As festivals were cancelled or people were afraid of participating in mass gatherings during the COVID-19 pandemic, the well-being effects of festival participation were missed. How can these missed hedonic, eudaimonic or social well-being impacts be described, and how has the prolonged absence of live music events and the cancellation of the festival summer influenced attitudes towards festivals? Research data comprised nearly 13,000 responses to the Finnish Festival Barometer 2020 at a time when all the large festivals had been cancelled. Clustering the COVID-19 related questions led to three segments named Covid-cautious, Music-driven and Experience-oriented. The findings indicate challenges for event organisers, particularly in terms of communality. The theoretical contribution of this study is in scrutinising the well-being effects of festival attendance at a time when festivals were banned. Thus, survey participants could say the factors they missed most, revealing the most important well-being dimensions for their festival attendance.

‘Old Town Road’, a genre-defying song fuelled by proliferating remixes, is a key site to unravel the position of remixes in contemporary popular music and culture. In this article, I examine mainstream press discourse about ‘Old Town Road’, finding that Lil Nas X's use of remixes to boost the song's popularity was generally seen as smart, while the racial politics of genre were contested but still powerful. Ultimately, the popular conversation around the song showed a sense that one key possibility of remixes is to resist the ways that genres normatively operate as straight lines of descent from musical forebears, instead engaging in a queer kind of reproduction, a joyful excess of proliferating versions.

In the years following its independence from Britain in 1964, Malta experienced several changes socially, politically, economically and culturally. In part, these arose from the fact that after independence Malta, as a small Mediterranean island-country, had to take full control of its own destiny, including its economy and politics. At approximately the same time a band called The Malta Bums was set up and eventually gained popularity both locally and further afield. Their 1967 release of ‘Viva Malta’ achieved unprecedented success and is still hugely popular today. This article analyses this song in its historical, cultural and social context. It discusses how and why this track became so popular at that time and is still popular nowadays. For that purpose, it scrutinises its music and lyrics, as well as the production process and how each one of these built on the familiar to convey sentiments of national unity central to the loyalty that the lyrics call for.

Popular music writing has made for strange colleagues and quickly lost legacies. I want to sketch some of them and suggest how they continue to influence the US version of popular music studies, arguably more so in our moment than in the previous period that codified an academic approach. I'll be anecdotal, alive to particulars of language, affiliation, method and form rather than attempting a quantification. Ranging from William Billings in 1770 to Daphne Brooks in 2021, I'll explore how such key framings as vernacular, sentimental and literary have shaped the nature of books on song. My hope is that, in synthesizing the larger history, I can suggest why so often this work could be characterized as, to use one of Robert Palmer's favourite words, unruly.

This article reviews studies that examine internationally circulating music which has reached the upper echelon of all-genre single charts in the 21st century. The examinations will be used as examples for the analysis of sonic aesthetics that are embedded in a particular frame of cultural debate, which the article conceptualises as ‘mainstream popular music’. The research field is then mapped and discussed with regard to prevailing objectives, methods and findings, including elaborations on how future research might advance understanding of the aesthetics within the discourses of mainstream popular music and, thus, of contemporary culture at large. The literature review focuses on music- and listener-based analytical directions and critically reflects on the frequent absence of theoretically well-founded and empirically underpinned, context-sensitive music examinations, particularly with regard to quantitative and audience research. The concluding section calls for a more integrated perspective on mainstream popular music as a discourse and praxis formation.

This article addresses the relation between Andean ‘traditional music’ and circulations of people, objects, ideas and sounds. Although many studies on Andean indigenous music have explored such circulations, scholars still tend to understand musical practices in terms of ‘cultures’. The case of indigenous music from Otavalo, in the Ecuadorian Andes, encourages us to go beyond this approach. I make two arguments. First, by conceiving of the translocal/transnational flows that have shaped ‘traditional music’ from Otavalo through the concepts of ‘network’ and ‘music world’, I unsettle the link – underlying previous approaches – between a specific people, music and place. Second, through the concepts of ‘assemblage’ and ‘mediation’, I closely look at processes of ‘traditionalisation’ and ‘indigenisation’ to show how, in the context of multiple circulations, social actors nevertheless produce a specific link between people, music and place in order to make a musical practice ‘traditional’ and/or ‘indigenous’.

This article illuminates the musical activism of Juluka, an interracial South African band active in the late 1970s through the mid-1980s. Its analyses of three songs focus on intersections between Western popular music and a Zulu song genre called maskanda. By examining these cross-cultural interactions in the domains of harmonic progressions, formal structures and metric and rhythmic organisation, I demonstrate that the artistic fruitfulness of the band's collaboration was a powerful rebuke to the government's apartheid ideology, which sought to segregate not just people, but even their artistic expressions.

In the performance of bluegrass fiddle tunes, each repetition of the tune is generally played on a different instrument. I argue that the degree to which the instrument can influence the motivic material in improvised passages is beyond idiomaticism – where phrases might suit one instrument more than another – to the point where melodic pitch collections are shaped by the instrument itself. By combining post-human philosophies with music theories that emphasise instrument–player relationships, this essay shows how non-humans exercise agency in bluegrass improvisation. The resultant instrument-influenced passages contrast with each other, as each is played on a different instrument. This can help to signify formal structure within a performance, while the recurrence of particular instrument-influenced elements can be seen as a genre marker in bluegrass.

I present a thematic overview of sex work and ribaldry in recorded blues songs for the period c.1920–1942. My ambition is primarily documentary, to take up Paul Oliver's insistence that discussion of the blues must ultimately revolve around its ‘libidinous hub’ and to concretise Abbott and Seroff's characterisation of blues as ‘unabashedly licentious a music form as America has ever produced’. Ribald sex work songs are common in the blues archive, but have not been a focus of sustained study. A grasp of the significance of sex work provides a key to decoding creative wordplay, even as the relation between blues performers and real sex work must remain obscure.