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Drowned in Sound

Drowned in Sound
Drowned in Sound
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  • Drowned in Sound

    Geoff Barrow (Portishead) Made a Film with a Sleaford Mod and Every Penny Invada Had

    16.06.2026 | 1 Std. 7 Min.
    What do you do when everyone tells you that you can't make a film without the right connections, the right funding, the right people saying yes? If you're Geoff Barrow, you spend everything Invada Records has on proving them wrong. And the result is a fantastic watch.

    In this week's episode, Sean Adams sat in the sun outside Geoff's home near Portishead to talk about GAME, the debut feature from Invada Films, a gripping rural thriller set against the backdrop of the 1993 British rave scene. It stars Marc Bessant and Jason Williamson from Sleaford Mods as a dealer and a poacher locked in a tense standoff deep in the Somerset woods.

    It was shot for £150,000 (essentially all the money Invada had), and it was written, produced and distributed from Bristol, by people who actually lived in that world.

    Geoff Barrow started out as a tape op for Massive Attack before co-founding Portishead. He runs Invada Records in Bristol, which has released soundtracks for Drive, Stranger Things and Red Dead Redemption alongside records by Gazelle Twin, Billy Nomates, Beak> and more.

    Alongside Ben Salisbury, Barrow has scored Ex Machina, Annihilation, Civil War, Black Mirror and many more.

    However, GAME is something different: his first credit as producer and co-writer of a feature film.

    They talk about why making GAME felt like a reaction to being told no, and how a five-hour session with a friend who had been both a poacher and a countryside rave supplier in the early 90s shaped the script.

    The conversation also gets into why casting Jason Williamson was an obvious call the moment it came up, why Geoff stripped the score back to almost nothing (he has spent enough years watching low-budget films drown themselves in music to know what it does), and how a football teammate called DJ Smudge ended up making the period-accurate 1993 bangers on the soundtrack.

    From there the conversation goes wider: the inside story of how Invada came to release the Drive soundtrack, why Mica Levi's Under the Skin changed what Geoff thought a film score could be, why Kangding Ray's Sirāt gave him a similar jolt more recently, what it was like working with Alex Garland and Ben Wheatley, why Low's Double Negative is one of the most important records of the 21st century, how the people who went to those countryside raves in 1993 ended up voting Reform, what he'd do with £500 million if he had it, and what all of his records would taste like. 

    GAME has its live stream premiere on Thursday 18 June at 7:30pm BST. Tickets are £5 and available everywhere except North America. Geoff, director John Minton, Marc Bessant and screenwriter Rob Williams will all be in the live chat taking questions, hosted by Paul Weedon. Get your ticket at https://watch.eventive.org/invadafilms/play/69c69adff08307d6b404d921

    🎧 The Drowned in Sound podcast is presented in partnership with Qobuz, the pioneering high-quality music streaming and download platform for music enthusiasts and audiophiles. Each week we curate playlists on Qobuz, featuring our favourite records, artists, and the themes we explore on the show.

    Visit https://drownedinsound.org/playlists/ to discover new music in rich Hi-Res lossless quality and start your 30-day free trial of Qobuz at https://qobuz.com/dis.

    Visit https://drownedinsound.org/playlists/ to hear our podcast companion playlist and discover new music in rich Hi-Res lossless quality. To start your 30-day free trial of Qobuz head to https://qobuz.com/dis.

    Edited by: tell.studio (Phil, Louisa, Owen, Matt)

    GAME (Invada Films)
    https://www.invadafilms.co.uk/

    GAME tickets, Blu-ray, vinyl and more
    https://linktr.ee/InvadaFilmsGame

    GAME Limited Edition Orange Vinyl (300 copies, signed) pre-order
    https://www.invada.co.uk/collections/game

    Invada Records
    https://www.invada.co.uk/

    Recorded, engineered and hosted by Sean Adams (seaninsound.com) at Geoff's home near Portishead, Bristol.

    Sign up to the DiS newsletter: http://drownedinsound.org
  • Drowned in Sound

    Sathnam Sanghera on George Michael: Iraq, Wham!, Empire, Fandom, and The Best Hit Rate in Chart History

    09.06.2026 | 1 Std. 1 Min.
    George Michael had the highest hit rate in the history of the US Hot 100. Nineteen entries, eight number ones. 'Last Christmas' has been covered more than four hundred times.

    Ten years after his death, there's been no big tribute concert, no statue, and almost no serious book about his cultural legacy. Until now...

    Sean Adams and Helena Wadia spoke to Sathnam Sanghera, historian, journalist, and lifelong George Michael fan, about his new book Tonight the Music Seems So Loud: The Meaning of George Michael. 

