranger than fiction at the best of times. It's snowballed into one of this year's most important stories in terms of solidarity and activism, but it's also a story that just couldn't have been made up. Here's what unfolded... **Fri 4th September:** It all started when Macklemore was opening for Ed Sheeran at the MetLife stadium in New Jersey. To introduce his pro-Palestine song 'Hind's Hall' - referencing a building renamed by student activists at Columbia University in honour of the six-year-old Palestinian girl Hind Rajab, who was killed in Gaza - Macklemore made a speech calling to "free Palestine, Cuba, Congo, Sudan and Iran and all the people of America who live in fear because of this terrorist organisation ICE". This prompted the Israeli-American Council to declare he should be removed from the tour. **Sat 5th September** : It's worth mentioning that the following night, the rapper did address his “Jewish brothers and sisters”, saying that “criticism of Israel, criticism of apartheid, being against genocide in no way is a criticism of you." He added: "My message is for peace: love for all human beings to be treated with dignity, respect and equality. So I say Free Palestine, I say Free Lebanon, I say Free Cuba, I say Free Congo, Free Sudan, I say Free all people in America living in fear of this terrorist organization, ICE. None of us will be free until we are all free." **Sun 6th September:** P!nk tacitly criticised Macklemore, resharing a post from the organisation StopAntisemitism that read: "Awful. Jewish fans bought tickets to see Ed Sheeran sing last night in NJ, not to be ambushed by Macklemore’s anti-Israel propaganda.” **Monday 7th September:** Boy George, who recently released an AI-assisted pro-Israel song called 'We Will Dance Again', added on X/Twitter: "It’s important to note that slogans such as ‘Free Palestine’ offer the appearance of moral courage without requiring much political knowledge.” The frontman of Culture Club turned Culture Warrior also lambasted Paloma Faith for sharing the video with the caption "My hero", lambasting "her stupid virtuous squealing of delight about Mackle-bore when she is about as political as a soggy tuna sandwich." (Have some evidence to the contrary below.) Macklemore, meanwhile, remained defiant. Sharing a clip of his speech online, he wrote: “Wanting all humans to be treated equal should never be controversial.” **Monday 14th September:** Nonetheless, Macklemore was removed from the tour at the beginning of the week. He then shared a lengthy statement in which he claimed that after Robert Kraft — the owner of the New England Patriots and Gillette Stadium — forced Sheeran's hand, saying Macklemore had to be dropped or the shows couldn’t go ahead. The shock sent the story rocketing to the top of the news cycle, and Macklemore's statement has now racked up over 8 million likes on Instagram. **Tuesday 15th September** : Kraft, who once won an award from Benjamin Netanyahu, responded to this by saying that he "agreed with Macklemore" and welcomed the opportunity to "discuss the facts", but began his statement by proclaiming that “Gillette Stadium has a longstanding commitment to providing a welcoming environment for all guests and ensuring that events held at our venue do not provide a platform for hate speech" and Macklemore's actions would "cross that line". “This decision is not about diminishing the suffering of innocent Palestinians or denying anyone the right to advocate on their behalf. Their pain and loss are real. But that advocacy should not come at the expense of the Jewish community or obscure the responsibility of Hamas, a United States and globally (including Canada, European Union, United Kingdom, and Japan) designated terrorist organisation whose horrific actions have caused immeasurable suffering for Palestinians and Israelis alike," he said later. Read his statement in full here. Meanwhile, the Gillette Stadium seems not to have a policy about not letting domestic abusers play, given Chris Brown played on his co-headline tour with Usher not long ago. Sheeran also sang at Kraft's wedding in 2022, and in a subsequent interview called him "super sweet". Elsewhere, Macklemore was removed from a show at Raymond James Stadium in Tampa, Florida, which hosted Kanye West - with his litany of antisemitic incidents in the past - mere months ago. Then, Ed Sheeran gave his own statement on the situation, and the Internet was not amused. "I am appalled by the conflict between Israel and Palestine," he wrote. "The suffering and pain caused on both sides is a human tragedy. There are too many wars across the world causing immeasurable pain, none of which should be tolerated." He continued: "There is a reason I do not use my professional platform for politics - my audience includes young people, often children, of all backgrounds." It was a choice moment to claim neutrality. When times are so fraught, stepping back and looking away feels irresponsible, if not ignorant and even careless. It's also inaccurate to claim Sheeran has been apolitical since day dot, when he'd previously bigged up Jeremy Corbyn and has spoken out against: * The damage of Brexit for touring musicians * The full scale invasion of Ukraine * The lack of justice for those affected by the 2017 Grenfell Tower fire * The rise of the far right in the UK with Love Music Hate Racism (as recently as 2019) * The threat to equality in the US. In 2021, Sheeran joined Ariana Grande, Billie Eilish, Lorde, and more than 300 other artists in signing an open letter calling on the US Senate to pass the Equality Act. * The defunding of music education, writing a letter to Keir Starmer in March 2025. As a result of Macklemore's removal by the venue owners/promoters, the remaining support acts on the tour - Finneas, Aaron Rowe and Lukas Graham - pulled out one by one. Then, backing band Beoga, who join Sheeran for songs like 'Galway Girl' and 'Nancy Mulligan', also dropped out. **Wednesday 16th September:** Macklemore kept his head high and donated his fee for the show, $1million (£750,000) to Palestinian organisations. Sheeran then asked Kraft to match the donation, and the billionaire doubled it, giving $2million (£1.5million). However, it's currently unclear where those donations are going. For context, given Kraft is worth between $13-15 billion, it's the equivalent of someone with $10k of savings donating about $1.33. Looking at the data from recent reports, let's hope this aid gets to the people who need it and isn't destroyed. Looking at United Nations Office for the Coordination of Humanitarian Affairs reports, their latest information published on September 8th 2026 includes lines like: > Also that day, a humanitarian warehouse in Deir al Balah was destroyed by a nearby strike, which damaged more than US$770,000 worth of UNICEF nutrition supplies intended to support more than 40,500 children, as well as 4,900 pregnant and breastfeeding women. The New Arab also reported on September 9th that: > A humanitarian protocol agreed under US President Donald Trump’s ceasefire plan on 10 October 2025 stipulated that at least 600 aid trucks should enter Gaza every day. > Gaza’s Government Media Office said on Tuesday that Israel was allowing in only about 35% of required food supplies, accusing it of practising “silent starvation”. > It said 69,387 aid and food trucks had entered Gaza over the 330 days since the ceasefire agreement was signed, compared with 198,000 that should have entered under the agreement. **Thursday 17th September:** Educator and presenter Ms Rachel agreed to match Macklemore's $1m donation to Palestine Children’s Relief Fund, then encouraged more celebs and wealthy people to follow her lead. YouGov released a poll that showed people on the right of politics - who wang on about free speech - think artists should shut up?! **Saturday 19th September:** The tour is resuming in Philadelphia tonight. Although Billy Bragg encouraged Sheeran to cancel the shows, they're still going ahead, mainly because cancelling would leave him and his promoters liable for huge costs. Meanwhile, fans who have tried to resell their tickets have found themselves struggling to find buyers. Will it be a career ender, likely no, but did it have to end this way? Also no. It's evidence that the mood has changed, that responsibility and social awareness matters, and crucially, that there's no use washing the politics out of music anymore. Music can be an escape, of course, but it's also a vital, accessible means of finding solace and engaging with the wider world. And, at the same time, stream 'Thrift Shop'. * * * ### Check out EarthSonic's report into the environmental impact of streaming It's easy to assume streaming your music instead of buying physical editions is the greener way to listen. A new report by EarthSonic aims to dispel these myths, highlighting the 'invisible' costs to the environment that don't seem to have been fully grasped in the public consciousness. Check it out, and discover just how much CO2 is generated through one hour of streaming: Report: Music streaming and its environmental impact — EarthSonicA report conducted by EarthSonic in 2026 looking at the environmental impact of music streaming.EarthSonic ### We investigate the far-right's favourite rapper - and it got Tommy Robinson in a tizzy This week's podcast is the second part of our investigation into the AI-generated far-right rapper Danny Bones, who is soundtracking the black shirt protests in Dover. You know it's made an impact when Stephen Yaxley-Lennon aka Tommy Robinson's found a clip and had a whinge... PodcastsTune into our podcast for hopeful, future-facing conversations with extraordinary musicians, cultural innovators, and organisers reshaping the music ecosystem.Drowned in SoundDiS Support ### And in other news... * Reading Festival has not had the best run of publicity after this year's end-of-summer blowout. For one, they've attracted derision for scrapping the BBC Introducing stage for a new stage that platformed a remarkable amount of nepo babies - Violet Grohl, Villanelle's Gene Gallagher, Cruz Beckham and the Breakers and Moses Martin's (son of Chris) new band People I've Met - ahead of talent that needed the exposure more. There's also been footage of the appalling state of the campsites doing the rounds, with tents strewn everywhere. (By contrast, look here at how clean the punters at my beloved 2000trees left the fields in July.) * Jason Isbell is among the musicians who have filed a class action lawsuit in Massachusetts against Suno, alleging that the company uses musicians’ identities without their permission to generate music in their styles through AI. Although Suno claims otherwise, the lawsuit alleges that the software does actually allow prompting by musicians’ name, but also has built ways around its own filters which are meant to stop users from recreating music based on name alone. * The 100 Club's celebrating 50 years of its legendary Punk Special gigs with two very special shows later this month, from oft-mentioned DiS favourites Sprints and Maruja headlining. Best of all, ticket prices are frozen at the glorious 1976 price of £1.50. * If you can party in the Tate Modern (as part of their Tate Lates series), why not St Paul's Cathedral? That could soon be a reality thanks to a deal signed with nightclub Fabric to bring music events to the historic building. The first event will take place on 29th October. * The legendary venue The White Hotel in Salford is reportedly reopening under new ownership after it closes in January 2027. It's taking the name BASTION and will be operated by the same team that runs the music studio and events space The Bag Factory. * The new music campaign Nothing But Love is preparing for its launch party at Camden's Jazz Cafe next month with Skunk Anansie icon Skin curating and hosting a night of live music and DJ sets. Featuring performances from Rachel Chinouriri, Constance Power, Ruti and surprise guests, It's all going down on Saturday 3rd October and first release tickets cost just £10. * The Scottish government are piloting a system of providing basic income for artists, which they call the Scottish Artists Minimum Income. It follows a similar scheme that was announced for rollout in Ireland earlier this year. England's turn when? * In a wacky bit of irony, Muse have had to change their social media handles to Musetheband, because Meta's new AI tool has now taken the handle Muse. It all feels a bit... Muse. * A new fundraising gig for Gaza is taking place at London's Troxy on October 24. Sleaford Mods are headlining, with Baxter Dury, Joe Armon-Jones and Sinead Ashiokai also on the bill. * It's rare to see artists take action on the scale that Jane Remover did at M3F Fest. They threatened to drop off the bill in protest of the festival platforming the Israeli band Temper City, who have alleged ties to the IDF, and when no action was taken, they followed through. * Superstruct - the festival company that has faced boycotts over its ties to KKR - has published a new code to support freedom of expression. It's adamant in defending artists who are very political on stage, but shouldn't this just be the default regardless? * Exactly a year after Together For Palestine at Wembley Arena, another edition of the event is happening in New York. Given the intense, fast-moving affairs described above, it couldn't be more timely. ## I won an award! I had a surprise email on Wednesday night, which informed me I'd been nominated for an International Music Journalism Award (IMJA), which is awarded every year at Reeperbahn Festival in Hamburg. I was nominated in the category of Best Work of Music Journalism Text (English), for my Drowned In Sound essay _Deftones is for the girls_ , which I wrote in February. And, it's with awe and disbelief that I can tell you... I WON!! (Thank you endlessly Sean for nominating me). Deftones is for the girlsTo get into arenas, heavy acts have to get women on their side. And who does that better than Chino and co?Drowned in SoundEmma Wilkes

