Drowned in Sound

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

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 morehttps://linktr.ee/InvadaFilmsGame
GAME Limited Edition Orange Vinyl (300 copies, signed) pre-orderhttps://www.invada.co.uk/collections/game
Invada Recordshttps://www.invada.co.uk/
Recorded, engineered and hosted by Sean Adams (seaninsound.com) at Geoff's home near Portishead, Bristol.
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Sathnam Sanghera on George Michael: Iraq, Wham!, Empire, Fandom, and The Best Hit Rate in Chart History

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 Loudhttps://www.sathnam.com/instagram.com/sathnamsanghera
Further readingSathnam Sanghera: Empireland and other books
Recorded at The Shure Experience Centre, London.
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Los Campesinos! Part! Two! On Class, Privilege, And The Economics Of Bands vs Solo Artists

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 readingHow much Los Campesinos! made from SpotifyUS tour budget breakdownExplainer of Dublin show budget
Recorded remotely.
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You! Me! 10 Million Spotify Streams! How Much?!?!! Why Los Campesinos! Stopped Being Quiet - Part 1

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 Campesinoshttps://loscampesinos.com/
Further readingHow much Los Campesinos made from SpotifyUS tour budget breakdownExplainer of Dublin show budget
Sign up to the DiS newsletter: http://drownedinsound.org
00:00:00 - Welcome, Los Campesinos, and radical transparency00:02:13 - Starting the band on message boards00:04:06 - Why Gareth decided to share specific numbers00:06:39 - The shock of the real streaming numbers00:09:21 - What's the most ethical way to support bands00:11:52 - Rights holders vs. artists on Bandcamp00:13:16 - Spotify's response to transparency criticism00:17:22 - Taylor Swift and the algorithm's impact00:18:44 - Keeping music on Spotify while critiquing the platform00:22:11 - Newsletter break and topic switch00:23:34 - Why tour transparency matters to Los Campesinos fans00:24:30 - Come to Brazil, come to Australia (but why they can't)00:27:30 - How touring with two children changes everything00:28:55 - Making venue logistics work with kids on tour00:31:44 - Qobuz sponsorship message00:32:59 - Keeping ticket prices low as an ideological choice00:35:35 - Low-income tickets and the ticket bank00:39:47 - Part 2 announcement and tour income preview

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

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.

Ticket Touts Rejoice! DiS & Which? React to The King's Speech

"Disappointing" is the word of the week in the UK music biz, after the UK government seem to have kicked the can down the road on tackling ticket touts aka "secondary ticketing".
Why? The King's Speech happened yesterday. The Keir Starmer's Labour government promised to end ticket touting. And yet...
What we got was a draft bill. Buried on page 64 of a supplementary document. Not in the speech itself. Not legislation. Not a law. A draft, which means more consultations, an uncertain timeline, and the door left open for the secondary ticketing platforms to shape whatever comes next.
DiS podcast host Sean Adams revisits the full sixteen-year history of this fight, from Sharon Hodgson's Private Member's Bill in 2010, through the Channel 4 Dispatches investigation, the Waterson Review, the founding of the FanFair Alliance, the Digital Economy Act, the CMA's rejected recommendations, Labour's manifesto promise, the Oasis dynamic pricing scandal, and the November 2025 announcement that made everyone think change was finally coming.
Then he's rejoined by Kat Cereda, spokesperson for Which?, to dig into what a draft bill actually means, why secondary ticketing websites getting involved in shaping the legislation is exactly what campaigners feared, and what Which? does next.
And at the end of the episode, Adam Webb from the FanFair Alliance gives his reaction - he's someone who has been in the trenches of this campaign since 2016.
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.
Edited by: tell.studio (Phil, Louisa, Owen, Matt)
Recorded at The Shure Experience Centre, London.
Sign up to the DiS newsletter: http://drownedinsound.org
Which?Stop Fleecing Fans campaign: https://www.which.co.uk/campaigns/stop-fleecing-fans
FanFair Alliancehttps://fanfairalliance.org/
Music Fans Voicehttps://musicfansvoice.uk/
CMS Committee Fan-Led Review of Live and Electronic Musichttps://committees.parliament.uk/committee/378/culture-media-and-sport-committee/news/213147/
Further readingEverything you need to know about gig tickets: https://www.drownedinsound.org/gig-tickets/
Previous episodes in this seriesKat Cereda (Which?) on the open letter to Keir Starmer: https://podcasts.apple.com/us/podcast/the-uk-government-promised-to-end-ticket-touting-so/id1037405920?i=1000764130066 Adam Webb (FanFair Alliance) on ticket resale and the FanFair campaign: https://podcasts.apple.com/gb/podcast/uk-caps-ticket-resale-at-face-value-what-took-so-long/id1037405920?i=1000737461606
 
