Titlebook: Geographically Isolated and Peripheral Music Scenes; Global Insights and Christina Ballico Book 2021 The Editor(s) (if applicable) and The

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978-981-16-4583-9The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Singapor

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,Heard, not Scene? Dublin’s Popular Music Viewed from the Inside and Outside,al music scenes, its insider–outsider dialectic further considering independent and underground networks negotiating the same milieu. It considers why from postcolonial and geopolitical perspectives, Dublin represents an isolated periphery, and how, within Ireland, cultural-national ideologies histo

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You Get to Know the Scene Inside Out, but the Cost of Travel is a Burden: The Impacts of Isolation th, Western Australia. Drawing on interviews with musicians and industry practitioners active during a particularly pivotal period for the scene’s integration with national and international markets—the mid–late 1990s through to the mid-2000s—this chapter also considers the influences of the city’s

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Wild Nights in the Cool North: Embracing Otherness in Icelandic and Faroese Music Festivals,nal aspirations, these issues present both challenges and advantages for artistic and career development. In this chapter, I focus on two popular music festivals: G! in the Faroe Islands and Reykjavik’s Iceland Airwaves as case studies to explore discourses of peripherality and isolation. Drawing on

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,Social Media in Chile’s Indie Music Scene: Crossing Local and Global Boundaries,em make decisions about their music in looking to international reach. Chile, isolated by distance and geography, has a small population (18 million) compared to other Latin countries. Based on data gathered from different actors within the current scene from three cities (N: 30), we discuss the imp

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