Something fun to try.

Each week I talk to someone about music and everything it drags with it (usually that's a side order of politics and a glimpse at a better world).

Podcast Episode · Drowned in Sound · June 4 · 49m

"I could be saving these bands so much money," quips Gareth from indie-leg-ends Los Campesinos! during his chat with Helena Wadia and I about the economics of being a band in 2026. We natter about merch, the joy of his touring family, Spotify, touring, class, privilege and why thinks someone should check in Ed Sheeran... Part 2 of the pod-chat is now live wherever you get your podcasts. 🎧 Apple Podcasts | Other Platforms SPONSORED Los Campesinos! A selection of DiS podcast new co-host Helena's favourite ****Los Camp!**** songs to soundtrack our latest episode of the DiS Podcast with lead singer ****Gareth David****. Get a free trial of Qobuz

In this week's Drowned in Sound newsletter: * **Track Of The Week** is sure to satisfy fans of both electronica and punk * Find out about the legal case that's improving **accessibility at major festivals** * Missy Dabice from **Mannequin Pussy** asks Spotify to chat * Plus news on Trump getting involved with Live Nation, Milton Keynes council doing something great, and a rally against the far right. * But first, Emma examines whether the handful of new arenas in the UK could succeed or fail, or if we really need them * * * ## Arenageddon: Are all these new venues necessary? As much as I love live music with every fibre of my being, something is making me cynical. In the last couple of weeks, there's been a run of news stories about a new crop of arenas being constructed across the country. First, there was some movement on long-delayed arena The Sage in Gateshead (not to be confused with The Glasshouse, which used to be called the Sage), followed last week by confirmation of the opening programme for the new British Airways ARC venue in west London at the Olympia, which opens in June. Several new arenas are slated to open in the next few years across the UK, following the trend set by the now-frequently visited Co-Op Live in Manchester almost two years ago (once it ironed out its many kinks in its ill-fated first weeks of operation.) A glossy event took place last month to unveil the forthcoming Aviva Arena in Bristol, which is opening in 2028 in the same year as another new arena in Cardiff Bay. In some ways, development of all these arenas could seem like a harbinger of good things – more jobs, more money flowing around local economies, and of course, more gigs. These are all valid benefits. Greater access to larger gigs is certainly a bonus, especially for younger families who are likelier to give their kids their first concert in a larger arena with seats than in a club venue. It’s indicative of the capital behind live music events being greater than ever, and as we already know, megagigs can get a certain type of business person to have vivid visions of overflowing bank accounts. The numbers back it up: in 2025, The O2 had its busiest year ever, hosting 239 gigs. AEG’s UK touring and festivals arm AEG Presents posted turnover of around £340 million in its latest financial year. When it comes to how _necessary_ some of these venues are, the mileage may vary. Building an arena in Bristol has been floated for years, and knowing how rich the music culture is there, it’s rather surprising to think that it doesn’t have its own arena. Instead, gig-goers in that area of the country have usually had to schlep over the Severn Bridge to the arena in Cardiff, if a tour makes it there. More arenas could help pull music’s centre of gravity away from London. By contrast, the redeeming purpose of the 3,800-capacity British Airways ARC is a little less obvious. At a punt, it’s locationally filling the hole the famed Earl’s Court left when it closed in 2014. While west London’s not buzzing with gigs as much as, say, north or especially east, did we need another corporate-sponsored venue when the capital does just fine with similar-sized spots like the Roundhouse, Troxy, or Brixton Academy? The other question is one of being fit for purpose, or whether these developments are conducive to moving with the times. With the way live music is drifting, these arenas could well be standing empty for longer than intended. The cost of putting on large-scale events has already exploded in recent years, and that effect will continue, especially as soaring property taxes could double some arenas' bills. The knock-on effects from the war in Iran could be profound, adding to these ballooning prices - it's not cheap to power these huge halls. It’s one reason cited for the biggest artists pivoting away from large scale touring towards residencies in one or two particular venues, a decision taken in recent times by artists such as Harry Styles and Ariana Grande. Not every artist will choose this route, but it does diminish the hope of, say, bringing Sabrina Carpenter to Gateshead or Chappell Roan to Sunderland, especially when UK tours have been curtailed and arena tours might only encompass 3-6 dates, or just take in Manchester and London. Will these arenas have packed live music programmes or a line-up mostly of comedians and Disney On Ice? The other potential downfall is if these new arenas continue to tip the balance of the live music industry in the wrong direction with regard to the interplay between large-scale corporate events and the grassroots sector. Already we have a climate where megagigs flourish and the grassroots sector has struggled, and what would be the point of allowing the former while the talent pipeline is suffocated? In 2023, Music Venue Trust CEO Mark Davyd cautioned that no arenas should be allowed to open until the £1 grassroots levy became normalised, understanding that it was pointless if the top should bloom while the roots withered. This is, of course, still a theory. Davyd's warning was given three years ago and the dial has started to move. There’s more hope in his messaging than there ever has been this side of the pandemic, to the point where this year’s annual report was the “least worst” issued since lockdown. By 2028, the landscape might be a better one in which a flourishing grassroots sector and a booming arena sector can support each other on equal terms. Of course, that remains to be seen, and the game can change far more and in different ways than we could ever foresee. Music Venue Trust Calls Out Live NationThe state of grassroots music in the spotlight + track of the week + news Aphex newsDrowned in SoundEmma Wilkes I’m never going to write off arena shows. I’ve been to two – Biffy Clyro and Deftones – already this year; I’d be a hypocrite to do so. Maybe by the time these arenas open, my cynicism could evaporate if we have a better climate to keep filling them, both with artists and punters. A less hostile environment for culture is something I could never be cynical about. * * * ### Related Watch On the DiS podcast, Sean recently met Jack from The Ticket Bank, who aim to get more people who are on benefits into live shows * * * ### Track Of The Week ## 'What Is She For?' by CLT DRP CLT DRP's music could come stamped with a guarantee that you've never heard riffs quite like these before. Wonkier, techier and more idiosyncratic than punk but with a more organic feel than electronic music, theirs is a thought-provoking, groove-inducing Frankenstein of sounds. Equally unique is Annie Dorrett's vocals, delivered first in a mocking purr, and then they sing-speaks their lines almost like in a play. Equally compelling is this song's message, which centers around resisting the constraints and expectations of conforming to traditional gender roles. It's a laundry list of nagging microaggressions - '_Token checklist/Feels more like sport'_ , '_Just stop yelling/It might work out_.' It goes beyond the binary too. Something about a non-binary vocalist singing _'What is a woman/What is she for?' -_ a notorious TERF dogwhistle _-_ feels, consciously or not, like an especially delicious declaration of defiance. If you like what you've heard, CLT DRP will also be performing at Bulletproof, the new London festival, we are partnering with, in June. Drowned In Sound partners with Jeremy Corbyn’s new festival BulletproofMaruja, Sprints, and many more are playing a new festival in London celebrating community in music and independent venuesDrowned in SoundEmma Wilkes * * * ## Milton Keynes Council backs its grassroots music venues It might be roundly mocked for its strange American roads, but Milton Keynes does have a decent pull when it comes to grassroots venues. The local council has now stepped up and recognised the cultural power of its live music establishments, offering £40,000. Perhaps the best known grassroots venue is the Crauford Arms, who'll be using support to fund a programme of live showcases for local talent. Also receiving money are MK11, who are putting on a series of free entry gigs; Unit Nine, who are using it to power their FUTURE SOUNDS events, and The Stables. It's a great move affirming the value of local live music, and we hope to see more councils doing the same. * * * ## Donald Trump gets his hands in the Live Nation case It's transpired that Donald Trump had a hand in getting a settlement in the Live Nation antitrust lawsuit. He reportedly pushed the US Department of Justice to reach a settlement with the concert giant which made the headlines earlier this month - not that everyone necessarily agrees. Over 30 US states have refused to sign up to the settlement agreement, believing that it does not go far enough to address monopoly concerns or lower prices. As I outlined a couple of weeks ago, helpful reforms to Live Nation's structure have taken place, but the effect remains unknown. Who knows would could have happened if the lawsuit had continued - could we have seen the break-up of Live Nation and Ticketmaster? And if Kid Rock's still not pleased either, that says rather a lot. Can we fix ticketing by fixing one company?How do you solve a problem like Live Nation? The concert giant faced an antitrust lawsuit this week which it has since settled - but how did we get here?Drowned in SoundEmma Wilkes * * * ## Missy Dabice asks Spotify for a chat What do you do when a streaming service churning out AI slop puts your band on a billboard? Mannequin Pussy's Missy Dabice handled it beautifully. As excited as she was to see her name - and uncensored band name - on a billboard celebrating women in punk on Spotify, she eloquently and gracefully took the opportunity to hold the streamer accountable and invited them to open up a dialogue. "In the spirit of multiple things being true, I wouldn’t be the kind of ~woman in punk~ I am without also having something to say," she wrote on Instagram. "Spotify - while I have your attention and in a few weeks where I’m told I’ve been invited into your house for a roundtable talk- I’d love to start having a real conversation with whoever I can at the company about what you plan to do about AI fraud on the platform, the proliferation of how non artists can take advantage of the lack of regulation on the platform and how they are contributing to the increased potential that music streaming sites such as yours are targets of cultural grifting. "Just over the weekend a man in NC plead guilty to defrauding streaming services of over $10 million in royalties after he flooded the sites with thousands of slop songs and was able to amass 600,000 daily streams by using automated bots to artificially inflate the streams to over a BILLION PLAYS. "How do we continue to make the service better for working artists and how do we continue to champion working artists beyond a billboard? I look forward to our conversation. This, plus many other areas of concern I have, is too big an issue for an IG caption but trust I’m looking forward to our conversation with questions and an open mind." SPONSORED Artists Calling Out AI: On this week's podcast companion playlist powered by Qobuz, we feature artists who have spoken up or spoken out about the impact AI is having on music. TRY QOBUZ FOR FREE * * * ## Legal action brings big wins for disabled festivalgoers It's not just the US Department Of Justice levelling action against Live Nation - did you know that our Equality and Human Rights Commission did the same? This took place following media reports of accessibility issues at Wireless 2022 and Download 2023, which are operated by the Live Nation-owned promoter Festival Republic. Fans had reported problems being able to see the stage, a lack of accessible toilets, and having their disabilities questioned by event staff. The EHRC then used its enforcement powers to enter a legally-binding Section 23 agreement with Live Nation and ensure it improved accessibility at its festivals. The measures Live Nation took include improved accessibility guides for its festivals, compulsory organisation-wide disability awareness and inclusion training, introducing sensory calm spaces and distributing post-event surveys to fans for feedback. * * * ## Get ready for Together Against The Far Right I've seen this protest all over my feed for the last few months, and if that translates into huge numbers, we're in for something extremely promising. The Together Against The Far Right march takes place in central London this weekend, starting at Park Lane at 12pm. Music is going to play a large role, with names like Leigh-Anne Pinnock, Fontaines DC, Paloma Faith, Paul Weller, Charlotte Church, Brian Eno and many other good eggs getting involved. Find out more about the Together Alliance here

