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Drowned in Sound

Drowned in Sound

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A proposito di questo titolo

Music is upstream from politics. Drowned in Sound investigates how the music industry shapes society and how fans, artists, and workers can organise for systemic change. Hosted by Sean Adams, we decode streaming economics, sustainable touring, climate and tech, workers’ rights, and collective solutions with musicians, researchers, and changemakers.

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Episodi
  • From 500 Podcasts to Radio 1: DiS meets 101 Part Time Jobs (Part 2)

    From 500 Podcasts to Radio 1: DiS meets 101 Part Time Jobs (Part 2)
    Jan 20 2026
    Picking up where Part 1 left off, DiS returns to its conversation with Giles Bidder. Not to talk about how musicians survive, but about how stories travel, how listeners connect and what it really takes to build a music podcast in 2026. In this second instalment, Sean Adams turns the lens on the medium itself (yes, we’ve gone meta). Drawing on nearly 600 episodes of 101 Part Time Jobs, Giles reflects on the craft of interviewing, the ethics of editing, and why the best conversations often need space to breathe. This is less about hustle and more about care: how to hold people well, how to listen properly, and how to build trust over time. The conversation ranges from standout episodes and “slow-burn” storytelling to what it feels like to make work that actually helps people navigate their lives. Giles speaks openly about bad bosses, fear-based workplaces, and the quiet anger that fuels his show (as well as the small, human moments that make it worthwhile). A love for radio runs through this episode: Giles describes producing Shaun Keaveny’s Community Garden Radio as a lesson in warmth, humour, and emotional intelligence on air. From there, the pair broaden out into why podcasts have become such a powerful space for connection, especially for people stuck in boring jobs, long commutes, or lonely routines. Visit https://drownedinsound.org/playlists/ to discover new music in rich Hi-Res lossless quality and start your 30-day free trial of Qobuz at https://qobuz.com/dis. Chapters 00:00 - Intro 01:30 - Standout episodes and “slow-burn” editing 03:20 - When to cut vs when to let a story breathe 05:10 - What makes a “good” episode in hindsight 07:00 - Work gaffs, embarrassment, and shared vulnerability 12:00 - Bad bosses, anger, and fear-based workplaces 14:00 - Why people are quietly quitting 18:00 - Why podcasts work on boring journeys 21:00 - Community Garden Radio and the art of warmth 22:30 - What great broadcasting feels like 24:00 - Power, responsibility, and attention 25:30 - Why trust matters more than reach 27:00 - Outro Continue the Conversation: Head to the Drowned in Sound community to chat about the topics in this episode. Subscribe: Get weekly essays, interviews, and insights from the Drowned in Sound newsletter - exploring music, culture, and resistance. From scout-hut gigs to the economics of touring, DiS sits down with Giles Bidder - host of 101 Part Time Jobs for an unsentimental look at how creative lives are actually sustained today. In this first instalment, Sean Adams talks to one of the UK’s most quietly compelling broadcasters about the hidden labour behind music culture. Over nearly 600 episodes, Bidder has built one of the most humane music podcasts around, asking artists, writers, and comedians not about their success but about the jobs they’ve done to survive. Giles explains how 101 Part Time Jobs emerged as both portfolio and refuge: a way to make sense of a patchwork career, rediscover belonging, and document how people navigate a system that rarely works in their favour. Along the way, the conversation takes in touring economics, merch, sync, class, and why even bands who play the Roundhouse still need “normal jobs. What emerges is a stark but generous thesis: music is socially priceless and economically precarious. Until that gap closes, culture will continue to run on grit, goodwill, and vast amounts of invisible labour. Visit https://drownedinsound.org/playlists/ to discover new music in rich Hi-Res lossless quality and start your 30-day free trial of Qobuz at https://qobuz.com/dis. Chapters 00:00 - Intro 01:26 - Sitting in the “other chair”: Giles as guest, not host 04:05 - Ska/punk origins, micro-prejudices, and how scenes teach you 07:45 - Why 101 Part Time Jobs began: Universal Credit, lockdown, stability 08:55 - Human curation and introducing unknown artists 11:25 - The myth of “making it”: Roundhouse bands with day jobs 13:55 - Why meaningful art can still leave artists broke 16:10 - Music is priceless but paid in grains of pennies 18:20 - Gilla Band, Lambrini Girls, and invisible cultural impact 19:25 - Class, rent, and the radical idea of simply covering your life 20:15 - Why customer-facing jobs matter (merch, coffee shops, respect) 23:55 - Hard work, timing, and opportunity 25:20 - Standout episodes and the “slow-burn” edit 29:10 - Bad bosses, anger, and fear-based workplaces 31:55 - Power, responsibility, and attention in podcasting 44:07 - The importance of having your own project and taking the time 46:55 - Outro Continue the Conversation: Head to the Drowned in Sound community to chat about the topics in this episode. Subscribe: Get weekly essays, interviews, and insights from the Drowned in Sound newsletter - exploring music, culture, and resistance. Links & Resources: 101 Part Time Jobs (Giles Bidder) Community Garden Radio (Shaun Keaveny) Music Venue Trust - protecting grassroots venues Gilla Band Lambrini ...
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    51 min
  • Why Some Festival Headliners Still Need Part-Time Jobs (Part 1)

    Why Some Festival Headliners Still Need Part-Time Jobs (Part 1)
    Jan 20 2026

    From scout-hut gigs to the economics of touring, DiS sits down with Giles Bidder - host of 101 Part Time Jobs for an unsentimental look at how creative lives are actually sustained today.

