Challenge and Change in Popular Music

The 2022 IASPM-UK/Ireland Branch Conference

University of Liverpool, August 31st – September 2nd


To download the Programme click here.


Conference Venues

Situated on the University of Liverpool’s South Campus, the conference venues are: The Yoko Ono Lennon Centre (Yoko), The Management School (MS), the South Campus Teaching Hub (SCTH)


Wednesday 31 August


09.00. Registration & Coffee (Yoko, Foyer)


09.30. Round Table Discussion: Gender, Power and Accountability within the Academy (SR2, MS)


11.00. Welcome - Peter Buse, Dean of the School of Arts, University of Liverpool (Yoko, Tung)

11.15. Opening Plenary (Yoko, Tung)


Challenge and Change in Popular Music (Chair: Simon Frith, University of Edinburgh, UK)


  • ‘Speaking Words of Protest: Lessons from the Long History of the Protest Song’ (John Street, University of East Anglia, UK, and Matthew Worley, University of Reading, UK)

  • Critical Artificial Intelligence Popular Music Studies: Postdigital Labour and Supernatural Machines (Melissa Avdeeff, Coventry University, UK)
  • Creativity in Response to Crisis: Remote Music Production in London’s Fringe Music Communities (Sara McGuinness, University of West London, UK)

  • Apologies to the Future: Renegotiating Environmental Responsibility through Pop Music (Thorsten Philipp, Technische Universität Berlin, Germany)


12.30. Lunch (Yoko, Cafe)

13.30. Parallel Panels (MS)


Panel 1. (SR5) Sustainability and the Environment (Chair: Michael Spitzer, Univ. of Liverpool, UK)

  • Music as Entangled Empathy: the Affective Ecopolitics of Wolfgang Buttress’ the Hive (Artur Szarecki, University of Toruń, Poland)

  • Sounding Out Dystopia: Timbre and Ecological Recovery in Thom Yorke’s ANIMA (2019) (Nathan Cobb, University of California, USA)
  • Music Climate Pact: The Music Industries Declare Emergency on Planet Earth – or do they? (Paul Harkins, Edinburgh Napier University, UK)

  • Experiencing Pop Music in the Postwar British Home: Private Pleasures and Social Change (Tom Perchard, Goldsmiths, University of London)


Panel 2. (SR2) Audiences and Fans (Chair: Mark Duffet, Chester University, UK)


  • Beats to Quarantine to: Lofi Hip Hop Music and Virtual Community during the COVID-19 Pandemic (Steven Gamble, University College Cork, Ireland)

  • The Role Played by Fans in China’s Popular Music Idol Industry (Yafei Wang and Luqian Zhao, University of Leeds, UK) 

  • Because you Listened to…: Taste and Judgement in the Age of Streaming (Stan Erraught, University of Leeds, UK)


15.10. Tea (MS)

15.35. Parallel Panels (MS)


Panel 1. (SR5) The Impacts of Covid 19 on the Music Industries of the World: Special Edition Launch of the Journal of World Popular Music (Panel Proposer & Chair: Paul Carr, University of South Wales, UK)


  • Introduction (Paul Carr, University of South Wales, UK)

  • Music-makers and Covid 19 in the Liverpool City Region (Mat Flynn and Richard Anderson, University of Liverpool, UK) 
  • To Be Announced: How Long Can German Live Music Venues Survive the Lockdown? (Niklas Blömeke, Paderborn University, Germany)

  • Tourism-dependent Local Music Ecosystems under Covid-19: The Case of Lisbon’s Fado Music Scene (Iñigo Sánchez-Fuarros. Incipit CSIC, Spain)

  • Live music and Covid-19 in Birmingham (Adam Behr, Newcastle University, UK; Craig Hamilton, Birmingham City University, UK; Patrycja Rozbicka, Aston University, UK)
  • Jazz, Covid-19 and Live Music (Elina Hytönen-Ng, University of Eastern Finland, Finland)
  • Covid and Live Music Venues/Clubs in Germany (Robin Kuchar, Leuphana University of Lüneburg, Germany)


Panel 2. (SR2) Memory, Age & Places of Music (Chair: Haekyung Um, University of Liverpool, UK)