    Sathnam Sanghera is the author of Empireland (British Book Award for Narrative Non-Fiction, Channel 4 documentary), Marriage Material (shortlisted for the Costa First Novel Award, adapted for stage in 2025), and The Boy with the Topknot (Mind Book of the Year, BBC film). He is a Fellow of the Royal Society of Literature and the Royal Historical Society, and has been a George Michael fan since inheriting the bug from his sisters during Wham! mania in the mid-1980s.

    Tonight the Music Seems So Loud is a portrait of George Michael that doubles as an account of a turbulent period in British history, and this conversation covers most of it. Sathnam explains why Wham! was essentially a solo act, why George's perfectionism mattered (twelve hours on the vocal for 'Kissing a Fool', six months producing 'Fastlove', gaps of up to five years between albums), and how 'Last Christmas' was written in an afternoon while Andrew Ridgeley watched Match of the Day downstairs.

    The conversation goes well beyond standard fan-book territory. Sathnam makes the case that George Michael's activism has dated better than almost any British pop star of his era: he was publicly opposing the Iraq war before the marches, campaigning on AIDS while the tabloids used every appearance as an opportunity to out him, and he split up Wham! partly in protest at the management's involvement with an apartheid-era South African company. The Sony lawsuit, which cost him five years and millions of pounds, was fought on behalf of all artists, not just himself.

    The immigrant angle runs throughout: both George's Greek-Cypriot father and Andrew Ridgeley's Egyptian father came to Britain as a direct consequence of the British Empire, the faith-era aesthetic owes as much to immigrant overdressing as anything else, and Sathnam traces surprising parallel lives between a Greek-Cypriot boy from Finchley and a Punjabi boy from Wolverhampton.

    The episode also asks what George would do with £500 million extracted from the music industry, whether his 1998 outing was a turning point for press homophobia, and why a musician playing in every shopping mall on earth still has no statue.

    Visit https://drownedinsound.org/playlists/ to hear our podcast companion playlist and discover new music in rich Hi-Res lossless quality. To start your 30-day free trial of Qobuz head to https://qobuz.com/dis.

    Edited by: tell.studio (Phil, Louisa, Owen, Matt)

    Co-hosted by Helena Wadia, who also co-hosts the Media Storm podcast: https://mediastormpodcast.com/about-us/

    Sathnam Sanghera / Tonight the Music Seems So Loud
    https://www.sathnam.com/
    instagram.com/sathnamsanghera

    Further reading
    Sathnam Sanghera: Empireland and other books

    Recorded at The Shure Experience Centre, London.

    Sign up to the DiS newsletter: http://drownedinsound.org
  • Drowned in Sound

    Los Campesinos! Part! Two! On Class, Privilege, And The Economics Of Bands vs Solo Artists

    04.06.2026 | 48 Min.
    What happens when you can no longer subsidize creativity with a second job? Part 2 of our conversation with Gareth David digs into the real cost of being a musician in 2026: visa fees, tour buses, the collapse of sync deals, and the brutal math that's turning bedroom producers into solo acts instead of bands.

    In Part 2, Gareth explains how the economics of live music are excluding new artists entirely, why class matters more than talent, what happens when a breakup tour costs 50 quid and a reunion costs 100, and whether music could ever work as a genuinely not-for-profit industry.

    We also discuss Los Campesinos! 20-year evolution, why they won't do reunion theatrics, the uncomfortable politics of being an openly leftist band, why low-income tickets matter (and why more bands won't do them), and what he'd do with £500 million to fix the industry. Plus: his actual dream for the next 20 years.

    Gareth is the lyricist and lead singer of Los Campesinos!, a band who've been walking the walk for twenty years: unconditional support for trans people, rejecting unaligned brand money, low-income tickets for fans, and now, brutal honesty about how much (or how little) the music industry actually pays. In Part 2, he gets into the systemic economics that are reshaping what kind of music gets made and who gets to make it.

    Visit https://drownedinsound.org/playlists/ to hear our podcast companion playlist and discover new music in rich Hi-Res lossless quality. To start your 30-day free trial of Qobuz head to https://qobuz.com/dis.

    Edited by: tell.studio (Phil, Louisa, Owen, Matt)

    Co-hosted by Helena Wadia, who also co-hosts the Media Storm podcast: https://mediastormpodcast.com/about-us/

    Los Campesinos!
    https://loscampesinos.com/

    Further reading
    How much Los Campesinos! made from Spotify
    US tour budget breakdown
    Explainer of Dublin show budget

    Recorded remotely.

    Sign up to the DiS newsletter: http://drownedinsound.org
  • Drowned in Sound

    You! Me! 10 Million Spotify Streams! How Much?!?!! Why Los Campesinos! Stopped Being Quiet - Part 1

    26.05.2026 | 47 Min.
    What do bands actually make from ten million Spotify streams? About £32k...

