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Clash (magazine)
Clash (magazine)
Clash (magazine)
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Clash
Cover from November 2016 edition, featuring Dua Lipa
EditorRobin Murray
CategoriesMusic magazine
FrequencyFour times yearly
First issue2004
CountryUnited Kingdom
LanguageEnglish
Websiteclashmusic.com
ISSN1743-0801

Clash is a music and fashion magazine and website based in the United Kingdom. It is published four times a year by Music Republic Ltd,[1] whose predecessor Clash Music Ltd went into liquidation.

The magazine won awards including the Best New Magazine award in 2004 at the PPA Magazine Awards, Magazine of the Year at the 2011 Record of the Day Awards,[2] and others in England and Scotland.

History

[edit]

Clash was founded by John O'Rourke, Simon Harper, Iain Carnegie and Jon-Paul Kitching.[3] It emerged from the long-running Dundee, Scotland-based free-listings magazine Vibe. Re-launching as Clash Magazine in 2004,[3][4] it won Best New Magazine award at the PPA Magazine Awards[5] and Music Magazine of the Year at the Record of the Day Awards in 2005[6] and 2011 respectively.

At the turn of 2011, Clash took on an entirely new look, ditching its previous glossy feel and music-led design for an altogether more artistically-led approach. In 2013, it launched a Smartphone channel, the iOS Apple Magazine app of which went on to win 'Best Music Magazine' at the Digital Magazine Awards. In February 2014 it expanded into Android handsets.

In November 2014, the magazine published its 99th edition, but then withdrew from print publication in favour of moving to an online-first operation. The Web-based service continued throughout the magazine's absence from the news-stands. In late 2015 it was announced that Clash would return to print as a bimonthly magazine from February 2016, beginning its revived run with a 100th issue special.[7]

Positioning

[edit]

The publication draws on the larger Clash brand, which extends to live events around the country and festival partnerships/parties (such as RockNess, Snowbombing, and SXSW), and the website, ClashMusic.com. 2011 saw Clash partner Levi's and Spotify to bring Primal Scream to London's Electric Brixton for one of their final shows with the former the Stone Roses member, Mani.

The Clash Live brand's London activity used to incorporate a once-monthly club night at The Lexington, part of their tastemaking Ones To Watch section, which has played host to acts including Swimming, Three Trapped Tigers, Alpines and Wild Palms. More recently, this activity re-branded to be called 'Next Wave' in order to reflect internal changes in the magazine and now enjoys a residency at Hackney's new Oslo venue.

ClashMusic.com

[edit]

ClashMusic.com launched in early 2008. The website often encompasses a wider variety of genres than its parent magazine, with pieces on left field acts like Gonjasufi and Perfume Genius, as well as emerging artists, appearing alongside content that ties in with magazine-featured artists. The website features numerous ongoing features such as "DJ Disasters", "Rapture & Verse" and "A Letter From...". It runs a Track of the Day feature from Monday to Friday.

The website underwent a redesign in October 2012, bringing it in line with the look of the print magazine.

Clash Essential 50

[edit]

On 30 March 2009, ClashMusic began publishing the Essential 50—fifty albums which the website considered "the 50 greatest, most significant, downright brilliant albums of Clash's lifetime".[8] Made up entirely of albums released in the past five years,[9] the list was published in sections of three, with the top ten being released individually between 15 and 24 April 2009.[9][10]

Awards

[edit]
  • Music Magazine of the Year – Digital Magazine Awards, 2013[11]
  • Magazine of the Year – Record Of The Day Awards, 2011[2]
  • Magazine of the Year – PPA Scotland Magazine Awards, 2008[12]
  • Consumer Magazine of the Year – PPA Scotland Magazine Awards, 2008[12]
  • Consumer Magazine Editor of the Year – PPA Scotland Magazine Awards, 2007
  • Best Magazine Design of the Year – PPA Scotland Magazine Awards, 2007
  • Music Magazine of the Year – Record of the Day Awards, 2005[6]
  • Best New Magazine – PPA Scottish Magazine Awards, 2004[5]

