Who’s on your Mount Rushmore of pop?

That’s the question of the week. After welcoming Jeff Weiss back to London for a live show about his tremendous novel-slash-memoir, Waiting For Britney Spears, we got to thinking about our own pop album percies. 2007’s Blackout is certainly up there – ‘a lost weekend of one-more-gram indulgence’ that ‘embodied the hedonistic sleaze of the late Bush years,’ as Jeff sums it up in the book.

Waiting For Britney… is a celebrity biography like no other – a gonzo account of Jeff’s time as a rookie in the world of Hollywood gossip rags, back when celebrities still had mystique and Brit still had a full head of hair. There is scandal and there are laughs, but never at the expense of its stricken central character. The words ‘leave Britney alone!’ never sounded more reasonable.

At the end of June, Jeff blessed us with his presence at Young Space in East London, where we talked to him about paparazzi, poptimism, fedoras, K-Fed, and the chaotic energy of LA in the early 2000s, the era that feminism forgot. Plus, a working theory: why Britney, Kanye and Trump are the quintessential 21st century Americans.

If you like what we’re doing on No Tags, please forward this email to someone else who’d like it, subscribe on your podcast app of choice – or better yet, leave us a nice review. And if you’re really into what we’re doing, please consider subscribing to our paid tier for £5 per month.

It’s Glastonbury weekend, and we’re back with the Big Questions.

Not a sentence we expected to be saying on No Tags, but we kick off by talking about Will Smith – specifically his recent appearance with London streamer du jour DJ AG. The Fresh Prince is in the middle of a generationally cringe promo run and we’ve been wanting to discuss AG’s streams for a while now, so these two forces colliding over a dubstep remix of the Men in Black theme felt like the perfect opportunity.

If you’re looking for something more high-brow, well, you still have to get through Tom’s full review of the Cooper’s Hill Cheese Roll – aka Final Destination: Cotswolds. Once we’re through that, it’s onto higher ground, debriefing recent experiences at Polyphonic Eating with Yu Su, Warp Records’ ‘happening’ at The Barbican and a No Tags night out at Corsica for Hodge and Peverelist. Music writers who still go to clubs? Perish the thought!

We always say it, but if you like what we’re doing on No Tags, please do rate and subscribe on your podcast app of choice – or better yet, leave us a review. This stuff really does help. And if you’re really into what we’re doing, please consider subscribing to our paid tier for £5 per month.

We talk about festivals a lot on No Tags, and usually the negative stuff: monopolisation, bad owners, overpriced cheesy chips. But good can still prevail, and are hopes are pinned on Field Maneuvers: an LED beacon of hope in the darkness, and an event that puts the comfort and enjoyment of ravers first. Perish the thought!

In this episode, FM organisers Henry, Ele and Leon explain how they’ve just about stayed afloat for 12 years – or is it 13? They can’t quite remember. We talk about building a rave utopia from scratch, the influence of free party culture on FM, adapting to festival life as new parents, and the momentum behind the current boycott of KKR-owned festivals. There’s also a story about duck poo.

Before that, Chal and Tom talk about the lack of muckracking journalists in the music industry, following on from the latest First Floor newsletter, and get into a stack of listener emails on side-of-stage access, babushka hoods, Afrohouse and Keinemusik. We’ve had some golden feedback emails lately – please keep them coming!

If you’re a fan of No Tags and want to show us some love, please do drop us a like and follow on Apple Podcasts, Spotify and Substack. And if you really like what we’re doing, please do consider subscribing to our paid tier, which costs £5 per month. Planning, recording, editing and transcribing these regular podcasts is a pleasure but it’s also a lot of work, and your support truly does make a difference.

What connects Adonis resident Grace Sands, the free party explosion of summer '91, Deleuzian dancefloor philosophy, and the annual Gloucestershire cheese-rolling competition?

It's this episode of No Tags, obviously, but the connecting tissue goes much deeper, we promise. The last third of the show contains our recent conversation with Grace Sands – house DJ, free party originator, icon of London's queer underground – live in Sheffield on 9th May. In a compact Q&A before a screening of Free Party: A Folk History hosted by No Tags and local heroes Gut Level, she set out some of the early ideals of a scene which changed the course of British dance music.

We talk about our own reactions to the film, a superb documentary charting the UK’s free party movement in the late ‘80s and early ‘90s, featuring members of UK soundsystems like Spiral Tribe, Bedlam and Grace's alma mater DiY.

Before all that, for the first hour of the show we respond to some excellent listener feedback on recent pod topics, including who exactly goes to see Keinemusik and what makes the perfect night out. Inspired by one Taganista in particular, Chal expands her recent theory of rave with an important third axis from wiggy theorist Gilles Deleuze. Show us another podcast whose listeners write in about Plato and Love Island!

As ever, if you want to support what we’re doing on No Tags, please do drop us a like and follow on Apple Podcasts, Spotify and Substack. You can also subscribe to our paid tier, which costs £5 per month. Planning, recording, editing and transcribing these regular podcasts is a pleasure but it’s also a lot of work, and your support truly does make a difference.

Rave royalty on No Tags this week as we’re joined by Paul Woolford.

We’re both drawn to artists who are driven by a compulsion to put art into the world at all costs – and 25 years into his career, Woolford (AKA Special Request) seems to be more driven than ever. In the last six years he’s released six albums and countless singles and remixes, and he still tours relentlessly – from seasons in Ibiza to grubby late-nighters at the White Hotel.