    In Part 1 of this conversation, Gareth David from Los Campesinos! walks Helena Wadia and Sean Adams through the numbers and how he felt about Spotify's response.

    This radical financial transparency about streaming also goes into the platform's payout structure that puts artists in direct competition with each other, and explains why "just support artists on Bandcamp" misses the complexity of who actually owns the rights.

    Gareth is the lyricist and lead singer of Los Campesinos!, a band who've been walking the walk for twenty years: unconditional support for trans people, rejecting unaligned brand money, low-income tickets for fans, and now, brutal honesty about how much (or how little) the music industry actually pays.

    In part 1, Gareth explains the economics of streaming, the difference between artists and rights holders, and what happens when you release an album the same month as Taylor Swift. Next week, Part 2 goes into their sold-out 2024 North American tour accounts, where nearly £50,000 went on a tour bus alone.

    Visit https://drownedinsound.org/playlists/ to hear our podcast companion playlist and discover new music in rich Hi-Res lossless quality. To start your 30-day free trial of Qobuz head to https://qobuz.com/dis.

    Edited by: tell.studio (Phil, Louisa, Owen, Matt)

    Co-hosted by Helena Wadia, who also co-hosts the Media Storm podcast: https://mediastormpodcast.com/about-us/

    Los Campesinos
    https://loscampesinos.com/

    Further reading
    How much Los Campesinos made from Spotify
    US tour budget breakdown
    Explainer of Dublin show budget

    Sign up to the DiS newsletter: http://drownedinsound.org

    00:00:00 - Welcome, Los Campesinos, and radical transparency

    00:02:13 - Starting the band on message boards

    00:04:06 - Why Gareth decided to share specific numbers

    00:06:39 - The shock of the real streaming numbers

    00:09:21 - What's the most ethical way to support bands

    00:11:52 - Rights holders vs. artists on Bandcamp

    00:13:16 - Spotify's response to transparency criticism

    00:17:22 - Taylor Swift and the algorithm's impact

    00:18:44 - Keeping music on Spotify while critiquing the platform

    00:22:11 - Newsletter break and topic switch

    00:23:34 - Why tour transparency matters to Los Campesinos fans

    00:24:30 - Come to Brazil, come to Australia (but why they can't)

    00:27:30 - How touring with two children changes everything

    00:28:55 - Making venue logistics work with kids on tour

    00:31:44 - Qobuz sponsorship message

    00:32:59 - Keeping ticket prices low as an ideological choice

    00:35:35 - Low-income tickets and the ticket bank

    00:39:47 - Part 2 announcement and tour income preview
  • Drowned in Sound

    AI & Consent Special with Addison Rae, Dua Lipa and Taylor Swift featuring Dr Hayleigh Bosher

    20.05.2026 | 1 Std. 3 Min.
    Helena Wadia and Sean Adams caught up with intellectual property expert Dr Hayleigh Bosher to discuss AI, Addison Rae, ICE, Taylor Swift, deep fakes, trademarks, consent, copyright, Samsung, and Dua Lipa.

    The episode begins with our reaction to this clip of Lambrini Girls on Channel 4, in which Phoebe says "AI is going to be the thing that kills art entirely."

    Don't worry, this isn't just doom-spiralling about our descent into technofascism, this episode hopefully answers everything you wanted to know about the contractions of the tech revolution we're living through.

    In this wide ranging chat about AI, consent, copyright, and double standards, we discuss whether Addison Rae might win her case against ICE for using her music without her consent (at the time of publishing, the video is still on Insatgram here). Explore why Taylor Swift is trademarking herself and whether it will it stop deep fakes. And we explore why Dua Lipa is suing Samsung for £15m?!

    We also touch upon the UK government's AI consultation.

    Dr. Hayleigh Bosher appeared on season 1 of the Drowned in Sound podcast. She's a goto for breaking news on BBC and Sky, because she's an expert in Intellectual Property Law at Brunel University London, specialising in copyright within the creative industries, particularly music, social media, and AI. She authored the book Copyright in the Music Industry (order the second edition), hosts the podcast Whose Song is it Anyway?

    You'll find all of Hayleigh’s links here. 

    Visit https://drownedinsound.org/playlists/ to hear our weekly podcast companion playlists and discover new music in rich Hi-Res lossless quality and start your 30-day free trial of Qobuz at https://qobuz.com/dis.

    Edited by: tell.studio (Phil, Louisa, Owen, Matt)

    p.s. Helena's podcast Media Storm returns this week, make sure you're subscribed on Apple Podcasts.
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Über Drowned in Sound
Music is upstream from politics. Drowned in Sound investigates how the music industry shapes society and how fans, artists, and workers can organise for systemic change. Hosted by Sean Adams, we decode streaming economics, sustainable touring, climate and tech, workers’ rights, and collective solutions with musicians, researchers, and changemakers.
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