_We're going to experiment with a few more newsletters than usual this week, partly to break things up a bit. Let us know if it's too much or a good idea or whatevs.. To kick things off, here's a little round up of some news stories we thought might be of interest from Eurovision boycotts to a must-see video message by Phoebe Lunny from Lambrini Girls._ ### It's squeaky bum time for Live Nation There's been another twist in the Live Nation court saga after a federal jury in New York City found on Wednesday that Live Nation has been illegally operating as a monopoly and overcharging fans. The US Department of Justice's legal counsel said the firm's practices had squeezed out competition and pushed up ticket prices, while also making customer service worse. Previously, the DoJ lawyer David E. Dahlquist suggested in his argument that Ticketmaster’s technology is “held together by duct tape” because the lack of competition meant that Live Nation was unconcerned with making the site efficient enough to work smoothly. This likely increases the chances of Live Nation and Ticketmaster, which merged in 2010, being forcibly split up. In addition, they could also potentially be compelled to divest parts of the business. "The jury's verdict is not the last word on this matter," Live Nation said in response and emphasised that other pending motions that could alter the outcome of the case, it said. Throughout the trial, they have argued that it was not a monopoly and that competition in the ticketing market was fiercer than ever. Can we fix ticketing by fixing one company?How do you solve a problem like Live Nation? The concert giant faced an antitrust lawsuit this week which it has since settled - but how did we get here?Drowned in SoundEmma Wilkes ### The fight to save Battery Studios is on Once again, more cultural infrastructure has been placed at risk by corporate greed. The Willesden, London-based Battery Studios is facing the threat of demolition and redevelopment into flats, prompting the creation of a petition to save it. The owners have pointed out that recording studios and creative spaces are “being lost at an alarming rate” across the country and that demolishing and rebuilding spaces “carries a far greater carbon cost than preserving and modernising existing structures”. The statement says: > “Importantly, there is strong precedent for protecting studios and creative spaces like this. Allowing this demolition would go against that progress and send the wrong message about how we value our cultural assets. We urge the council to reject this proposal and instead support the preservation and continued use of Battery Studios as a world-class creative facility.” A wealth of hugely significant albums have been recorded there, such as Iron Maiden‘s _Killers_(1981) and _The Number of the Beast_ (1982), Talk Talk‘s _The Colour Of Spring_ (1986), The Cars‘ _Heartbeat City’_(1984) and Skunk Anansie's _Paranoid & Sunburnt_ (1995). Sign the PetitionSave Battery Studios – Protect the Future of UK MusicChange.org ### No Music For Genocide turns its hand to a Eurovision boycott campaign Credit: No Music For Genocide Israel's continued inclusion in Eurovision in the last few years has cast a huge shadow over the last few editions of the annual singing competition, and this year's event is already on track to become the most politically-charged yet - ironic for a competition that constantly tries to wash its hands of politics but never truly does so. Five countries - Spain, Iceland, Ireland, the Netherlands and Slovenia - are refusing to participate and Spain has now declared it won't broadcast the contest at all. Given Spain is one of 'The Big Five', this is hugely significant. While previous boycott campaigns have taken place in the last couple of years, 2026 is the year it gets even bigger. No Music For Genocide, who organised the campaign for artists to geo-block their music in Israel, is leading a huge campaign backed by the BDS movement encouraging fans not to get involved with Eurovision this year. They have issued an open letter calling for Israel to be banned from the contest, questioning why it hasn't faced the treatment as Russia, who was banned for invading Ukraine in 2022. The letter has been signed by artists including Brian Eno, Massive Attack, Paloma Faith, Paul Weller, Hot Chip, Of Monsters and Men, IDLES, Primal Scream, Sigur Rós, Young Fathers, Mogwai, Black Country New Road, Erika de Casier, Nadine Shah, Dry Cleaning, Ólafur Arnalds, David Holmes, Nemahsis, Macklemore, Roger Waters, Peter Gabriel, Salute, Vacations, Smerz, Mechatok and Olof Dreijer from The Knife, as well as a number of former Eurovision finalists. > "While many of us in the industry make light of Eurovision or doubt our own power as cultural producers, genocidal Israel’s leaders speak openly about the contest’s geopolitical value. > "NMFG stands with and amplifies the incredible grassroots organizing efforts across Europe to boycott Eurovision until Israel is banned. From PACBI to direct actionists, from Film Workers For Palestine in Hollywood to striking dockworkers in Italy and Morocco, people of conscience around the globe are fighting complicity in every industry for a free Palestine and a freer world”. Sign the No Music For Genocide open letter ### Shambala Festival begins an innovative employee-owned model Is Shambala technically the John Lewis of music festivals now? Not through poshness, of course, but through a change in its business structure meaning it will now be the UK's first employee-owned music festival. “All of us at Shambala have an emotional stake in what we have built over 25 years; now everyone has an ownership stake too,” said co-founder and MD, Chris Johnson. “We would be nothing without our people, and they deserve to carry on the Shambala legacy as beneficiaries. “Shambala stands for independence and, in an increasingly commercialised festival scene, we simply could not sell to venture capitalists or the big promotion companies,” Johnson adds. “While exploring alternative paths, we fell in love with the Employee Ownership model.” Shambala returns to Kelmarsh Hall and Gardens, Northampton, from 27th-30th August. ### Sean weighs in on the fan-led review of live music The Fan-Led Review Of Music was released on Friday, which gathers the thoughts of over 4,000 fans and a series of roundtable discussions about live and electronic music. It includes The Fans' Charter, which contains about 50 recommendations that the government, the industry, and and local authorities should implement. These include measures such as ending ticket touting, improving late night transport and being more transparent about stage times (the debate over which I wrote about last year). You can expect plenty more content digging into the recommendations soon, particularly on the podcast, over the coming weeks. Read the Fan-Led Review of Live & Electronic Music An Important Day for Music FansThe fan-led review of live and electronic music underscores so many of the issues that we’ve written about in this newsletter and discussed on our podcast.Drowned in SoundSean Adams SPONSORED Political Awakenings As a companion to the latest Drowned in Sound podcast introducing our new podcast series Sounds Like Change, we shared a taste of the pilot episode with DiS founder Sean Adams. So for this week's playlist he's shared some of the music that shaped him. ****Explore new music**** in rich Hi-Res lossless quality with Qobuz, and click this link to access a 30-day free trial. Learn more ### The most important video you might see all week? Sometimes it feels like I talk about Lambrini Girls every five seconds in conversations about music that matters right now (Sean can verify this). And now, I'm doing it again. Vocalist and guitarist Phoebe Lunny has just taken part in the Instagram video series A View From A Bridge, where participants share a story on a bridge while holding a red corded phone to their ear. She tells the story of the time she was unexpectedly arrested for attempting to spread the word about an abusive musician in her local scene and the consequences of essentially being punished for trying to do the right thing. “What I think it’s a really good example of is how even laws which are there in place to protect women can be exploited and used for a man’s benefit,” Lunny said. “And I think this is also part of the hugely misogynistic rhetoric which is used by the manosphere, and how they are constantly whining and victimising themselves about the system being stacked up against them, and it’s women’s fault.” “Which is bulls**t, because the system is there to aid and to protect dangerous men, and what I think you see a lot, especially after that Louis Theroux documentary came out, is guys online actively condemning this misogynistic viewpoint, which is amazing and we need that, but if they could put the same amount of passion into actually advocating for women, instead of being like, ‘I’m not like him!’ – what if you actually did something about it? Instead of just letting women be the ones who have to f**king deal with it.” Watch Phoebe Lunny's A View From A Bridge here Why we need to talk about speaking outSpeaking out, reasonably and responsibly, must be made safer. Until then, it needs to be done carefully.Drowned in SoundNina Cresswell