    In this first instalment, Sean Adams talks to one of the UK’s most quietly compelling broadcasters about the hidden labour behind music culture. Over nearly 600 episodes, Bidder has built one of the most humane music podcasts around, asking artists, writers, and comedians not about their success but about the jobs they’ve done to survive.

    Giles explains how 101 Part Time Jobs emerged as both portfolio and refuge: a way to make sense of a patchwork career, rediscover belonging, and document how people navigate a system that rarely works in their favour. Along the way, the conversation takes in touring economics, merch, sync, class, and why even bands who play the Roundhouse still need “normal jobs.”

    What emerges is a stark but generous thesis: music is socially priceless and economically precarious. Until that gap closes, culture will continue to run on grit, goodwill, and vast amounts of invisible labour.

    Visit https://drownedinsound.org/playlists/ to discover new music in rich Hi-Res lossless quality and start your 30-day free trial of Qobuz at https://qobuz.com/dis.

    Chapters

    00:00 - Intro

    01:26 - Sitting in the “other chair”: Giles as guest, not host

    04:05 - Ska/punk origins, micro-prejudices, and how scenes teach you

    07:45 - Why 101 Part Time Jobs began: Universal Credit, lockdown, stability

    08:55 - Human curation and introducing unknown artists

    11:25 - The myth of “making it”: Roundhouse bands with day jobs

    13:55 - Why meaningful art can still leave artists broke

    16:10 - Music is priceless but paid in grains of pennies

    18:20 - Gilla Band, Lambrini Girls, and invisible cultural impact

    19:25 - Class, rent, and the radical idea of simply covering your life

    20:15 - Why customer-facing jobs matter (merch, coffee shops, respect)

    23:55 - Hard work, timing, and opportunity

    25:20 - Standout episodes and the “slow-burn” edit

    29:10 - Bad bosses, anger, and fear-based workplaces

    31:55 - Power, responsibility, and attention in podcasting

    Continue the Conversation:

    Head to the Drowned in Sound community to chat about the topics in this episode.

    Subscribe:

    Get weekly essays, interviews, and insights from the Drowned in Sound newsletter - exploring music, culture, and resistance.

    Links & Resources

    101 Part Time Jobs (Giles Bidder)

    Community Garden Radio (Shaun Keaveny)

    Music Venue Trust - protecting grassroots venues

    Gilla Band

    Lambrini Girls

    Soho Radio

    Reading Festival
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    36 min
  • Kelly Lee Owens: Record Shops, Raves, and Rebuilding Music From the Ground Up

    Kelly Lee Owens: Record Shops, Raves, and Rebuilding Music From the Ground Up
    Jan 13 2026

    Fresh from touring stadiums with Depeche Mode, DiS meets electronic music pioneer to discuss her past, the present, and the future of music.

    This is part of Drowned in Sound’s 25th anniversary series in which Sean Adams continues the anniversary series by sits down with some of our favourite acts of the past quarter century. Kelly Lee Owens is very much one of those artists, who has featured in DiS year end lists and awards and playlists since releasing her debut EP.

    The episode starts on the education that comes from working in record shops and becomes a wide-ranging conversation about how music communities form, fracture, and sometimes regenerate. Moving across North Wales to London basements, from pressing white labels by hand to playing for 75,000 people with Depeche Mode, Kelly Lee Owens traces a path through all corners of music: the shops, venues, teachers, collectives, community centres, and accidental mentors that shaped her, her music, and her career.

    Sean and Kelly chat about their working class roots, the discipline of DJing as storytelling, and the economics of grassroots music. Kelly Lee Owens reflects on why she now deliberately plays shows in places artists rarely go, why she sees music as a form of healing as much as entertainment and why community matters more than scale.

    If there’s a thread running through it all…it’s this: music isn’t a product or a pipeline. It’s a relationship. And like any relationship, it needs time, space, and care to survive.

    Visit https://drownedinsound.org/playlists/ to discover new music in rich Hi-Res lossless quality and start your 30-day free trial of Qobuz at https://qobuz.com/dis.

    Chapters

    00:00 - Introduction

    02:00 - Record shops as education and community

    05:05 - Obsession, discovery, and how taste is formed

    10:00 - The early 2010s shift: risk, hedonism, and electronic culture

    13:05 - DIY culture, SoundCloud, and pressing your own records

    15:00 - Human curation vs automation and playlists

    22:10 - Playing huge rooms: Depeche Mode, confidence, and scale

    26:05 - Returning to small places: community shows and access

    29:00 - Grassroots collapse, class, and structural inequality

    32:10 - What £500 million could fix in music culture

    42:05 - Music as healing, frequency, and emotional space

    48:25 - The future: rebuilding value, community, and care

    50:15 - Outro

    Continue the Conversation:

    Head to the Drowned in Sound community to chat about the topics in this episode.

    Subscribe:

    Get weekly essays, interviews, and insights from the Drowned in Sound newsletter - exploring music, culture, and resistance.

    Links & Resources:

    Music Venue Trust — protecting grassroots venues https://www.musicvenuetrust.com

    David Byrne — How Music Works https://davidbyrne.com/books/how-music-works

    Fabric London — venue history and cultural importance https://www.fabriclondon.com

    Piccadilly Records (Manchester) https://www.piccadillyrecords.com

    Pure Groove Records (London) https://puregroove.co.uk

    Kelly Lee Owens https://kellyleeowens.com

    Stop Making Sense — Talking Heads https://www.talkingheadsofficial.com

    Cocteau Twins https://cocteautwins.com

    The Knife — Silent Shout https://theknife.net

    Warehouse Project (Manchester) https://www.thewarehouseproject.com

    Neuadd Ogwen / Bethesda community venue https://neuaddogwen.com
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    54 min
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