This study examines audience responses to the European virtual idol Noonoouri using an audience reception approach. While Japanese virtual idols have been widely studied, audience reception in European contexts remains underexplored. Using Python-assisted sentiment analysis combined with qualitative thematic analysis of YouTube comments, the study investigates how audiences evaluate Noonoouri’s music and digital persona regarding creativity, legitimacy, and cultural context in European mainstream music. Findings reveal predominantly negative responses, with scepticism regarding emotional expressiveness, originality, and impacts on human creativity, alongside occasional recognition of technical innovation. Audience interpretations clustered into three frameworks: ‘Emotional Authenticity and Affective Engagement’, ‘Authorship, Labour Ethics, and Creativity’, and ‘Cultural Value and European Mainstream Integration’. The results show that virtual idol reception cannot be understood through technical criteria alone; audiences actively negotiate cultural, ethical, and authenticity meanings, providing insight into how legitimacy is constructed for AI-generated music and virtual idols in European popular music contexts.

This paper explores the literary value of popular song lyrics through the lens of intertextuality, using the Beatles’ songbook as a case study. It aims to bridge the gap between reader-oriented and author-oriented approaches to intertextual research, emphasizing the importance of viewing texts from a broad, interconnected perspective. The study analyses a selected corpus of 27 Beatles songs, ranging from their early hit “I Saw Her Standing There” to their final recordings such as “The End,” to uncover how intertextuality manifests itself in their lyrics. By doing so, the paper seeks to highlight the depth and complexity of pop lyrics, advocating for their recognition as a legitimate subject of academic inquiry. The findings suggest that the Beatles’ lyrics, rich with literary and cultural references, exemplify the postmodern characteristics of pop music, blending high and low culture and showcasing the dynamic, dialogical nature of language and texts. This research aims to contribute to a deeper understanding of the literary qualities of popular music and underscores the enduring cultural significance of the Beatles.

In the 1990s, a protest rock movement developed on the American continent within informational capitalism, the democratisation of information and communication technologies, and the development of transnational social movements that fought against global powers. To complement the interpretations that understand this type of musical practice as a cultural aspect of social movements, or as commodities that obey the imperatives of the market, I use Auslander’s concept of performance to analyse how these protest rock groups deploy political ideologies linked to international leftist struggles, in the space and time of concerts and other types of mediations. Through an interpretive analysis, I identify some spatial, gestural, corporeal, and sound elements used to act out leftist political ideologies.

Making a living from music is an endeavour fraught with challenges associated with building a career in a rapidly changing, digitalised world and a labour market characterised by intermittency and the need for diversification. It is difficult to achieve a sustainable career that provides sufficient income to make music one’s primary occupation. As a result, many musicians explore different opportunities beyond performance to make ends meet. This article focuses on artists working in jazz and other popular genres on Barcelona’s music scene, with the aim of analysing how contemporary musicians in these genres combine artistic and professional activities. Using a qualitative methodology, including semi-structured interviews and participant observation, the study examines musicians who have attained relative stability and recognition. It identifies three key profiles of the professional musician (the ‘musician-teacher’, the ‘musician-composer’, the ‘musician-performer’) and reveals how these roles often overlap and contribute to the complex multiactivity of artistic careers.

Cinco do Oriente is Timor-Leste’s most famous band. It was active for a relatively short period (1972 to 1975) and mainly performed songs made famous by Western groups. Yet Cinco do Oriente is praised today as a pioneer of the local music scene. The band was definitely popular, but it was not the only one performing at the time, and it was not the first. It is argued here that Cinco do Oriente has become a legend, not because of its music, but as a symbol of the resistance movement against Indonesia. This is because three of its members are believed to have been killed by the Indonesian military due to alleged revolutionary activities. This is discussed referencing various popular culture theorists. The article also examines the development of other bands of the era, Portuguese and Indonesian cultural missions in Timor, the Indonesian invasion and occupation, and other matters.

This article examines the paradoxical relationship between discourses of sincerity and an aesthetics of imperfection in twenty-first-century pop culture, with special attention to the Russian music scene. We focus on the career of cult musician Sergei Shnurov to address this broader question: What do present-day anxieties around sincerity tell us about pop-cultural production and consumption processes? First, we offer a genealogy of post-Soviet sincerity rhetoric. We then use this genealogy to unpack the approach to sincere expression that Shnurov and his critics and fans adopt. Two recurring artistic strategies stand out. First, Shnurov creates a sincere effect by insisting on insincerity. Second, he amplifies this ‘insincerely sincere’ rhetoric by foregrounding a visual aesthetics of imperfection. We argue that these strategies play an important role not only in Shnurov’s biography but also in a broader story: that of sincere expression as a prime concern of twenty-first-century media and popular culture.

This article forwards an alternative perspective on how authenticity can be constructed through popular music tribute show performances. It adopts Edward Bruner’s (1994, American Anthropologist, 96, 397–415) categorisation of authenticity in relation to the replication of ‘historical sites’ in museum exhibitions. It argues that rather than focusing on sonic and historical ‘accuracy’, tribute musicians strive to curate their history and personal experiences with the music they play to prove their ‘authority’ as cultural ambassadors. Drawing on ethnographic fieldwork conducted in Perth, Western Australia, and a case study of a UK-based international touring tribute to The Smiths, this article highlights how some tribute musicians may purposely ‘put themselves in the music’ to conjure a sense of legitimacy and connect with audiences.