  • Cinema, Music and “Homing” in the Care of Older Citizens (Jacqueline Waldock and Lisa Shaw, University of Liverpool, UK)·

  • ‘It is a Song that Reminds me my Childhood’: Reflections on a European Song Story project (Abigail Gardner, University of Gloucestershire, UK)
  • Idol Youth: Adolescence in Japanese Popular Music (DorothyFinan, University of Sheffield, UK)

  • Music at the Margins: Mapping Prison Music from the Periphery (Áine Mangaoang, University of Oslo, Norway)


Panel 3. (SR4) EDI and Music in Higher Education (Chair: Lisa Colton, University of Liverpool, UK)


  • Free to be (you or) me?: Appropriation or Appreciation in Popular Music Performance (Liz Pipe, University of West London, UK)

  • Lost in Translation?: Methods for ‘Conscientization’ in Higher Education Popular Music Theory (Jason Huxtable, Leeds Arts University, UK)
  • Collective Spheres: Scenius as a Participatory Model for Reconfiguring Creative Higher Popular Music Education (Simon Strange, Bath Spa University, UK)


17.15. Andrew Goodwin Prize (Yoko Cafe)

17.30. Drinks reception and Beatles Journal launch (Yoko Cafe)

19.30. Dinner at nearby restaurants (see recommendations on the conference website and brochure)


Thursday 1 September


09.15. Parallel Panels (MS)


Panel 1. (SR4) Urban Environments for Music (Chair: Marion Leonard, University of Liverpool)


  • The Hidden Music City: The Role of Music Tourism Imaginaries in the Regeneration of Detroit (Leonieke Bolderman, University of Groningen)
  • Double Agent: Lessons from Liverpool on the Limits of the Agent of Change Principle in Protecting Small Music Venues (Mat Flynn, University of Liverpool, UK)

  • Threats to the Talent Pipeline: Examining the Post-pandemic Third-tier Cultural city (Chris Anderton and Martin James, Solent University, UK)


Panel 2. (SR5) Music Education (Chair: Sarah Price, University of Liverpool, UK)


  • Music Technology, Popular Music and Music: What Difference Does It Make? (Pete Dale, University of York, UK)

  • Bridging Institutional and Experiential Knowledge in Popular Music Practice and Education(John O’Flynn and Kayla Rush, Dublin City University, Ireland)
  • Music in the Age of Streaming: Listening, Learning, and Mentoring during COVID-19 (Tal Vaizman, The University of Haifa, Israel)


Panel 3. (SR2) Music Industries Online (Chair: Holly Tessler, University of Liverpool, UK)


  • The Making of the Making Available Right (Richard Osborne, Middlesex University,UK) 
  • The Musicians on Twitch: Economic Opportunities, Labour and Insecurity (Arthur Ehlinger, University of Glasgow, Scotland)

  • Barriers of Entry: Exploring the Relationship between Online Music Distribution and the Value of Music (Ben Bishop, Westminster University)


10.30. Coffee (MS)

11.00. Parallel Panels (MS)


Panel 1. (SR5) Music Industry and Higher Education (Chair: Mike Jones, Univ. of Liverpool, UK)


  • Popular Music Education as Middleground: Doing Widening Participation Right (Kristina Kelmanand Daniel Pratt, University of West London, UK)

  • Using Participatory Formative Assessment to Create Communities of Practice in the Teaching of Music Business and Arts Management (Sam Murray, Middlesex University, UK)
  • Solo Artists’ Entrepreneurial Strategies (Sini Timonen and Phil Nelson, BIMM, UK)

  • Technological Change, Visual Creativities, and Popular Music Higher Education (Helen Davies, Liverpool Institute of Performing Arts, UK)


Panel 2. (SR2) Music and Social Inclusion (Chair: Freya Jarman, University of Liverpool, UK)


  • Towards a History of Popular Music Fandom and Disability (Mark Duffett, University of Chester, UK)

  • “Why are you so tense - can’t you take a compliment?”: Musical and Visual Reactions to Misogyny (Magdalena Fuernkranz, University of Music and Performing Arts Vienna, Austria)
  • “Travelin’ thru, trying to find what feels like home”: Country Music Authenticity and Trans Equality (James Barker, Newcastle University, UK)

  • Maintaining a Creative Practice in Lockdown (Gemma Storr, University of West London, UK)


