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This presentation formed part of the 2nd International Music Livelihoods Symposium 2022. Facilitated by Dr Diana Tolmie Senior Lecturer of Professional Practice and supported by the Creative Arts Research Institute Griffith University, the Symposium was held online Monday and Tuesday the 28th and 29th of November 6-10:30pm AEST (Brisbane), 2022. More details of the event, videos @musiclivelihoods9942 and future iterations of this symposium can be found here https://musiclivelihoods.com

Mr Carljohnson Anacin
Griffith University, Queensland, Australia

Playlist Curation as a DIO Practice and Alternative Music Promotion Model among Filipino Independent Musicians

The ubiquity of music technology has allowed independent musicians to produce more music compared to what has previously been possible through the support of major labels. The availability and ease of music production technologies also led to an accessible way of releasing and promoting music. With the power of music streaming platforms, independent musicians have been able to self-release their songs, though there is still a discrepancy in terms of how they reach more audience and mainstream media mileage, compared to musicians who operate through the traditional music industry model. To respond to such a problem, some independent musicians create and maintain playlists that allow them to support each other in increasing streams and followers on platforms such as Spotify – a demonstration of the ‘Do-It-Ourselves (DIO)’ ethos. This practice is explored in this paper through an (auto)ethnography of being part of some curated Spotify playlists and communities of Filipino independent musicians on social media as a case study. Specifically, this presentation investigates the specifics of playlist curation as a possible way to increase audience number and streams by negotiating the platform’s algorithm. The circumvention of the music industry model through playlist creation and promotion as a DIO practice creates an alternative business practice for musicians. This allows independent musicians to possibly reach certain milestones that they consider successes (sociocultural, symbolic and economic) in their career journeys. However, the sustainability of such practice is also in question despite the potential of this alternative practice.