『The Broadcast』――ツアー開催に向けた12週間の計画
It all started with "Album of the Month"
ラフィ・マーサー
There is a corner of the room where the decks live. They have always lived there — cables coiled, crates stacked at an angle that only makes sense to me, the mixer sitting patiently between sessions that come and go without ceremony. I have played music in that corner for years. To myself, mostly. Sometimes to a room of people who weren't there.
What I haven't done yet is speak into it.
That changes in twelve weeks. Not with a grand launch, not with a venue hire or a press release. It starts where everything here starts — at home, with a mic and a set and the quiet confidence that the right people will find it.
Here is what the next twelve weeks look like.
Weeks one and two. Get the room right. The decks are there. What's missing is the recording chain — interface, mic positioned well, monitoring through headphones, a simple setup that captures both the mix and the voice cleanly. No studio. No engineer. Just signal, recorded properly.
Weeks three and four. Record the first set. Not for release — for ears. Play it back. Listen like a stranger would. Adjust the balance between music and voice, find the rhythm of the thing. This is where the format gets decided. How long between records before the voice arrives. What the voice is actually doing — not presenting, not announcing, but taking the listener somewhere.
Week five. The first broadcast. Live to the website. Tracks & Tales has the platform, the audience, and now it has a room. The show goes out. Deliberately quiet about it — no fanfare, just a link in the newsletter and a note that says something is new.
Weeks six and seven. Two more home broadcasts. Tighten the format. The show needs a name, a loose shape, a sense of arrival each time it goes out. Find a record to open with every episode — not the same record, but the same feeling.
Week eight. Take it local. One venue, already mapped. A listening bar or a vinyl café in the city that would understand immediately why a live broadcast from their floor makes sense. Propose it simply — bring the gear, bring the audience, leave them with something to talk about.
Weeks nine and ten. Record from the venue. Not just music but room — the ambient warmth of a space built for sound, a voice that now belongs somewhere rather than everywhere. The broadcast changes when there is a room behind it.
Weeks eleven and twelve. Start the conversation with three venues outside the UK. There are listening bars in Tokyo, Lisbon, and Copenhagen that already appear on this platform. Write to them not as a media partner but as a host. Tell them there is a show that could sit inside their walls for a night and reach listeners in forty countries.
Twelve weeks. Home to local to global — the same route the platform has always taken.
The corner of the room has been patient long enough.
FAQ's
Will the show be available after broadcast?
Yes. Each episode will be archived on the site — available to Listening Club members in full, with a shorter edit for everyone else.
What kind of music will it feature?
The same records that shape everything here — vinyl, deep listening, albums worth a room. Not genre-locked. Sound-led.
Can I tune in from outside the UK?
That is precisely the point.
Every month, The Listening Club gathers around the world. Join here.
ラフィ・マーサーは、音楽が重要な役割を果たす場所について執筆しています。「Tracks & Tales」のその他の記事をご覧になりたい方は、購読するか、こちらをクリックして続きをお読みください。
