Disagree: Khate De Castillo
Music today is often seen as deeply connected to the sounds of previous generations, with many artists borrowing or directly referencing older styles and genres. While it’s true that past music influences modern sounds, reducing contemporary musicians today to mere imitators of what has come before them overlooks their talent and creativity. Instead, today’s artists use historical influences as a springboard for innovation, blending them with new technologies, global styles, and fresh perspectives. Rather than relying solely on nostalgia, modern music evolves in response to cultural, political, and social realities, continuously pushing the boundaries of what music can be.
One artist who exemplifies this innovation is Fred Again. A record producer, singer, songwriter, and DJ who has emerged as a leading force in electronic music. His trilogy of albums titled Actual Life showcases his unique approach to production, incorporating samples of everyday sounds—fragments of conversations, voicemail messages, and even viral clips. This technique adds a layer of authenticity that sets his music apart from the often sterile and overly polished digital productions of today. Many assume that sampling is nothing more than repackaging old material, but in Fred Again’s case, it is a tool for reinvention rather than imitation. His work transforms familiar sounds into something entirely new, recontextualising moments of the post with a modern sonic landscape.
For example, his track “Marea (We’ve Lost Dancing)” captures the emotions of isolation and longing during the COVID-19 pandemic. The song samples a monologue by The Blessed Madonna, who reflects the absence of communal dance spaces. Fred Again doesn’t just reuse this sample; he reshapes it into a poignant electronic anthem, turning nostalgia into an optimistic expression of resilience and connection. This approach demonstrates that referencing the past isn’t about dependence but about using history to create something emotionally and culturally relevant today.
Speaking of electronic music, technological advancements have revolutionised music creation in ways that previous generations never had access to. The rise of digital production, AI-powered tools, and social media–driven music discovery has expanded creative possibilities beyond anything imagined before. Now, independent artists can produce, distribute, and promote their music without the need for traditional record labels, fostering a more fragmented and experimental music scene
Genres like hyperpop, spearheaded by artists such as 100 gecs, SOPHIE, and Charli XCX, illustrate how technology has reshaped music. Their sound distorts and warps conventional pop music, resulting in a futuristic and chaotic listening experience. These artists manipulate vocal effects, experiment with glitchy production, and layer unexpected sounds, proving that today’s musicians are not simply looking backward but are actively forging new, uncharted territories
With advancements in technology and the emergence of diverse genres, we can trace the joyful evolution of music. Artists like Fred Again do not simply recycle the past; they innovate, crafting soundscapes that reflect modern emotions and experiences. Music today is not about imitation but reinvention, proving that contemporary musicians are not just artists but architects of sound, shaping the future while acknowledging the past.
Agree: Emily Stevens
Does that song sound familiar? Well, it’s probably because you’ve heard it all before!
Are we becoming so reliant on paths paved by previous generations that we have forgotten that we can make our own way? With artists as prominent as Adele facing plagiarism accusations from Brazil and her song “Million Years Ago” getting banned from most platforms, it can’t help but feel like our generation’s musical voice is lacking authenticity. Plagiarism isn’t the only culprit responsible for the soundtrack of the 2020s feeling like a poorly manufactured echo of nostalgia, especially when the rise in unimaginative sampling has swarmed the music industry. When Central Cee samples the main riff from Eve and Gwen Stefani’s “Let me Blow Ya Mind” (2001) in “Doja” (2022), it feels closer to laziness rather than innovation.
The reliance on a previous generation’s experience means we lose our own unique voice.
This isn’t to say that original work is void, but in 2023, the BBC reported that “One in four Top 40 songs sampled an older track”. When a quarter of songs that are dominating charts contain samples, it is hard to find a reason to say that we are not overly reliant on the past. However, this isn’t without reason. With COVID-19 bringing the world to a halt, many of us were thrown into nostalgia, with no way of artists recording or performing. Arguably setting the tone for the rest of the decade, we emerged into somewhat normality, and cinema turned towards biopics of musicians. In this decade alone, over ten musical biopics have been announced or are already out, including musicians such as The Grateful Dead and Bob Dylan.
The comfort found in what we already know means that we revisit what is already there, losing desire to create something original or recycling sounds that are already loved. After the release of A Complete Unknown, Bob Dylan’s streams increased by over 18 million, exemplifying the revival of pre-existing songs. With music being passed down like old stories, and reiterated through sampling and plagiarism, the reliance our generation has on the past is clear.