The day Donald Trump was re-elected, I asked myself what I would do if abortion was ever banned in the UK. Chances are, because I’m positive I don’t want children, I would get sterilised. I don’t want to undergo such an invasive procedure, but that to me would be far preferable to the hormone-addled tornado of pregnancy for nine months and a painful childbirth, all for a baby I wouldn’t want to keep. (It would also be inadvisable with another health condition that I have). I should not be asking myself this question. I wonder how many other women and uterus havers have done the same. In the 18 months since, existing as a woman has become even more frightening, even just in the last few months. Some of the news cycle's biggest talking points have been deeply rooted in misogyny - the Epstein files, Louis Theroux's manosphere documentary, most recently the revelation by CNN that an academy for men to learn how to sexually violate women had clocked up 62 million visits. We are furious. We are scared. To say both feel like understatements. Decades of struggle to assert ourselves and be considered equal and we still must endure this. At least the women releasing their fury into our speakers and headphones understand this. They might be separated from us by stages and platforms and fame but they are still us. Thank God for them for saying what we’re thinking and teaching us that it’s not just okay, but it’s vital, to take up space and unleash the anger, the largest and most energetic of all emotions, building up in our systems. Sometimes this anger is personal – I’m a woman who likes guitars, of _course_ I’ve raged to Alanis Morrissette’s ‘You Oughta Know’ when men have let me down. Nowadays, that anger is channeled into music that will soundtrack protests, boycotts and displays of solidarity as we fight back against the erosion of rights and the far-right’s imposition in our politics. I never used to like classifying this as ‘female rage’. Anyone facing this would be angry, so why must it be gendered? Perhaps it was after I saw a male journalist use it and the significance of it altered, almost like it was patronizing. Once I realised this, my stance softened. We deserve to be able to say we feel rage specific to our experience as we move through a world not designed for us. If anything, 'feminine rage' is the less used but better term, one I like to think is more inclusive as it relates to gender expression instead of sex. It also happens to be the stuff of great music. We’re going to get a cascade of songs about the collective incandescence we as women feel about the world, whether relating to misogyny or other equally heinous matters. A few weeks ago, for example, I nominated Lambrini Girls’ ‘Cult Of Celebrity’, about the Epstein files, as Track Of The Week. Sprints’ new single ‘Trickle Down’ was tantamount to a glance into a ravine – _“They’re calling it free speech, it’s free hate, racism disguised as nationalism… oh and did I forget that we're destroying the environment and the fucking world is gonna end?”_ There'll be new names pushing through from the underground whose political songwriting is already resonating with listeners. YAKKIE's debut album _Kill The Cop Inside Your Head_ is stacked with anthems of resistance tackling femicide, whitewashed liberal feminism and internalised oppression with a golden streak of hope. In a darker contrast, Canadian punks PISS' 'live under oak street bridge' session is soul-shaking in its aggression, interspersed with samples including Andrea Dworkin speaking about the violent misogyny of pornography. _"I wanted a way out of my body/To disguise the scent that drew them out_ ," howls vocalist Taylor Zantingh in a tone of wild desperation. There’s even more where they came from. Both of those bands are destined to be looked back on as vital voices soundtracking this period. See also, Mannequin Pussy, Canadian ‘riot-gazers’ Softcult (who play a shoegaze-inflected take on riot grrrl), doom-punks Witch Fever, Die Spitz, Sofia Isella, Amyl and the Sniffers (‘Knifey’ might be the most devastating feminist song I know). Hayley Williams’ musical output is more political than it ever has been. Sometimes their rage is political, sometimes there are softer, more personal moments, but these are women who are unafraid to engage with the world around them and call out its wrongs for what they are. Why does this matter if it’s ‘just music’? Firstly, it’s solace. It reminds us we’re not crazy. Secondly, it’s a reminder that music is freedom, free from the constraints of judgment and tone policing, where women don’t have to seek permission to be as angry as they feel. Perhaps it’s one of the only outlets we have where women can be angry and not be patronised for it or gaslit about it. Under patriarchy, an emotion as loud and powerful as anger is not a woman’s domain, and our anger still isn’t taken seriously. A 2025 article from the New Statesman__ examining the progressive streak among young women in the UK notes that “there is still a prevailing sense that whatever young women are thinking and feeling, it doesn’t matter very much.” It outlines the unhappiness this group feels towards their country, revealing that they are the most pessimistic about the economy and are more likely to say their country is treating them unfairly compared to previous generations. They feel less connected to their country and are more likely than their male counterparts to think the UK is racist. It’s said that young women are “radicalising”, but are we really? We want economic security, our rights to be protected, not eroded - or pitted against those of trans people - climate justice, racial justice, accessibility and fairness. All in all, we don’t want to function within a broken system that doesn’t actually serve us. Radical? Not exactly. I see this being treated with hand-wringing instead of concern. In fact, I even suspect there’s an undertone of fear to it from people who don’t want to see the systems we live in toppled. In fact, Rowan Pelling’s piece in The Telegraph tries to posit that “angry leftie women” present a concern as much as radicalised men do – “It seems that for every male who’s found his mentor in Andrew Tate or the late Charlie Kirk, there’s a young woman who’s been radicalised by Greta Thunberg and Alexandra Ocasio-Cortez.” Comparing one of the most powerful climate activists (and a tremendous advocate for Palestine) to a man peddling extreme misogynist ideology is painfully invalid when the former’s perspective is not only hardly that outlandish but is founded in actual science. Though Pelling writes that she does have some sympathy post-Epstein files and the murder of Sarah Everard in 2021, there’s derision instead of sympathy for women. “If an increasing number of educated young women feel hopeless about the world’s future, hostile towards men, intend to spurn relationships (let alone marriage), declare themselves non-binary and don’t want to have children… then we’re all up Faeces Creek without a paddle.” Half of the items on this list wouldn’t exactly cause society to collapse, not least when it’s so retrograde to consider marriage and children as obligations to society rather than individual choices. But if you see hopelessness and anger, why aren’t you asking why those sentiments exist in the first place? Why don’t you treat the dossier of evidence we have with the consideration it deserves? Amid the existing pain of the modern struggle the women of my