The music landscape as we know it is largely defined by centralised corporate platforms such as Spotify and Facebook. How has this shaped music culture? What implications do these reliances have on our practices? As an ardent (re)decentralisation movement continues to grow, dissatisfaction with dominant social media platforms heightens, and crypto hype continues, the music industry seems poised for change once again. What possibilities might Web 3.0 offer music? What new practices and politics could it usher in?
Liz Pelly and Mat Dryhurst, both grappling with the streaming economy, platform capitalism, and their ramifications on culture, speak to music journalist Lisa Blanning about the current state of the music industry, and consider possible ways forward.
Liz Pelly writes about music, culture, and streaming. She is a contributing editor at The Baffler where she writes a column on the ways music is being reshaped by the platform economy. She lives in New York.
Mat Dryhurst releases music, research, and artworks both solo and in conjunction with creative partner Holly Herndon and the record label PAN. He teaches at NYU Berlin, and is on the board of the music streaming platform co-operative Resonate.is.
Lisa Blanning is an American writer and editor on music, art and culture. She is a former editor at The Wire Magazine in London and Electronic Beats in Berlin—the city she currently operates out of. She is especially engaged in movements in contemporary electronic music and digital art and culture.
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