He’s also constantly collaborating – who else can you name who’s worked with Novelist, Diplo, Alison Goldfrapp and MK? And that’s how we introduced him on stage at the British Library earlier this year, where he joined us for a live conversation as part of AVA London.

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Tom and Chal emerge from a proper-large-’avin-it May bank holiday weekend with a desire to explain the perfect clubbing experience. Borrowing a few ideas from Friedrich Nietzsche, we sketch out two divergent tendencies in club culture and talk about the countless variables that accelerate our rave engines. Got feedback? Obviously please write in, DM or voicenote us with critiques of our emergent theory and your Most Transcendental Rave Experiences.

After that we’ve got our film corner in its usual place, including a moment for Danny Dyer’s Marching Powder. And it's your last chance to grab a ticket for No Tags live in Sheffield this Friday, 9th May! We’ll be screening Free Party: A Folk History at the Showroom cinema before interviewing Adonis resident DJ Grace Sands, followed by a party at Gut Level.

Drop us a like and a review on Apple and Spotify. If you get a kick of what we’re doing here on No Tags, consider throwing us a fiver a month – or spread the gospel to your friends.

We’re back! And booting off a busy season of No Tags content by speaking to 'professional music fan' Derrick Gee. You’ve likely come across Derrick on your feeds already. He’s a beacon of sophistication in the murky waters of social video, and a true enthusiast for music of all kinds – from audiophile sound systems to viral TikTok trends to his favourite bossa nova recordings. He’s racked up millions of views, toured Japan and America, lured huge names onto his YouTube show – and done it all by focusing almost exclusively on music outside the mainstream. So is he a music journo? A critic? A content creator? Derrick dialled in from Sydney to talk to us about his curious content niche and how he earns a living from loving music.

If you continue to get a kick of what we’re doing on No Tags, consider throwing us a fiver a month – or spread the gospel to your friends.

There was only one topic we could tackle this week. The argument boiling over around Boiler Room and the BDS movement is one of the most divisive and emotionally charged intra-scene disputes we’ve seen in a long time.

There’s a lot being said in public and in the comments, with much of it relegated to Instagram Stories with a 24-hour timer. So in the spirit of our mission statement – chronicling underground music culture – we’ve attempted to document what’s been going on, provide some vital additional context, and offer our own thoughts on what’s at stake.

In this episode we look at the relationship between Boiler Room and its owners – the global events company Superstruct and the private equity giant KKR – and their connections to Israeli tech firms and the Palestinian-led boycott movement. We talk about Boiler Room’s recent statement of solidarity with Palestine and the resulting backlash from fans, DJs and former BR employees, as well as Ben UFO’s defence of the platform, which triggered its own, unusually fierce backlash.

Can Boiler Room consider itself part of the boycott on Israel? What’s the right way for DJs, fans and BR employees to show solidarity with Palestine? Why has BR received so much flak compared to the 70-odd other brands and festivals in Superstruct’s portfolio? Can dance music be mobilised into a force for change? And what can Boiler Room – or any of us – practically do in a landscape where private equity firms have their claws in everything?

If you’re enjoying No Tags, thanks – we really enjoy making it. But we’d love you to help us out by leaving a review on your go-to podcast app, which really does help visibility. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue planning, recording and editing these regular podcasts. It also gives you a discount on our book.

We’re pretty confident about slapping the “AOTY contender” badge on this one: aya’s second album hexed! is out on Hyperdub next week, and it has blown our tiny minds to pieces.

The South London artiste joined us in the No Tags “studio” to reveal the pills, thrills and bellyaches behind the phenomenal follow-up to 2021’s im hole. We talked about shaking off the curse of drink and drugs, embracing her teen metalcore past, putting worms in your mouth in the name of Art, and just who is the best aya on Discogs?

We also debated donk as worship music, her plans to be the next Prince, and of course her favourite film.

Dive in – but before you do, final call for No Tags with Paul Woolford at AVA London tomorrow! We’ll be joined by AKA Special Request for a conversation at 1pm in the British Library’s Knowledge Centre. Taganistas get a 20% off code. Skive work and pop down? We’ll have a few No Tags books for sale too.

If you’re enjoying No Tags, that’s just GREAT. We really love making it. Why not rate, review and subscribe on your podcast app of choice? We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue bringing you these regular podcasts (and it gives you a discount on our book.)

No guest this week, but plenty of meat as we take our previous episode with Spotify chronicler Liz Pelly as a jumping off point to talk about the idea of independence.

We use the word ‘independence’ a lot on No Tags without really investigating what we mean by it. In a era when the major labels are all stake-holders in the biggest streaming platform on Earth, and are hoovering up indie labels and distributors like never before, how feasible is it to operate as a truly independent artist – whatever that means? And how can the term ‘independent’ apply to indie labels with multiple offices and millions in the bank as well as one-person DIY operations?

To explain, we think about the important history of independent distribution, catch up with the latest music biz headlines affecting independent artists, and ask ourselves… have the major labels simply won at this point?

It’s a little lighter elsewhere, as we talk ghosts (4:15) and debrief Anora’s Oscar sweep (49:52), followed by some thoughts on The Brutalist, Nosferatu and 1971’s The Working Class Goes to Heaven.

If you’re enjoying No Tags, please do rate, review and subscribe on your podcast app of choice. We’d also ask you to consider subscribing to our paid tier, which costs £5 a month and helps us continue bringing you these regular podcasts (plus it gives you a discount on our book.)