ABSTRACT
In the case of Sofar Sounds, disseminating videos after concerts becomes important, since it is difficult for most new bands to have access to high-quality promotional materials, and especially for generate products to be distributed to a wider audience. Sofar Sounds is revolutionizing the do-it-yourself (DIY) music scene. Even with diverse independent events in all parts of Brazil, it is possible to find agents whose work is based on a different logic, as they continue to perform their shows, organize their tours, record their albums and so on, thus adopting a more traditional DIY stance. There are some issues involved in the meaning of the DIY concept that are deeply rooted in views set forth by journalists, cultural critics, musicians, producers and fans–especially those of Anglo-Saxon origin. The chapter looks at the tensions between the individual and the collective that are behind one of the mediations of DIY processes and negotiating differences that arise between actors in the Sofar network.