Panel 3. (SR4) EDM and DJ Culture (Chair: Simone Krueger Bridge, Liverpool John Moores University, UK)


  • Electronic Dance Music and Gentrification in Amsterdam in the (post-)COVID era (Sydney Schelvis, University of Amsterdam, Netherlands)

  • The Changing Entry Points of DJ’ing (Edgar Ndazi, Goldsmiths, UK)
  • Analysing DJ Performance: Theory, Methods, and the Importance of Genre (Ivan Mouraviev, University of Bristol, UK)

  • Defining the Underground: The Spaces, Places and Intentions within Dance Music Scenes (Richard Anderson, University of Liverpool, UK)


12.40. Lunch (Yoko Cafe)

13.40. Parallel Panels (MS)


Panel 1. (SR2) Covid and Local Music Communities (Chair: Lennon Mhishi, Oxford University, UK)


  • “Kolkata turning Digital”: Popular Music in the COVID-19 era (Arka Chakraborty, School of Oriental and African Studies, UK)

  • Other Voicesfrom the Edge of Ireland: Music Worlds, Digital Mediation, and Community Building (Susan O’Shea and Ruby Barker, Manchester Metropolitan University, UK)
  • Title: Lost in Digitalization: Tracing Punjabi Folk Music Tradition in the Context of Temporality and Timelessness (Gurusha Sethi, Independent Scholar)


Panel 2. (SR4) Covid and the Music Industries (Chair: Mat Flynn, University of Liverpool, UK)


  • Sensations of distance and the imbalanced connectivity of live-streamed music in Covid-era Brazil (Jacob Wolbert, University of California, Berkeley, USA)
  • Emotional and practical responses to the global pandemic (Daphne Hall, Iceland University of the Arts, Iceland)

  • Clubbing Curtailed: the future of Irish Music Culture postCovid (Caroline O’Sullivan, Technological University Dublin)


Panel 3. (SR5) Retro-Technologies (Chair: Rob Strachan, University of Liverpool, UK)


  • Tracing the Analogue Promise of 21st Century Electronic Dance Music: An Uneasy Reconciliation of Tradition and Technology (Jonathan Weatherill-Hunt, Technische Universität Berlin, Germany)

  • The Migration of the Lo-Fi Lens: Online Interpretations of 1990s Memphis Rap Tapes (Joseph Coughlan-Allen, University of Liverpool, UK)
  • Unpacking the Vinyl record revival using Actor Network Theory (Anthony Meynell, University of West London)


15.00. Tea (MS)

15.15. Parallel Panels (MS)


Panel 1. (SR5) Musicians’ Responses to the Pandemic (Chair: Richard Worth, University of Liverpool, UK) 


  • ‘All those Things That Don’t Change’: Evocative Objects, Transformation and Continuity in Mary Chapin Carpenter’s Lockdown Projects (Richard Elliott, Newcastle University, UK)
  • The Social Value of Online Music Participation during the Covid-19 Pandemic: Exploring the Impacts of Berta Rojas’ Jeporeka 2021 Project (Simone Krüger Bridge, Liverpool John Moores University, UK)

  • The Return to Craft: Taylor Swift, Meta-Nostalgia & Covid-19 (John McGrath, University of Surrey, UK)


Panel 2. (SR2) Music and Politics (Chair: Simran Singh, University of Liverpool, UK)


  • Historical Revisionism and the Return of the Marcoses: Popular Music and the Contested Memory of the Philippine Dictatorship (Monica Schoop, Leuphana University, Germany)

  • Sounds of Dissent: Popular Music and Politics in Brexit Britain (Jelena Gligorijevic, Dublin City University, Ireland)
  • ‘Whatever we did get, we fought tooth and nail for’: Irish Independent and DIY Music Scenes in the Pandemic (Ciarán Ryan, Dundalk Institute of Technology, Ireland)


Panel 3. (SR4) Equality, Diversity and Inclusion in UK Music Higher Education (Chair: Freya Jarman, University of Liverpool, UK)

Presentation and discussion of the findings of a report published by the EDIMS Network. Participants will include members of the EDIMS Working Groups.