generation has, there’s a difficulty just to be listened to. There’s a rush to protect male emotions when we speak of our bad experiences with them than to consider the extent of our own injury. Lambrini Girls vocalist Phoebe Lunny put it best in her brilliant A View From The Bridge video: “It’s 2026 and women are still having to scream at the top of their lungs. One out of three women have been sexually assaulted or will be sexually assaulted in their lifetimes, and we’re all focusing and centering the men still." Songs understand us even when the wider world doesn't. At shows, we're stood shoulder to shoulder with people who have experienced what we've experienced and believe what we believe. Those spaces offer us a means of feeling sane, not to mention a vital means of community building. They bring connection and joy, and perhaps most importantly of all, catharsis. That feeling was exemplified by Mannequin Pussy's recent Tiny Desk session for NPR, in which vocalist Missy Dabice emphasised the necessity of feeling and releasing anger - especially when she led the NPR office in a cathartic primal scream. "Your rage is a part of you and you have to honor it. Give it the space to breathe," she said. She hears us. If only the rest of society would catch up. ## Related reads Why we need to talk about speaking outSpeaking out, reasonably and responsibly, must be made safer. Until then, it needs to be done carefully.Drowned in SoundNina CresswellMisogyny in Music: The NumbersFollowing Eliza Hatch’s appearance on the podcast this week to discuss misogyny in music, we illustrate the scale of the issue in numbersDrowned in SoundEmma Wilkes

YouTube video by Sounds Like Change

Grab yourself a cuppa and treat yourself to these recent essays...

An old world is dying, a new world is waiting to be born. What we see in politics, we sometimes see in music too…

A new pod, a skull-crushing track of the week, mental health, and a massive trans solidarity event.

Podcast Episode · Drowned in Sound · 10/02/2026 · 56m

Music can and should be a form of community and resistance. It's connection, it's catharsis, and particularly in a time where creativity has been demonised (or replaced with AI slop), it's rebellion. The sad truth is it's also become an outlet for callous major corporations to artwash their reputations. Look at the US army pouring money into SXSW. Barclays partnered with major festivals in the hopes the consumer looks away from its investments in and financial services provided to companies arming Israel . Festival conglomerate Superstruct faced boycotts over its ties to KKR, a firm that has invested in Israeli tech and data firms and was reportedly connected to weapons manufacturers and defence contractors. See also, Spotify's Daniel Ek funding AI war drones or their recent spate of running ICE adverts to recruit more bootlickers for the Trump regime and spread terror across America. It creates a climate in which artists become disadvantaged simply for doing the right thing, whether facing censorship or a financial black hole from boycotting festivals whose values they don't align with. But what if there was another way? What if music was to reject blood pressure-raising ticket prices and over-corporate environments and choose independence, affordability and political action instead? This is where the brand new Bulletproof Festival comes in, created by the Peace & Justice Project's Music For The Many project. It's been created as a direct response to these existing issues, offering a supportive, politically driven platform for artists to unite people and use their platforms to call for change. On top of this, it's also championing grassroots venues, connecting artists and fans with the rooms that serve as the lifeblood of the UK's touring circuit. ## FREE 7-DAY TRIAL Unlock full access to Drowned in Sound - including in-depth essays, articles from the archive, and behind-the-scenes reporting - with our ****free 7-day trial****. FREE ALL-ACCESS PASS “The very creation of Bulletproof Festival is in itself a challenge to the status quo," said festival organiser Samuel Sweek. "We are showing that communities hold more power than corporations, and that we do not have to believe the lie that sponsorship from the profiteers of war is key to the survival of music festivals. "Our movement has taken down festival sponsorship giants such as Barclays and moved the framing of the debate on the ticket levy to save grassroots music venues. These were phenomenal and unprecedented victories, but there is more to do, and there must always be more to do. "Bulletproof Festival is just the beginning and will serve as the prototype for a new era for the music industry, touring, nurturing the creativity of up-and-coming talent, and ensuring live music is affordable and accessible for all. "This is a revolution and we are proud to be the insurgents.” The Venn diagram between Bulletproof's values and those of Drowned In Sound is essentially one circle. It's how I came to interview Jeremy Corbyn at the launch event in September - and how we have come to jump on board as the festival's media partners. I, for one, could not be more excited. Bulletproof takes place from Thursday 4th to Saturday 6th June across**EartH, The Shacklewell Arms, The Victoria and the Jago** in east London. The event will be headlined by **Maruja**(Thursday),**Sprints** (Friday) and **Pussy Riot: Riot Days -** a powerful fusion of theatre, live music and literature inspired by the memoir of Pussy Riot's Maria Alyokhina****(Saturday). You'll also be able to catch the following: ### Thursday * **CQ Wrestling** * **Soapbox** * **Yard** * **Yakkie** * **Dead Air** * **Gabby Rivers** * **Speit** * **Deva St. John** ### Friday * **CLT DRP** * **Alien Chicks** * **Gender Crisis** * **Ellis D** * **Paradise Fell.** * **Currls** * **Comforts** * **Moskito** * **Chuck SJ** * **Isabella Strange** ### Saturday * **Snayx** * **Jools** * **The Oozes** * **Hongza** * **Room Service** * **Frances Mistry** * **Generation Feral** * **Softtop** The Peace & Justice Project's Jeremy Corbyn added: “We are proud to finally launch the Bulletproof line-up – this is the result of over a year of planning, discussions, research and hard work. "We are delighted that Maruja, SPRINTS and Pussy Riot have agreed to join the inaugural Bulletproof line-up. Each act has a proven track record in speaking out against oppression, and toured the world and grown their support in every continent. It is beyond commendable that, at great cost, these artists have never strayed from the path of fighting tyranny and standing up for what is right. "There have been efforts across the global music industry, and beyond, to suppress and demonise any artist who has spoken up for basic humanity and against the British government’s role in Israeli war crimes, including Kneecap and Bob Vylan. This disturbing pattern must be stopped – and the Bulletproof Festival is celebrating the spirit of resistance that ended apartheid in South Africa and continues to highlight the genocides in Gaza, Sudan and other places.” Tickets are on sale from **Wednesday (11th February) at 11am** - you can buy yours here. ### Related read Jeremy Corbyn on grassroots musicJeremy Corbyn has gone from Leader of the Opposition to a champion of grassroots music - and now, his Peace & Justice project is launching a festival. We ask - how did he come to speak up for a cause few other MPs have?Drowned in SoundEmma Wilkes

