THE MERGING OF MUSIC CRITICISM AND MUSIC PROMOTION: CONVERGED MUSIC INDUSTRY PROFESSIONALS ON FACEBOOK

This paper explores the changing socio-cultural dynamic between local music entrepreneurs and journalists/critics on Facebook in Estonia. Through the analysis of 32 semi-structured interviews with music industry professionals and experts and observations of their activities on Facebook, the study identifies the decreasing distance between music criticism and music promotion. On the one hand, the music critics once envisioned as ‘autonomous gatekeepers’ (Hirsch, 1972) find it increasingly hard to transfer their musical authority, expertise and perceived independence to the commercially driven social media environment. As a result, some of them have taken up entrepreneurship themselves, converged their various identities by mixing their critical/evaluative practices as critics and business-oriented practices as entrepreneurs. On the other hand, some niche music entrepreneurs are stepping into the role of cultural authorities by mobilizing and catering to specific taste cultures and genre communities by becoming expert gatekeepers in their own right, despite being compromised by their business interest. In this context, it is no more useful to talk about the ‘mutual dependency’ of the music press and industry PR (Forde, 2001; Negus, 1992). Rather, among the tightly interwoven music scenes like the ones in Estonia, where many players adopt a variety of different and often conflicting roles (especially on Facebook), we should recognize the complete convergence of music promotion and music criticism and the loss of critical distance and autonomy altogether.

Disruptive Potential: COVID‑19 and Emerging Live Music Models in Trinidad and Tobago

This study explores the impact of the COVID‑19 pandemic on the live music sector of Trinidad and Tobago. It begins with an assessment of the international landscape, before juxtaposing it with local realities. The research is concerned with assessing the disruption affecting live music models, within the context of possible response strategies for the Southern Caribbean island. A qualitative research approach supported by a case study strategy of inquiry is adopted for this study. Six participants were purposely selected, each operating within various foci and niches in the country’s live music sector. The study found that disruption was due to changes in the value chain which resulted from calls for social distancing and limits on public gatherings such as concerts. It was also noted that although changes were rapid, local live music entrepreneurs were able to provide preliminary alternatives to engage fans. However, for these to be sustainable in the long run, greater attention needs to be apportioned to the creation of diverse interactive live music experiences. This must also be accompanied by expanded monetization through the utilization of user‑friendly technologies.