Critical Listening

We’re back with another Headlines episode, and this month it’s our first time spending the whole episode on one story. You probably already know which one it is. For this month we are begrudgingly wading into the discourse that has ensued following the Wired piece “The Fanfare Around the Band Geese Actually Was a Psyop,” published April 14. We dive into the manipulative tactics of “trend simulation” agencies like Chaotic Good, how pre-existing laws around deceptive advertising can reign them in, and what music lovers can do to fight these attempts to manufacture taste. Our monthly Headlines episodes are for Patreon subscribers only so please head to Patreon.com/criticallistening to support the show, get early access to all episodes, and also access our Discord community. Thanks for listening!

For today's episode of Critical Listening we are joined by guitarist, songwriter and improviser Wendy Eisenberg to launch a new segment, "Listening Habits." Wendy joined us a few weeks before the release of their new self-titled album, which is out now on Joyful Noise Records. In the first half of the show, we speak with Wendy about their own work as a musician and a teacher. We discuss the new album, a class they are teaching this fall on theorizing musical community, and also some headier stuff like virtuosity and hooks. In the second half of the show, we introduce the new "Listening Habits" series, where we are talking to musickers about how they actually listen to music on an everyday basis. We talk to Wendy about their mp3 player, how they learn about new music, why they hate listening to music on a phone, and what it means to be a Critical Listener. This episode features songs from Wendy’s new record. Thanks for listening and please head to patreon.com/criticallistening to support the show with a monthly subscription. 

What happens when a private equity company takes over a music festival? For this Critical Listening live taping at the ESNS Conference in Groningen, we spoke with Dutch investigative journalist Henk Willem Smits to unpack this very question. Smits works with the community-supported outlet Follow the Money,  specializing in tax avoidance by multinationals and wealthy individuals in music, and the intersections of private equity and electronic music culture. His 2025 piece "Loud Music, Silent Takeovers" specifically looked at the 1.3 billion euros spent by U.S.-based private equity firm KKR on music festivals in recent years. In his reporting, Smits has found that after private equity buys festivals, they can be subject to higher ticket prices, more commercial partnerships, and homogenized lineups driven by Spotify and TikTok data—in order to "tailor lineups more precisely to audience demand," he wrote last year. "A lot of festivals, especially smaller dance festivals, don't have big margins," Smits told us. "It's a very small margin business. So what you see now is management layers getting fired... That is something that happens a lot, but that is not something the audience notices. What also happens is you see some festivals not being organized. Or they skip a year." Below, see some more highlights from our conversation with Smits, which also covered his reporting on the connections between KKR and Israel, and how pop stars use the Netherlands as a tax haven. How else do festivals change when they are acquired by private equity? "They have to increase the margins because they paid a lot of money [for these festivals]... One financial analyst said that if they want to get that money back and also make a profit the [margin] has to raise with 10s of percents a year. That is very ambitious, very, very ambitious.... There is pressure here." What has been the biggest takeaway from your festival reporting? "There is logic to going up into a bigger structure. But when you sell your company, you really don't have anything to say about the ownership anymore... I heard from a manager in music and he said what he learned from the story was that you have to check the whole chain. So you have to check who is behind the festival, but also who's the owner of the festival, and who's the owner of the owner." Are there any open questions for you, still, regarding the relationship between private equity and live music? "I would love to speak to KKR. I would love to know if they regret buying Boiler Room. But they have a sort of policy that they don't talk with the press... which I find strange, because this is a company that has $600 billion of investments. But then you also have, of course, responsibilities. They invest in a company that rents out houses in occupied places in the West Bank. It would be interesting if they could explain, at least, why they think they have to do that. But it's a responsibility they take. They don't see themselves as part of society. They just have to make money."

Hey all, we're back with another headlines episode. This month we start by digging into UMG CEO Lucian Grainge's recent appearance on stage at a NVIDIA-hosted conference described as the "Super Bowl of AI," where he was discussing his company's partnership with the AI-enabling tech giant. What does this say about different ways major labels are embracing AI beyond the headline-grabbing licensing deals for gen-AI content? We unpack the ways labels seem to be embracing so-called tech solutions to continue recycling their mountains of IP, look at some of Grainge's most outrageous quotes from the story, and try to figure out whether or not we are truly at the end of music history. For the second headline, we are covering the 2026 installment of "Loud and Clear," Spotify's annual crisis PR campaign disguised as a music economics "transparency" report. In particular, we're looking at Spotify's claim that a new "class" of artists generating $100,000 annually is emerging from its platform, and what context is needed to understand the true lack of meaning in these stats. As you may have noticed, this is our first headlines episode that is Patreon exclusive. For now these headlines episodes will be available only to subscribers, while our interview episodes will remain free and publicly available. We also have a couple of reported features and a new artist interview series in the works, so if you've been considering a subscription this would be a great time to throw us five bucks a month. Sign up at patreon.com/criticallistening to access the full episode, thank you!

