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? https://www.theguardian.com/music/ng-interactive/2017/oct/09/where-is-the-musical-underground-in-2017?CMP=Share_AndroidApp_Blogger
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