January's album of the month, a speaking songs playlist, and a hopeful podcast.

<p>Kate Nash is in the most heroic form of her career right now. Between <a href="https://open.qobuz.com/track/335278296" rel="noreferrer">standing up for trans rights</a> and shouting about grassroots venues from the top deck of a bright red bus, she's become a proud spokesperson for the beleaguered artists holding up the music industry and not getting their fair payout while the suits in offices rake in their bonuses. I think it's punk as hell. If you know me, you'll know that's one of the highest compliments I can give. </p><p>Though she's made headlines in a louder, bolder way in the last couple of years by revealing she'd <a href="https://www.bbc.co.uk/news/articles/cwygdzn4dw4o" rel="noreferrer">turned to OnlyF*ns to subsidise the losses</a> from her <em>9 Sad Symphonies </em>tour, using her platform is nothing new, speaking up has always been a part of her artistry. She's <a href="https://www.femalefirst.co.uk/music/musicnews/Kate+Nash-102914.html" rel="noreferrer">donated instruments to schools</a>, <a href="https://www.bbc.co.uk/news/newsbeat-14501631" rel="noreferrer">assisted in the clean-ups after the 2011 riots</a>, campaigned for more <a href="https://www.independent.co.uk/arts-entertainment/music/news/european-union-festival-lineups-keychange-initiative-kate-nash-eu-a9046531.html" rel="noreferrer">equal gender balances on festival bills</a> and even set about providing better <a href="https://americansongwriter.com/kate-nash-on-glow-cancelation-new-music-and-the-failure-of-the-music-industry-to-respond-to-metoo/" rel="noreferrer">sex education to the music industry through Keychain</a>. </p><p>Now, she's appeared as part of a parliamentary select committee for the <a href="https://committees.parliament.uk/work/9530/state-of-play-performing-arts-touring-in-the-eu/" rel="noreferrer">State Of Play inquiry</a> as part of a session examining performing arts touring in the EU, including the damage that Brexit has enacted on the bank balances of touring musicians. </p><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/HY3U9EMvTEY?feature=oembed" frameborder="0" allowfullscreen title="Kate Nash - Mighty Hoopla Documentary"></iframe></figure><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/ryH5cga0yUI?feature=oembed" frameborder="0" allowfullscreen title="Kate Nash - Foundations"></iframe></figure><p>I was there for the session, where Nash spoke alongside Naomi Pohl of the Musicians' Union (who previously appeared on <a href="https://www.drownedinsound.org/podcasts/" rel="noreferrer">our podcast</a>) and Hanna Madalska-Gayer, Head of Policy and Communications at Association of British Orchestras. </p><p>All three were commanding speakers, conveying the sobering reality of having to drown in paperwork just to get to play in Europe. Bound up in red tape and extra costs, touring in Europe has become significantly less financially viable, with Nash herself admitting she'd lost £26,000 in touring the continent, as well as £13,000 on her last UK tour. </p><p>Nash pointed out:</p><blockquote class="kg-blockquote-alt">"Historically we've been celebrated around the world for our contribution to music. We have fewer opportunities to tour and have opportunities to profit from tours in other countries, I think we're at risk of losing that reputation, that status, that sense of pride in our culture.</blockquote><blockquote class="kg-blockquote-alt">"It will have a knock on effect on the UK economy. The more we limit artists in this sense, the more that we limit UK culture on a global scale."</blockquote><h2 id="what-are-the-main-problems-artists-touring-the-eu-face">What are the main problems artists touring the EU face?</h2><ul><li><strong>Carnets -</strong> You may have heard artists bemoan the bureaucracy of carnets, a customs document that acts like a 'passport for goods' on which artists have to list all their equipment. These are costly, particularly with a security deposit amounting to 30-40 per cent of the value of the items. The introduction of digital carnets also means that if some equipment is broken, an artist has to re-pay for the carnet all over again</li><li><strong>Confusing paperwork</strong> - There is a lack of standardisation in terms of the paperwork required in each EU member state. and a lack of comprehensive information available about it. At worst, innocently missing some necessary paperwork can result in fines. </li><li><strong>The 90/180 day rule</strong> - Spending more than 90 out of every 180 days in the <a href="https://www.gov.uk/travel-to-eu-schengen-area" rel="noreferrer">Schengen area </a>is not allowed without a visa. This is particularly damaging for crew, who might be needed on multiple European tours in a year. In fact, according to Pohl, this rule meant Robbie Williams had to hire a second crew for his European tour and said crew were discouraged from taking holidays in the EU. </li><li><strong>Queues at passport control</strong> - Not only are delays at borders stressful and tiring, they potentially squeeze artists' travel and rehearsal time. At worst, they can mean a band misses a show and loses their fee for the night. It also increases costs by pushing artists to build in extra travel days into their schedule to insulate against lengthy delays. </li></ul><h2 id="how-bad-is-the-state-of-eu-touring">How bad is the state of EU touring?</h2><p>It's bleak. In the <a href="https://musiciansunion.org.uk/news/touring-in-the-eu-post-brexit-key-findings-and-next-steps-from-the-mu-s-recent-survey" rel="noreferrer">Musicians' Union's 2024 survey</a>, 75 per cent of respondents reported a decline in their income from touring Europe and 59 per cent said EU touring was not financially viable. </p><p>Nash also referenced this preventing artists from taking opportunities in the EU, meaning they lose out on opportunities to improve as performers and build their international fanbases. Red tape can affect a tour's entire budget and at worst can involve crew members losing jobs. Nash recalled hearing musicians ask, when looking at all these costs adding up, "What's the point?" </p><p>It also damages the viability of a musician's career full stop. Kate Nash outlined seeing artists selling instruments and possessions to try and stay afloat, as well as taking second jobs. Chances are, she's not the only artist on OF either. </p><p>"I don't think I would be able to have the career that I have if I was starting now," admitted Nash. Later, she asked: "Why is it worse now? It should be better," calling the situation "a massive letdown to this entire country." </p><h2 id="what-can-be-done-about-it">What can be done about it?</h2><ul><li><strong>Renegotiating carnet fees</strong> - The Government might be able to have some control over just how much carnets cost, and the suggestion was made during the meeting that to some extent, they are a money-making exercise</li><li><strong>Clearing the backlog of A1 forms with HMRC</strong> - these are forms confirming someone is still paying National Insurance while working abroad, and more resources are needed to reduce the logjam </li><li><strong>Introducing a touring visa for musicians </strong></li><li><strong>More information available about what paperwork is needed </strong></li></ul><p>"This is a problem that is worth solving," concluded Nash. "Take seriously the people who are making all the money," she added - addressing the industry at large - "if we can profit from our work, we can contribute more and the ecosystem can flourish." </p><h2 id="watch-a-30min-edit-of-kate-nashs-evidence-over-on-our-youtube">Watch A 30min Edit of <strong>Kate Nash's</strong> Evidence Over On <a href="https://youtube.com/@drownedinsound/" rel="noreferrer">Our YouTube</a></h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/3J-Fr9dNcxs?feature=oembed" frameborder="0" allowfullscreen title="Kate Nash vs Brexit: What Really Happened to British Musicians After 2020"></iframe></figure><p>I then caught up with the artist after the hearing, where I asked what her message to Live Nation, Spotify and major labels was after she called them out in her address.</p><p>"You better watch out because I am going direct to the government. A lot of artists have been banging their heads against the wall for a long time," she said. You are not necessarily gonna be included in the conversation at this point because you haven't shown any sort of support or that you're willing to do anything to benefit artists, yet you are profiting off of their work. I ain't giving up and I don't wanna talk to you [pointing at industry]. I wanna talk to them [pointing at Parliament]."</p><p>But what can fans do?</p><p>"I would stop buying crazy VIP packages to arena concerts because I think that's a scam and a waste of your money," Nash advised. "But fans are really supportive already. Staying informed, understanding, and being vocal about the fact that the music industry's a broken ecosystem - making the government realize how seriously people take music can be part of positive change."</p>