16.30. IASPM UK/Ireland Branch Meeting (Yoko, Tung).


19.00. Popular Music Journal Reception & Dinner (Leaf, 65-67 Bold Street)



Friday 2 September


09.15. Parallel Panels (MS)


Panel 1. (SR5) Music in the Mix (Chair: Kenneth Forkert-Smith, University of Liverpool, UK)


  • Americana: Music, DIY Culture and Millennial Cool (Dave Robinson, Leeds Beckett University, UK)
  • The Bollywood Violin - opportunities and challenges of the field (Agata Kubiak-Kenworthy, University of West London, UK)

  • ‘Get Back’: Paralinguistic Personae in The Beatles’ Late Style (Bláithín Duggan, Dublin City University, Ireland)


Panel 2. (SR2) Music Industries (Chair: Yiyi Wang, University of Liverpool, UK)


  • No Title (Songwriters, Royalties and the Chinese Music Industry) (Liucija Fosseli, University of Agder, Norway)

  • Relocating the Notion of Independent Musician to Mainland China: Cultural and Conceptional Translation in Popular Music (Changbo Duan, University of Liverpool, UK)
  • Cultural Entrepreneurship in the Postdigital Music Industries: Towards a Cultural Political Economy of Musicianship (Christopher Woods, University of Liverpool, UK)


10.30. Coffee (MS)


11.00. Parallel Panels (MS)


Panel 1. (SR5) Sound Recording Practices and Approaches (Chair: Rob Strachan, University of Liverpool, UK)


  • Practical Musicology in Popular Music (Simon Zagorski-Thomas, University of West London, UK)
  • Changing the Record: Using Archaeological Approaches to Study Popular Music History (Paul Thompson, Leeds Beckett University, UK)

  • What does it mean for professional Metal Music Performance and Production to move entirely Remotely Online? A Practice-based Analysis of Approaches, Processes and Workflow (Jan Herbst and Mark Mynett, University of Huddersfield, UK)
  • Disruptions to Spatiality in the Music of Radiohead (Gittit Pearlmutter, Bar Ilan University, Israel)


Panel 2. (SR2) DIY Music in the Digital Independence Discourse: A Group Panel Discussion (Chair: Andrew Kirton, University of Liverpool, UK)


  • “Make me a success”: The need for Artist Management in the music industries (Yiyi Wang, University of Liverpool, UK)
  • Perspectives from the World of Film and TV Music (James Moffatt, University of Liverpool, UK)
  • From the Californian ideology to the cult of the entrepreneur: exploring the dark side of DIY (Christopher Woods, University of Liverpool, UK)
  • Responding to the demands of 21st Century DIY: A community-based approach (Craig Pennington, Future Yard, UK)


12.40. Lunch (Yoko Café)


13.30. Parallel Sessions (MS)


Panel 1. (SR5) Music and Technology (Chair: Sarah Hill, University of Oxford, UK)


  •  Songs in Orbit: Space, Circulation, and Satellite Radio (Brian Fauteux, University of Alberta, USA)

  • Audiovisual Déjà Vu: Technological Pastiche in Olivia Rodrigo’s Music Videos (Amy Skjerseth, University of Liverpool, UK)

  • Gassing for Gear: Acquisition, Fetishisation and Technological Exhibitionism in Gear Culture (Samantha Bennett, The Australian National University, Australia, and Eliot Bates, City University of New York, USA)


Panel 2. (SR2) Humans and Humanity in EDM (Chair: Joe Coughlan-Allen, Univ. of Liverpool, UK)


  • “Give Life Back to Music”: A Challenge for Electronic Dance Music (Sébastien Lebray, University of Strasbourg, France)

  • The ‘Performable Recordings’ Model: Bridging the gap between the ‘Human’ and ‘Non-Human’ in Live Electronic Music Performance (Christos Moralis, University of West London, UK)


14.45. Closing PlenaryChallenge and Change in Popular Music Studies (Yoko, Tung)


  • Chair: Adam Behr (Newcastle University, UK)

  • Speakers: Simran Singh (University of Liverpool, UK), Sarah Hill (Oxford University, UK), Lennon Mhishi (Oxford University, UK), John Covach (University of Rochester University, USA)


16.00. Popular Music Trail (see conference brochure and website)

18.00. Farewell Gathering (Pen Factory)