AUDIENCE WEB 2.0 Is going underground still feasible?

This might turn out to be a highly irritating Grauniad exercise in uber-hipsterdom, proudly proclaiming awful bedroom acts adored by some London clique as artistic giants ... but it could also be an invaluable discourse on the still evolving disruptive force of new technology and how it impacts music marketing and artists' relationship with audiences and industry alike....

In the coming weeks, we’re going to run a series of articles examining what, if anything, it means to be an underground artist in 2017. We’ll be exploring whether it’s possible to find a meaningful audience for your music while avoiding the glare of publicity, the complex relationship between art and commerce, how technology assists and impedes artists who want to find new routes of promoting and disseminating their music, what the value of remaining underground is, and whether Britain is host to any thrilling and vibrant music scenes that exist entirely off-grid.

Where is the musical underground in 2017? 

But in 2017, the idea of what constitutes underground music is more confused. The internet has changed everything – outlets for exposure, means of distribution, the pace at which music is disseminated and consumed. In the race to keep up, mainstream media covers a far broader spectrum of music than it did 20 years ago: the speed with which an artist can go from recherché hipster sensation to the pages of a national newspaper, or at least its website, has vastly reduced. The old markers that you might reasonably use to denote whether music is “underground” or not – is it on TV? Is it on national radio? Is it featured in the mainstream media? – no longer hold true. YouTube and social media are infinitely more important in promoting music and anyone can upload to them.