Cinco do Oriente is Timor-Leste’s most famous band. It was active for a relatively short period (1972 to 1975) and mainly performed songs made famous by Western groups. Yet Cinco do Oriente is praised today as a pioneer of the local music scene. The band was definitely popular, but it was not the only one performing at the time, and it was not the first. It is argued here that Cinco do Oriente has become a legend, not because of its music, but as a symbol of the resistance movement against Indonesia. This is because three of its members are believed to have been killed by the Indonesian military due to alleged revolutionary activities. This is discussed referencing various popular culture theorists. The article also examines the development of other bands of the era, Portuguese and Indonesian cultural missions in Timor, the Indonesian invasion and occupation, and other matters.

Recent studies have urged us to consider the materialities of popular music to evaluate its environmental cost. This article orients this discussion towards the materiality of popular music production. It argues that industrial discussions on sustainable music production practices can overlook the ideologies associated with recording technologies that prompt consumption activities. It highlights the key themes discussed in the industry regarding sustainability in music production across various media platforms. It then analyses how these themes relate to the construction of recording studios instead of their everyday use. Although technologies like compressors are not typically considered in this discussion, this article suggests that aesthetic preferences often lead to consumption activities that must be factored in when considering the ecological costs of music production. This practice indicates that music producers tend to focus on sustainability practices that will not interrupt their core business.

Music streaming platforms are complex socio-technical infrastructures that co-construct cultural production, distribution, and reception. Different contributions have highlighted that artists, producers, and operators may implement optimisation processes, based on their algorithmic imaginaries, to align their music to the modes of listening and categorisation imposed by algorithmic media. Drawing on thirty-nine semi-structured interviews with producers, songwriters, recording industry professionals, and listeners who are heavy users of streaming platforms, this paper reconstructs the social life of a platform-optimised song. Bridging perspectives from science and technology studies and media studies, we investigate the network of relations between human and non-human actors that contribute to the circulation of a platform-optimised song during a four-phase life cycle: creation, industry mediation, platform mediation, and reception. The findings highlight multiple forms of power asymmetries at each stage, recursive dynamics, the erosion of artistic autonomy, and the collaboration of humans and non-human agents to transform music tracks into datafied products.

The main goal of this article is to show how disco polo’s entry into the mainstream disrupted the existing cultural hierarchy in Poland and how it influenced the attitudes and narratives surrounding the genre. Disco polo is a subgenre of Polish electronic folk music characterised by a simple rhythm and a clear melodic line. It is often criticised for its vulgar lyrics and simplistic musical structure, and its audience is commonly associated with lower class and poor taste. Drawing on empirical data from a qualitative study conducted in 2021, we demonstrate that disco polo’s temporary promotion to mainstream during 2016-2023 was superficial and, to some extent, artificial, driven by politically motivated programming decisions made by public media authorities. However, we argue that disco polo fans benefited from this phenomenon, as it strengthened their sense of self-worth, helped them cope with class-related stigma, and reinforced their integration as a community.

In recent years, the genre of UK drill has become the target of a range of ‘posh’ musical parodies. These parodies come in various forms, from private school students making TikToks under the hashtag #privateschool that use the genre’s reputation to illustrate their own privilege (Hall 2020; Complex UK 2023), to folky YouTube covers of drill songs that play off the musical differences between the two styles. Some of these parodies juxtapose UK drill’s reputation as a working class and Black British artform with upper class and white stereotypes, providing a sharp reminder of the issues that can arise through unnecessary socio-cultural comparison. In addition, many creators of these parodies appear to hide behind a veil of self-reflexive acknowledgement to mask the various ethical quandaries that arise in their work, often passing harmful content off as self-deprecating fun.

This article presents the first comprehensive empirical analysis of the mainstream music in Slovenia, a small and peripheral music market shaped by global trends and regional pop-cultural history. Drawing on survey data on musical preferences (2021) and radio airplays from 2017 to 2022, the study combines big data methodologies with a reflexive theoretical approach about mainstream music as a meta-genre. The findings expose the relational structure of audience taste, revealing genre clusters that reflect cultural divides between global and local, and a dual mainstream formation in the radio’s airplay: one driven by seasonal, high-rotation global hits, and another composed of canonized domestic and regional evergreens. This layered formation illustrates how institutional repetition and audience selection reproduce the status quo in contemporary cultural industries, while constraining aesthetic innovation, marginalizing younger local artists, and reinforcing generational divides within the Slovenian music landscape.

This article explores the representation of women electric guitarists on Instagram. It examines the ways in which their practices as electric guitarists are represented and surveys the spectrum of gender expressions represented on Instagram. It also considers the interconnectedness between these representations and their significance. The research findings are based on textual analysis of the Instagram content of sixteen electric guitarists of varying ages, success levels, and career stages. The findings show that Instagram is a platform through which a multiplicity of representations of women electric guitarists can be observed that can contribute to a deeper, more nuanced understanding and narrative. This article demonstrates that Instagram is an important site of analysis in its ability to contribute to shaping the discourses around gender and the electric guitar and the normalisation of diverse individuals occupying this role.

This study examines audience responses to the European virtual idol Noonoouri using an audience reception approach. While Japanese virtual idols have been widely studied, audience reception in European contexts remains underexplored. Using Python-assisted sentiment analysis combined with qualitative thematic analysis of YouTube comments, the study investigates how audiences evaluate Noonoouri’s music and digital persona regarding creativity, legitimacy, and cultural context in European mainstream music. Findings reveal predominantly negative responses, with scepticism regarding emotional expressiveness, originality, and impacts on human creativity, alongside occasional recognition of technical innovation. Audience interpretations clustered into three frameworks: ‘Emotional Authenticity and Affective Engagement’, ‘Authorship, Labour Ethics, and Creativity’, and ‘Cultural Value and European Mainstream Integration’. The results show that virtual idol reception cannot be understood through technical criteria alone; audiences actively negotiate cultural, ethical, and authenticity meanings, providing insight into how legitimacy is constructed for AI-generated music and virtual idols in European popular music contexts.

Online music streaming has emerged as a central mode of consumption in Europe and many other parts of the world, representing a distinct break from older forms of music media such as compact discs or broadcast radio. Instead of the one-to-many models that have historically dominated music dissemination – where an individual’s listening habits could only be guessed at through aggregate sales figures or broadcast audience estimates – streaming has introduced a one-to-one model. This shift, which gradually gained momentum during the last two decades (Drott 2024, p. 1), hinges on platforms and devices that also allow unprecedented observation of how individual listeners engage with recorded music. Consequently, hundreds of millions of people are now individually tracked in near-real time, generating vast amounts of granular data.