Welcome back to another episode of Critical Listening. For this month’s Headlines, we’re joined by Hearing Things co-founder and longtime music critic Jill Mapes to discuss her recent piece “The Wasserman Exodus is A Different Kind of Reckoning” about the artists protesting music exec Casey Wasserman’s appearance in the Epstein files. Before that we’re also talking about Spotify’s recent 2025 Q4 earnings call, where it presented a financial update to shareholders, and what it says about the company’s most recent positions on generative AI and the visions of its new leadership. Or, as we’re calling it: “Liz reads the transcript of the Spotify earnings call so you don’t have to.” Thanks for listening! Remember to support the show by subscribing to the Patreon If you are enjoying these Headlines episodes please tell a friend about the show or leave a review on your podcast app. This episode will be made available on all public platforms besides you-know-where next week. Music for this episode includes two pieces by the late great Éliane Radigue: "Occam Delta XV" and "Jetsun Mila".

WE’RE BACK. Today we start the year with a dispatch from what some may call the front lines: a bunch of AI-related panels at a European music biz trade conference. It’s also our first episode recorded in person! We are starting our new season with two episodes recorded in the city of Groningen in the Netherlands, where we were invited to participate on some panels and to host a live taping of the show at the annual conference and festival ESNS. That live taping—an interview with Dutch investigative culture reporter Henk Willem Smits—will drop later in the month. But before then, we have another conversation we recorded while we were in Groningen, reflecting on some panels we saw as well as ones we participated in.  Did Max survive his first music industry conference? Did Liz learn anything being on a panel alongside someone from a certain French DSP that has been labeling AI tracks? Why did we choose to attend something called “Automate or Die Trying” when we could have done literally anything else? And why are there never any musicians at these things? All this and more on Episode 11 of Critical Listening. Support the show for access to bonus episodes and our Discord at patreon.com/criticallistening.

As 2025 comes to a close, so does the first season of Critical Listening. And with us to send off the year, we have none other than the internet's busiest music nerd himself: Anthony Fantano of The Needle Drop. We discuss how public perception of streaming culture discourse has shifted this past year, his efforts to offer a critical perspective on the music industry in his videos, the state of on-screen music journalism in 2025, and more. We also dive into Anthony's background as a music journalist, the influence of public radio on his work, what media integrity means for video-first critics, and his general thoughts on music media after over 15 years of running a successful online platform. We had a lot of fun chatting with Anthony and we hope you will enjoy this culmination of Season 1. Thanks to all who pledged their monthly support to make this first season of Critical Listening happen, we can't wait to show you what we have in store for 2026. If you haven't yet please subscribe to the Patreon atpatreon.com/criticallistening. See you all in the New Year! The tracklist for this episode includes some of our shared fav releases from the past year. Support these artists by buying their music: Keiyaa - Take It Purelink - Rookie ft. Loraine James Chat Pile / Hayden Pedigo - Never Say Die Deerhoof - Immigrant Songs

We are back for our penultimate episode of Season 1 of Critical Listening! Recorded on November 13th at the coveted Stood at Purchase College, we're discussing the latest developments in the Spotify deal to create "artist first" generative AI tools in partnership with major labels and distributors. We also review the platform's continued growth as it rounds out its second full year of profitability and what that means for both artists and users alike. We have just uploaded the second part of this episode for Patrons only where we take questions directly from the students of Purchase College themselves, sign up now at patreon.com/criticallistening to catch up on the full season and bonus episodes before our season finale at the end of the year! Do you want the Critical Listening team to do a live taping at your college, music venue, conference, record store, or general hang in 2026? Shoot us an email at [email protected] and let's chat!

For Episode 8 we have composer, educator, curator, and activist Amirtha Kidambi stopping by. We discuss Amirtha's various musical outputs, including her Elder Ones ensemble and her recent duo release with Matt Evans as Neti-Neti. We discuss the inseparability of politics from pedagogy as teaching artists, the importance of solidarity amongst working artists and the need for us to Do-It-Together rather than simply DIY. Amirtha has a new podcast out called Outernational that explores the relationship of music and revolution through poignant conversations with fellow artists around the world, subscribe and support her work via her Substack and Bandcamp. Support critical and independent media at the intersections of music, tech, and culture industry hell by subscribing to our Patreon.

We’re back with another headlines ep, where Liz and Max each bring one story from across the music-tech biz press to summarize and contextualize. On this ep we are unpacking the imminent major label deals with gen-AI companies. At the time we recorded, those reportedly landmark deals were thought to be signed within weeks, and since recording we’ve already started to see more details emerge. We discussed some implications of Spotify being included on the list of companies major rightsholders are working out gen-AI deals with, and more details of that collaboration have already dropped, too. Lastly, we of course also spoke about what it means that Daniel Ek is stepping back from his role as CEO of Spotify. Thanks for tuning in, remember to support the show by joining our Patreon & head over to the Discord if you want to chat about anything mentioned on the show!

