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Cited by

• 2017Platform capitalism: The intermediation and capitalisation of digital economic circulation981 cited
• 2020Is music streaming bad for musicians? Problems of evidence and argument135 cited
• 2018Conceptualizing curation in the age of abundance: The case of recorded music53 cited
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• 2023Transversal Politics of Big Tech29 cited
• 2017Flexible value creation: Conceptual prerequisites and empirical explorations in open workshops27 cited
• 2022Does social media pay for music artists? Quantitative evidence on the co-evolution of social media, streaming and live music25 cited
• 2017Sonic capital and independent urban music production: Analysing value creation and ‘trial and error’ in the digital age24 cited
• 2023The rise of independent artists and the paradox of democratisation in the digital age: Challenges faced by music artists in the new music industry20 cited
• 2021Curating the urban music festival: Festivalisation, the ‘shuffle’ logic, and digitally-shaped music consumption19 cited
• 2024‘People don’t buy art, they buy artists’: Robot artists – work, identity, and expertise18 cited
• 2018Sustaining Enchantment: How Cultural Workers Manage Precariousness and Routine17 cited
• 2021Sonic branding and the aesthetic infrastructure of everyday consumption