A t-shirt slogan, a Welsh village hall, and what’s quietly breaking in live music

<hr /><p><strong>In this week's newsletter:</strong></p><ul><li><strong>Floor-filling rave punk is the order of the day for Track Of The Week</strong></li><li><strong>Inside the business rates relief pubs and live music venues were granted this week</strong></li><li><strong>Could we see more artists cancel their US tours?</strong></li></ul><p>Imagine a room where everyone's jumping as if they had both a shared mind and a shared soul, where a mosh pit has yawned open and very few people are capturing anything on their phones. It's not as rare as it might seem. It's what I took in when I went to the Amersham Arms in New Cross, south-east London on Tuesday night to see Nova Twins put on a stellar showing for just 300 people. </p><p>It's not that dissimilar to where I was almost four years ago, when my 21-year-old self wandered awkwardly around Birmingham's Moor Street trying to find a bus to take to the Castle and Falcon. I'd never been to a gig by myself - and neither had I sat on a bus to get there, to an area of Birmingham that I'm told is not the nicest. These were only small impediments. I was going to see Nova Twins and nobody could tell me I couldn't. </p><p>At the time, the duo had only released one album, and their traction had begun to properly accelerate. It was one of my earliest experiences of grassroots music, and one of the experiences that's aged the best. Now, they're omnipresent, spreading joy and unity wherever they go and calling for change from even bigger stages - and they're ambassadors for everything good, including Amnesty International, Music Minds Matter and now, Independent Venue Week. </p><p>Independent Venue Week, which is unfolding as we speak across 236 of the UK's grassroots venues, have organised a stacked programme of shows with the aim of showcasing the magic within their walls. For Nova Twins, it was a full circle moment too. This venue was where they played growing up and honing their craft - bassist Georgia South even played a show there on her 18th birthday, in the same room where she had her first legal pint. This was the room that made them. So many artists will have had a space like that, to play around, mess up, have fun and connect with the faces staring back at them. </p><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/0xyRwrTidoY?feature=oembed" frameborder="0" allowfullscreen title="Nova Twins - Monsters (Official Music Video)"></iframe></figure><p>The audiences are special. There's always a joyous fizz in the air at a Nova Twins show, but it struck a different tone in the Amersham Arms compared to their far bigger Kentish Town Forum show in October. They have a friendly fanbase as it is, but the atmosphere was warmer somehow in an intimate pub basement than a chain venue. The sense of togetherness poured through even during support act Ashaine White's set, punters near the back gently cheering her on as she spoke to the crowd, and as she played the moving 'I Sing To Myself' - tenderly capturing the helplessness of watching world tragedy through a screen - the silence and reverence was powerful. I've been in enough corporate chain venues to know this atmosphere is exclusively the preserve of communal, independent spaces. </p><figure class="kg-card kg-embed-card"><iframe width="200" height="150" src="https://www.youtube.com/embed/SrzdDkyy6FI?feature=oembed" frameborder="0" allowfullscreen title="Ashaine White - I Sing To Myself (Official Video)"></iframe></figure><p>If you're getting gig envy from this, there's still time to get involved - <a href="https://independentvenueweek.com/uk/" rel="noreferrer">click here </a>to see what's going on this week in your local area for Independent Venue Week 2026. </p><hr /><h2 id="jack-from-tickets-for-good-and-the-ticket-bank-is-on-the-podcast">Jack from Tickets For Good and The Ticket Bank is on the podcast</h2><p>A gig is a perfect escape from the strains of daily life - but not everyone has the financial means to drop their worries outside the venue door. This is where two fantastic initiatives come in, with Tickets For Good offering gig tickets to NHS workers, teachers, and carers and the Ticket Bank designed for fans on low incomes. </p><p>Jack explains how the infrastructure works who it serves, and why more artists and venues need to get involved, as well as touring economics, dynamic pricing myths, and the uncomfortable reality that an industry generating billions still prices out the people who need culture most. </p><p>You can subscribe and listen for free on <a href="https://podcasts.apple.com/us/podcast/drowned-in-sound/id1037405920?ref=drownedinsound.org" rel="noopener noreferrer"><strong>Apple</strong></a><strong> | </strong><a href="https://drownedinsound.podbean.com/?ref=drownedinsound.org" rel="noopener noreferrer"><strong>Podbean</strong></a><strong> | </strong><a href="https://pocketcasts.com/podcast/drowned-in-sound/e12e7730-379f-0133-b632-0d11918ab357?ref=drownedinsound.org" rel="noopener noreferrer"><strong>Pocket Casts</strong></a><strong> | </strong><a href="https://podcastaddict.com/podcast/drowned-in-sound/6005286?ref=drownedinsound.org#" rel="noopener noreferrer"><strong>Podcast Addict</strong></a> | or wherever you get your podcasts.</p><hr /><h3 id="track-of-the-week">Track of the Week</h3><h2 id="aux-romanticiser-by-the-itch">'Aux Romanticiser' by The Itch</h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/EJs3cXfA9xo?feature=oembed" frameborder="0" allowfullscreen title="The Itch - Aux Romanticiser (Official)"></iframe></figure><p>Do you fancy a dance this week? I rather warmed to the zany floor-filling energy of this new song by rising Luton dance-punk duo The Itch, which combines the fizzing feeling of late night hedonism with a quirky, nostalgic twist. Lyrically, it speaks irreverently of the giddiness of plugging in the aux cable and becoming your own DJ, subjecting everyone around to your idea of the perfect playlist. It sits somewhere in the cross-section between the sounds of LCD Soundsystem, The Dare and Lynks and if that sounds like your cup of tea, their debut album <em>It's The Hope That Kills You is </em>out on 10th April. </p><hr /><h2 id="music-venues-and-pubs-get-business-rates-helpbut-is-it-enough">Music venues and pubs get business rates help - but is it enough?</h2><p>The changes to business rates outlined by Rachel Reeves in the budget could have spelled the death knell for some pubs and live music venues, but in a bid to avoid widespread closures and job losses, the Treasury has provided a support package worth tens of millions of pounds. Every pub or venue will get 15 per cent off its business rates bill from 1st April and for the next two years, bills will be frozen (in real terms) for the next two years. </p><p>Clearly, the backlash against the policies has translated into positive change, but for some, this U-turn doesn't go far enough. The Night Time Industries Association (NTIA) said it was merely "a drop in the ocean" given how many concerns it has that haven't been addressed over things like licensing fees and alcohol duty. </p><blockquote>“This policy position is frankly baffling. Pubs, bars, nightclubs, live music venues and cultural spaces are all part of the same fragile ecosystem, facing the same structural challenges and carrying the same disproportionate tax burdens. To support one part while ignoring the rest is not just short-sighted, it is fundamentally disconnected from how this industry actually operates."</blockquote><p>The Music Venue Trust's statement was more positive, saying it "warmly welcomes today’s government statement on urgent and immediate Business Rate relief." They added that they will explore with their Music Venues Alliance venue members "if the proposed 15% reduction in rates payable, followed by a freeze for 2 years, is sufficient to manage this crisis". </p><hr /><h2 id="the-first-of-many-cancelled-us-tours">The first of many cancelled US tours?