We're back from a month of touring and we missed you! We are thrilled to have musician and author Damon Krukowski on the show to discuss his upcoming book "Why Sound Matters", available everywhere on October 21st from Yale University Press. We discuss Galaxie 500, Damon & Naomi, the acoustic ecology writings of Bernie Krause, the Boston independent music scene in the 1980s compared to today, and how much of the material aspects of music relate directly to the labor issues in sound as a whole. Support the show and listen to exclusive bonus content from this episode at patreon.com/criticallistening.

Max & Liz return for another installment of their series diving into some intriguing headlines from across the music, tech and business hellscape. What does it mean for organizations representing independent record labels to be inking deals with gen-AI companies? How are AI-driven tech platforms impacting the realm of music education? Never fear, we’ve got a bloomscroll in there too. Check it out and support the Patreon to join the convo on Discord!  

We're back with another esteemed guest! With us today we have writer, musician, and co-founder of the worker owned music publication Hearing Things, Andy Cush. We discuss with Andy his articles on the various artists and labels who have not only decided to leave streaming, but are reimagining their relationship with digital music as a whole off these major platforms. We also dive into the detrimental effects streaming has made on the listening habits of both casual and diehard music lovers, and how one might decide to find different alternatives themselves. Music for the episode is from Andy's solo project, Domestic Drafts, whose full length LP entitled Only The Singer was released earlier this year.

We’re back with the first installment of what we’re calling “Headlines,” diving into a few stories from across the music and tech biz press this month. For July, there were some headlines that just seemed impossible to ignore. You guessed it: Ek’s recent investment into AI weapons company Helsing, and that gen-AI classic rock band with millions of streams. We end by searching the internet far and wide for a glimmer of hope — a “bloomscroll” — so it’s not all gloom and doom. Our goal here is to offer critical context on these stories so hoping you all find it helpful! Max also curated some choice needle drops from friends, listener submissions and his own recently released record too. On this episode you’re hearing “Last Night I Woke Up In The Dark” by Peretsky, “&pull” by Bas Relief, “A Pilcate Leaf” by Greening, and “Drawing Of Me” by U.e.   Support the show by signing up for the Patreon, where you'll get early access to episodes as well as our Discord. Thanks for listening!  

How are musicians building collective power in a freelance economy that still worships the grind? In recent years the Union of Musicians and Allied Workers have made headlines for its work around streaming, through both the Justice at Spotify campaign and the Living Wage for Musicians Act, which the group co-authored with Congresswoman Rashida Tlaib. Since these are likely to be recurring topics of conversation on Critical Listening, we wanted to go broader for this early chat. We spoke with steering committee members Joey La Neve Defrancesco and Spencer Peppet for a bit of UMAW 101: What is UMAW? Why does it exist? What are effective strategies for organizing musicians? Also covered: building power, escalation tactics, boycotts, and winning. Tracklist: Downtown Boys - Wave of History The Ophelias - Open Sky The Ophelias - Spring Grove Downtown Boys - L'Internationale    Support the show and get early access to episodes, bonus episodes, and our community Discord by joining our Patreon at patreon.com/criticallistening

Welcome to episode one of CRITICAL LISTENING, a new podcast about music and technology hosted by Liz Pelly and Max Alper.  How does a band survive 30 years of industry hostility to art? For our first episode, we’re chatting with Greg Saunier, the drummer of Deerhoof, who just released Noble and Godlike in Ruin, their 20th record across 30 years as a band. We talk about the political themes of the group’s recent material, resisting the AI slop machine, and whether recorded music itself is an aberration. Plus, we picked up a conversation on protecting the musical commons from tech extraction that Liz and Greg started at a Mood Machine event in LA earlier this year. Deerhoof’s new record thematically grapples with some big questions of art-making amidst societal collapse. In turn, our first episode serves as a reminder that when we talk about technologies, we’re never just talking about technologies, but the social, political and economic forces influencing them. Thanks for listening, supporting, and also bearing with us as we work through DIY recording and editing! Songs in this episode: Theme song: “Talk to Me” by Eraser “Disobedience” by Deerhoof “Overrated Species Anyhow” by Deerhoof “Kingtoe” by by Deerhoof “Ha Ha Ha Ha Haaaa” by Deerhoof Support the show, hear more from this interview with a bonus segment, and get an invite to join the conversation on the Discord server at patreon.com/criticallistening.

Critical Listening is a new podcast from journalist Liz Pelly and musician/educator Max Alper exploring music, technology, and culture. This is episode zero, a short introduction where Liz and Max discuss how the show came to be and what they plan to cover in future episodes. What has Liz been learning on the road promoting her book Mood Machine? What's the deal with Max's online alter ego La Meme Young, and why is he backing away from it? What does it means to cover music and technology through a labor lens, and what would a neo-Luddite movement in music look like? Support the show, get early access to episodes, AMA sessions with the hosts and an invite to join the conversation on the Discord server at patreon.com/criticallistening. Full episodes coming soon! Logo: Aaron Taylor-Waldman Music: "Talk to Me" by Eraser