Eamon Forde
speaker
80 appearances
1 recordings
1 series
first heard May 2026
last heard 5 May
Eamon Forde’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in May 2026 with 1.
Appearances
And I guess the big concern is that it's using technology to kind of create affinity or to create threads for you to start to follow.
I guess the idea is that what Spotify and Apple Music represents
want to do is they want to kind of take a lot of the choice away from you and they think that they they're doing that as a fever so they're just going like trust us guys trust the brand i hate it i hate it so much yeah so this is a problem but that just presumes that's the only way that people listen some people do some people might just want a top 40 playlist and they might listen to commercial radio in the car and that kind of thing
And that's what they want.
But that just presumes that audiences are incredibly passive.
And it's almost like artists are either told explicitly to write music that will please the algorithm.
This sounds like very dystopian.
When you hear apocryphal tales of A&R meetings with artists saying, oh, yeah, we need a single, write something that will work on Spotify.
In the same way that artists were told we need a radio single.
And so it's no different from that, really.
I think like when people talk about them paying for the TikTok accounts, I don't see that as any different from someone paying an influencer or a micro-influencer to talk about their brand or whatever else.
I'm not saying that this is good, but I'm just saying that I don't know why this is... Trying to game the TikTok algorithm in this way is no different from using micro-influencers because they don't like that music.
So it's like where we get our references from are all conditional anyway because...
it used to be human gatekeepers.
So you needed to get a journalist who was favourable to your music or was prepared to write about you or a DJ that would play you or a playlist committee at Radio 1 who would put you on the C-list and see how it did and all of these things.
Now so much of it is decided by the mysterious, nebulous algorithm.
And it's all a bit mysterious and loads of artists are going like, we don't know how this works.
What are we supposed to do?
And you're kind of fighting against this
mysterious digital force.
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