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Two Music Fans. One Astonishing Fan-Led Review of Live & Electronic Music

Over 4,000 music fans responded to the Culture, Media and Sport Committee’s Fan-Led Review into Live Music and Electronic Music and in this week's episode DiS founder Sean Adams and co-host Helena Wadia reacted to this important report that could revolutionise live music in the UK.
Alongside the in-depth analysis of the state of live music and what music fans want, there's also The Fans' Charter.
Much shorter than the 100-page report, the Fans' Charter has 50 recommendations that the government, the industry, and local authorities should implement, from ending ticket touting to improving late night transport and simple things like the live industry sharing timings so fans can plan their night out accordingly.
We would urge you to head over here to read the fan-led review and then pop your postcode into TheyWorkForYou and WhoCanIVoteFor to gently encourage your representatives to read the report.
The government have less than 2 months to respond and the more MPs, councillors, and mayors that read it, the better.
Visit https://drownedinsound.org/playlists/ to hear Helena's playlist and to discover new music in rich Hi-Res lossless quality. Start your 30-day free trial of Qobuz at https://qobuz.com/dis.
This episode was edited by: http://tell.studio 
Co-hosted by Helena Wadia, who also co-hosts the Media Storm podcast: https://mediastormpodcast.com/about-us/
Recorded at The Shure Experience Centre, London.
Sign up to our newsletter at http://drownedinsound.org
 
 

The UK government promised to end ticket touting. So why hasn't it?

Before the UK's general election, Labour's 2024 manifesto promised to "put fans back at the heart of events" by ending ticket touting.
Then, when in power, the Labour government made confirmed the plan in November 2025. And yet here we are in April 2026, with no legislation, and reports that the Ticketing Bill may not even appear in the King's Speech on 13 May. But what we do have is the fan-led review of live music, urging the government to enact this change.
This is the first episode of a new series on power and double standards in music - who has it, how it works, and what fans can actually do both individually and collectively to change things.
To kick things off, DiS founder Sean Adams and co-host Helena Wadia are joined by Kat Cereda, spokesperson for Which?, to dig into the consumer rights organisation's open letter calling on Keir Starmer to include a Ticketing Bill in the King's Speech and cap ticket resales at face value.
The coalition of signatories is striking: AEG Presents, the Featured Artists Coalition, ATC Management (Nick Cave, Radiohead), Wildlife Entertainment (Arctic Monkeys, Fontaines DC), Grumpy Old Management (Ed Sheeran), the Music Venue Trust, Live Nation, Ticketmaster and more - united in calling on the government to deliver on its manifesto commitment before the window closes.
They cover:
Why Which?, who are perhaps best known for testing washing machines, is exactly the right organisation to lead this fight
How secondary ticketing has grown from "the old man in a trenchcoat outside the venue" to international criminal operations with links to Dubai and Delaware
The numbers: resellers stand to make an estimated £24 million from fans this summer alone; a Harry Styles ticket at £200 face value listed at £3,622; an Ariana Grande ticket at £135 listed at £2,835; a BTS ticket at £450 listed at £4,872 that's a whopping 312% markup; and a Raye ticket at All Points East listed on Viagogo at £140,000
Speculative selling: listing tickets touts don't even own yet
How fans could save £112 million a year if a price cap were introduced. This is the government's own figure!
Why the King's Speech on 13th May is the only real accountability test, and what it means if the bill isn't in it
The CMS Committee's independent fan-led review, published just this month, which calls on the government to act "without delay" (more on that next week)
What 91% of over 8,000 Music Fans Voice survey respondents agree on
Platforms like Twickets and Dice that are already doing it right
What you can do right now to keep the pressure on
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.
This episode was edited by: http://tell.studio 
Which? Stop Fleecing Fans campaign: https://www.which.co.uk/campaigns/stop-fleecing-fans Open letter to the Prime Minister (LinkedIn): https://www.linkedin.com/posts/which_open-letter-to-the-prime-minister-activity-7453362314151469056-LwME Which? on Instagram: https://www.instagram.com/p/DXgfoKVFrtA/
Co-hosted by Helena Wadia, who also co-hosts the Media Storm podcast: https://mediastormpodcast.com/about-us/
Further reading CMS Committee Fan-Led Review of Live and Electronic Music (April 2026): https://committees.parliament.uk/committee/378/culture-media-and-sport-committee/news/213147/calls-for-new-music-fan-association-to-boost-fan-involvement-as-review-publishes-charter-to-safeguard-live-music-sector/
Previous episode Adam Webb (FanFair Alliance) on ticket resale and the FanFair Alliance's campaign: https://podcasts.apple.com/gb/podcast/uk-caps-ticket-resale-at-face-value-what-took-so-long/id1037405920?i=1000737461606
Recorded at The Shure Experience Centre, London.
Sign up to our newsletter at http://drownedinsound.org

