Being a “Global Music Platform”: Platform Work in Light-Tech Capitalism

While the literature on music digital platforms has focused mainly on the consequences of production and consumption, few works have looked at platformization from the perspective of companies active in the music business. Drawing on an ethnographic inquiry of Sofar Sounds—a London-based company tha...

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Main Author: Loïc Riom
Format: Article
Language:English
Published: SAGE Publishing 2024-08-01
Series:Social Media + Society
Online Access:https://doi.org/10.1177/20563051241274658
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author Loïc Riom
author_facet Loïc Riom
author_sort Loïc Riom
collection DOAJ
description While the literature on music digital platforms has focused mainly on the consequences of production and consumption, few works have looked at platformization from the perspective of companies active in the music business. Drawing on an ethnographic inquiry of Sofar Sounds—a London-based company that organizes intimate and secret concerts in unconventional spaces—I introduce platform work to explore the kinds of practices in which platforms engage. I identify three operations in Sofar Sounds’ platform work: the incorporation of Sofar Sounds concerts into digital devices; its financing by venture capital (VCs) funds; and the activation and generification of its global community. In conclusion, I argue that being a platform involves organizational practices and that studying these practices shifts our attention beyond a few limited successful companies. I propose that light-tech capitalism accounts for this mundane and unsophisticated aspect of platform work.
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spelling doaj-art-dd6ef3900aaf4d1bba1a20a2baba82ff2025-08-20T01:54:33ZengSAGE PublishingSocial Media + Society2056-30512024-08-011010.1177/20563051241274658Being a “Global Music Platform”: Platform Work in Light-Tech CapitalismLoïc RiomWhile the literature on music digital platforms has focused mainly on the consequences of production and consumption, few works have looked at platformization from the perspective of companies active in the music business. Drawing on an ethnographic inquiry of Sofar Sounds—a London-based company that organizes intimate and secret concerts in unconventional spaces—I introduce platform work to explore the kinds of practices in which platforms engage. I identify three operations in Sofar Sounds’ platform work: the incorporation of Sofar Sounds concerts into digital devices; its financing by venture capital (VCs) funds; and the activation and generification of its global community. In conclusion, I argue that being a platform involves organizational practices and that studying these practices shifts our attention beyond a few limited successful companies. I propose that light-tech capitalism accounts for this mundane and unsophisticated aspect of platform work.https://doi.org/10.1177/20563051241274658
spellingShingle Loïc Riom
Being a “Global Music Platform”: Platform Work in Light-Tech Capitalism
Social Media + Society
title Being a “Global Music Platform”: Platform Work in Light-Tech Capitalism
title_full Being a “Global Music Platform”: Platform Work in Light-Tech Capitalism
title_fullStr Being a “Global Music Platform”: Platform Work in Light-Tech Capitalism
title_full_unstemmed Being a “Global Music Platform”: Platform Work in Light-Tech Capitalism
title_short Being a “Global Music Platform”: Platform Work in Light-Tech Capitalism
title_sort being a global music platform platform work in light tech capitalism
url https://doi.org/10.1177/20563051241274658
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