It’s been said that writing about music is like dancing about architecture – flawed, futile, even downright ridiculous. People have been criticising the place and purpose of music journalism for as long as journalists themselves have been critiquing music, but its relevancy is getting called into question now more than ever. What authority does a journalist have; what gives their opinion any more weight or validity than anyone else’s? With sales of physical media making up a small percentage of how the public engages with music, reviews don’t provide the consumer friendly role they once did. There’s no money on the line anymore, nothing to lose, you can just press play and decide for yourself. In fact, there’s all the music in the world at your fingertips, available to be listened to anywhere, at any time, at the mere push of a button. So, what role does music journalism actually serve in the age of streaming? Continue reading
It’s probably going to be a long time before any of us get to go to a concert again. Thanks to this global Corona lockdown, us music fans will likely miss out on seeing our favourites bands and artists for the rest of 2020, and most importantly artists across the globe have been stripped of their main source of income. We’re a resourceful community however, and one of the ways artists and their fans have been filling the gap left by the absence of proper gigs over the last few weeks is through live streaming. While the world is at a standstill artists can still broadcast to fans all around the globe. It’s a brilliant idea, one that I hope will take root and become more prevalent in the future. We’ve been enjoying a fair few already, but we’ve certainly noticed that not all streaming platforms are created equal, and at times it can make or break the experience. Brace yourselves as we put our ranting hats on and look at the best and worst options on offer. 
Belwood Music 