</h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/cHaRiL8Eqkw?feature=oembed" frameborder="0" allowfullscreen title="Delilah Bon - Not The President (Lyric Video)"></iframe></figure><p>What do you do when one of your biggest touring markets is an authoritarian hellscape? This week marked the first time I'd seen an artist cancel a US tour over the current state of the country, namely feminist 'brat punk' artist Delilah Bon. She explained <a href="https://www.instagram.com/p/DTxpilZCGn0/" rel="noreferrer">in a video posted to Instagram</a> that she believed the tour could put her, her touring party and her fans' safety at risk, especially those who are undocumented and could thus be targeted in ICE raids. </p><p>It's perfectly understandable, and a horrendous choice to have to make, but this speaks devastating volumes about how evil the US has become if a queer feminist artist cannot come there and provide an hour or so of catharsis, community and hope. I'm wholly expecting more artists to do the same. All the love and solidarity with Delilah. </p><hr /><h2 id="is-a-reckoning-on-the-way-for-live-nation">Is a reckoning on the way for Live Nation?</h2><figure class="kg-card kg-bookmark-card"><a class="kg-bookmark-container" href="https://www.linkedin.com/pulse/parliamentary-inquiry-real-implications-sx02e/"><div class="kg-bookmark-content"><div class="kg-bookmark-title">A Parliamentary Inquiry with real implications for live music</div><div class="kg-bookmark-description">As many of you will know, last year AIF brought evidence to the UK Parliament’s Business and Trade Select Committee. We shared detailed data on Live Nation’s control of concerts above 5,000 capacity in the UK.</div><div class="kg-bookmark-metadata"><img class="kg-bookmark-icon" src="https://www.drownedinsound.org/content/images/icon/al2o9zrvru7aqj8e1x2rzsrca-1" alt="" /><span class="kg-bookmark-author">LinkedIn</span><span class="kg-bookmark-publisher">Association of Independent Festivals</span></div></div><div class="kg-bookmark-thumbnail"><img src="https://www.drownedinsound.org/content/images/thumbnail/1768241119817" alt="" /></div></a></figure><p>The window has just closed for evidence relating to a parliamentary inquiry into competition and market functioning in the UK Live Music Industry. If there's enough strong evidence that goes far enough, it could lead to an investigation by the CMA into whether Live Nation, which holds a monopoly, is abusing its market power. </p><p>The Association of Independent Festivals (AIF) has brought evidence to the inquiry and is arguing that Live Nation's market dominance "restricts competition, inflates prices, limits access to culture, stifles creativity, and delivers poor outcomes for both industry and audiences."</p><p>If you've felt priced out as a fan by the cost of tickets to larger gigs, some very interesting developments could be on the way. </p><hr /><h3 id="hopeful-story">Hopeful story</h3><h2 id="could-harry-styles-adding-the-grassroots-levy-be-a-game-changer">Could Harry Styles adding the grassroots levy be a game-changer?</h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/7sxVHYZ_PnA?feature=oembed" frameborder="0" allowfullscreen title="Harry Styles - Aperture (Official Video)"></iframe></figure><p>As we mentioned last week, Mark Davyd's speech at the launch of the Music Venue Trust's annual report called out Live Nation for dragging their feet when it came to implementing the grassroots levy. Now, however, we might be getting some movement. Harry Styles' eight Wembley Stadium shows taking place in June, which are being promoted by Live Nation, are participating in the grassroots levy. </p><p>If they keep this up with more major shows, given their market power, the levy will have far more chance of success. And, if that wasn't a big enough supply of good news, Styles' shows are also supporting <a href="https://chooselove.org/" rel="noreferrer">humanitarian aid organisation Choose Love</a>, who he has been working with for the last decade. </p><p>Elsewhere, <a href="https://www.kerrang.com/enter-shikari-uk-european-headline-arena-tour-biggest-ever-2026" rel="noreferrer">Enter Shikari's November arena tour</a>, which is also being promoted by Live Nation, will once again carry the grassroots levy. </p><figure class="kg-card kg-bookmark-card"><a class="kg-bookmark-container" href="https://www.drownedinsound.org/music-venue-trust-calls-out-live-nation/"><div class="kg-bookmark-content"><div class="kg-bookmark-title">Music Venue Trust Calls Out Live Nation</div><div class="kg-bookmark-description">The state of grassroots music in the spotlight + track of the week + news Aphex news</div><div class="kg-bookmark-metadata"><img class="kg-bookmark-icon" src="https://www.drownedinsound.org/content/images/icon/DiS-waves-600px--2--59.png" alt="" /><span class="kg-bookmark-author">Drowned in Sound</span><span class="kg-bookmark-publisher">Emma Wilkes</span></div></div><div class="kg-bookmark-thumbnail"><img src="https://www.drownedinsound.org/content/images/thumbnail/Event.jpg" alt="" /></div></a></figure><hr /><div class="kg-card kg-cta-card kg-cta-bg-grey kg-cta-immersive kg-cta-has-img "> <div class="kg-cta-sponsor-label-wrapper"> <div class="kg-cta-sponsor-label"> <span style="white-space:pre-wrap">SPONSORED</span> </div> </div> <div class="kg-cta-content"> <div class="kg-cta-image-container"> <a href="https://qobuz.com/dis"><img src="https://www.drownedinsound.org/content/images/2026/01/Screenshot-2026-01-21-at-23.57.19.png" alt="CTA Image" /></a> </div> <div class="kg-cta-content-inner"> <div class="kg-cta-text"> <p><span style="white-space:pre-wrap">As part of our partnership with </span><b><strong style="white-space:pre-wrap">Qobuz</strong></b><span style="white-space:pre-wrap"> - the service for music enthusiasts featuring high quality sound so that we can rediscover music - we create a companion playlist for each episode of our podcast. </span><a href="https://open.qobuz.com/playlist/53335869" rel="noreferrer" class="cta-link-color"><span style="white-space:pre-wrap">Listen to this week's playlist</span></a><span style="white-space:pre-wrap">, which is a 101 Part Time Jobs special with tunes from Peaches, The National, and kicking things off is our track of the week</span></p><p><span style="white-space:pre-wrap">Start your 30-day free trial of Qobuz: </span></p> </div> <a href="https://qobuz.com/dis" class="kg-cta-button " style="background-color:#000000;color:#ffffff"> Get a 30-day free trial </a> </div> </div> </div>

The state of grassroots music in the spotlight + track of the week + news Aphex news

Podcast Episode · Drowned in Sound · 27/01/2026 · 42m

The state of grassroots music in the spotlight + track of the week + news Aphex news

Revisiting Bill Graham’s Plea for "New Blood" in an era of The Constant Now

A t-shirt slogan, a Welsh village hall, and what’s quietly breaking in live music

YouTube video by Drowned in Sound

In/Out: We look into the crystal ball at what could unfold over the next 358 days...

In/Out: We look into the crystal ball at what could unfold over the next 358 days...

Your essential guide to forthcoming releases plus various mainstream releases.

Gig-goers love a 10pm finish - but should all gigs have one? Sometimes, it's not always practical...

We're in the last month of 2025 and for certain artists, it'll have been the biggest year of lives. We round up the names who dominated conversation this year...

Why 15-Year-Old Gamers Get Sponsors But Musicians & Music Fans Get Copyright Strikes

Podcast Episode · Drowned in Sound · 20/12/2025 · 49m

Our countdown continues with our 10 favourite albums of the year.