This thesis studies how the music industry’s strategic communication practices interplay with and steer audience and fan engagement. Relationships with, and expectations on, “active”, “prosuming” or “co-creative” music audiences make it imperative for communication practitioners to produce engagement. The music industry has adapted its promotional strategies accordingly, and data-driven processes and algorithms have become ever more central to understanding and controlling audience practices. Currently, we are witnessing the emergence of new strategic communication approaches to follow, foster, steer, track and commodify audience engagement, via big data. Applying qualitative and ethnographic approaches and socio-cultural perspectives, the thesis explores how strategic communication practices are enacted and designed to cater for, interplay with and steer fan engagement. Drawing on practice and structuration theory, critical questions are asked about the social consequences of communication engagement and an engagement imperative – for both individuals and organisations involved in the strategic communication around a music brand.  Results indicate that the contemporary, digitalised music industry demands communication practices that are at the same time strategic, professionalised, agile and co-creative. The study highlights important implications of such practices, in terms of changing professional competences and ethics as well as context-specific articulations of the power relations that support and are (re-)produced through the engagement imperative. In sum, the thesis is aimed at extending our understanding of how strategic communication practices respond to, and change in, a seemingly liquid, yet at the same time carefully orchestrated, communicative context. 

For the music industry, audiences’ engagement around music artists is central to building and communicating artist brands. Currently, we are witnessing new communication approaches to track, foster and commodify audience engagement, partly via data-driven processes. This thesis studies how the music industry’s strategic communication practices interplay with and steer audience and fan engagement.

The thesis applies qualitative and ethnographic approaches and socio-cultural perspectives. Drawing on practice and structuration theory, critical questions are asked about the social consequences of communication engagement and an engagement imperative – for both individuals and organisations. Results indicate that the contemporary, digitalised music industry demands communication practices that are at the same time strategic, professionalised, emergent, agile and co-creative. The study highlights implications of such practices, in terms of changing professional competences, ethics and power relations that support and are (re-) produced through the engagement imperative. In sum, the thesis is aimed at extending our understanding of how strategic communication practices respond to, and change in, a seemingly liquid, yet at the same time carefully orchestrated, communicative context.