Movements & Music - Introducing Sounds Like Change

Drowned in Sound is thrilled to reveal the first series in our new podcast network, with more shows to be announced soon.
Hosted by music and social change expert, start-up founder, and campaign organiser Ariana Alexander-Sefre, Sounds Like Change brings together artists, thinkers, and changemakers to explore the profound role music plays in shaping our mental health, identities, and collective futures.
The podcast manages to merge a fresh perspective on activism with an len through which we clearly can see music as a cultural force with the power to shift how we feel, relate, and act in a society that has left so many of us feeling hopeless
Each episode starts with a song of hope chosen by the guest, then moves from personal stories to wider societal questions, and ultimately toward imagining better futures. Conversations are interwoven with moments of sound and reflection, creating space to feel and process.
In this edition of the Drowned in Sound podcast, we introduce you to Ariana and share a taste of the pilot episode, with Drowned in Sound founder and our podcast host, Sean Adams, talking about the role artists like Dead Prez and David Bowie played in his political awakening.
Ahead of the first episode, you can now subscribe to Sounds Like Change on Apple Podcasts, YouTube, or wherever you get your podcasts. Give the show a follow on Instagram here.  To contact the show or pitch ideas please email podcasts@drownedinsound.org.
This week's playlist + Qobuz free trial.
Visit https://drownedinsound.org/playlists/ to hear Sean's political awakenings playlist and discover new music in rich Hi-Res lossless quality. Start your 30-day free trial of Qobuz at https://qobuz.com/dis.
Edited by: tell.studio (Phil, Louisa, Owen, Matt)

Nobody Consented to This: How AI Is Using Artists' Music, Voices and Likenesses Without Permission

Is AI a human rights issue for musicians? And why isn't the UK government treating it like one?
In Part 2 of our conversation with David Martin, CEO of the Featured Artists Coalition, we turn to the question that kept us talking long after we'd wrapped the UK Artist Touring Fund discussion: what happens when AI platforms train on artists' recordings, voices, and likenesses without their consent?
David explains why the FAC and the Council of Music Makers see protecting human creativity as fundamentally important, why record contracts signed in 2020 couldn't possibly have granted consent for AI uses artists didn't understand, and why the deals major labels have struck with AI platforms are, in his words, a scandal. Sean connects this to the UK government's investment in AI data centres and tax breaks, while 125,000 music industry workers and the Music Export Growth Scheme's entire annual budget sits at just £1.6 million.
They also get into David's answer to the £500 million question, why he thinks music in 2050 will be better than ever, the difference between AI hype and the NFT bubble, and why venues with broken dressing room windows in minus-four weather tell you everything about where the money actually goes.
This is the final episode of our season loosely themed around resilience. Send your questions to podcast@drownedinsound.org for an upcoming Ask Me Anything episode.
Links:
Featured Artists Coalition https://www.featuredartistscoalition.com Council of Music Makers https://councilofmusicmakers.org Musicians' Union https://themu.org Music Managers Forum https://themmf.net Music Export Growth Scheme https://www.bpi.co.uk/fund/music-export-growth-scheme/ This week's playlist: artists who speak up about AI + Qobuz free trial. 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.
Edited by: tell.studio (Phil, Louisa, Owen, Matt)
For 25 years our publication and podcast has recommended music. We now also spark conversations and create resources to help music fans discover their collective power.