Clash was nominated for Best Music Magazine and Best Podcast at the 2008 BT Digital Music Awards.[13]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Clash (magazine)

View on Grokipedia
from Grokipedia
Clash is a British music, fashion, and culture magazine and website that focuses on a diverse range of genres, from underground and emerging artists to mainstream acts, alongside coverage of film, interviews, reviews, and live events. Founded in 2004 in Dundee, Scotland, as a re-launch of the local free listings publication Vibe, it quickly established itself as a crossover title blending music journalism with lifestyle content. The magazine won the Best New Magazine award at the 2004 PPA Scottish Magazine Awards and was later named Scottish Magazine of the Year in 2008. After the original publisher, Clash Music Ltd, entered in 2013, the brand was revived under Music Ltd, returning to print as a quarterly in 2016 with a special 100th issue. Today, releases four issues per year, featuring high-profile cover stars and themed editions, while its online platform at ClashMusic.com provides daily news, features, and content. The also hosts events like Clash Live parties, festival partnerships with SXSW and Iceland Airwaves, and initiatives such as Clash Sessions to support emerging talent. Known for its in-depth interviews and visual storytelling, Clash has built a global audience through its emphasis on cultural "clashes" in music, , and beyond, maintaining a reputation as one of the UK's leading titles.

Founding and Early Years

Origins from Vibe

Clash magazine's roots lie in Vibe, a free listings publication established in , , during the late , which served as a key resource for local events, music gigs, and cultural happenings in the region. Vibe provided essential information for the area's vibrant arts and entertainment scene, fostering a community around emerging talent and amid Scotland's evolving . Building on Vibe's established platform, Clash was founded in 2004 as a dedicated spin-off by John , Simon Harper, Iain Carnegie, and Jon-Paul Kitching. O'Rourke and Harper drew from their prior experience in music journalism and , bringing insights into the industry's dynamics, while Carnegie's background in design shaped the publication's visual identity from the outset. Kitching contributed significantly to the early editorial content, helping to define its tone and focus. This collaborative effort leveraged Vibe's local infrastructure to branch into a more specialized music-oriented title. The founders' vision centered on transforming Vibe's listings model into a paid, nationally distributed magazine that would immerse readers in the burgeoning early 2000s indie music scene, emphasizing independent artists, underground sounds, and the cultural clashes of the era. This shift aimed to elevate music coverage beyond regional announcements, capturing the raw energy of and indie movements while appealing to a wider British audience.

Launch and Initial Focus

Clash magazine debuted in March 2004, published by Vibe Media as a quarterly title that transformed the free listings format of its predecessor into a premium print publication. The inaugural issue, a 100-page square-format edition priced at £2.50, marked the magazine's entry into the paid market, aiming to offer in-depth coverage beyond the basic event guides of free sheets. Distribution commenced in , leveraging the Dundee roots of Vibe Media, before expanding nationally to reach a broader audience seeking substantive . This strategic rollout positioned Clash as a credible alternative to giveaway publications, emphasizing quality over mass free circulation while building a subscriber base through newsstand sales and direct engagement. From its outset, Clash focused heavily on UK indie rock, emerging alternative scenes, and broader , blending music with fashion and lifestyle elements to capture the era's vibrant . The first issue spotlighted rising acts like Franz Ferdinand on the cover, alongside features on , , and , highlighting sharp, innovative sounds that defined early 2000s alternative music. This emphasis on both underground breakthroughs and cultural intersections set the tone for Clash's distinctive voice. Navigating the saturated 2000s music media landscape presented significant hurdles, including fierce competition from longstanding rivals like , which dominated weekly coverage, and the lingering influence of Melody Maker's indie legacy even after its 2000 closure. Additionally, transitioning from Vibe's free model to a paid, subscription-oriented structure required convincing readers of the value in deeper, ad-free editorial depth amid declining print viability and rising digital alternatives.

Editorial Evolution

Key Milestones and Changes

Clash magazine launched in March 2004, emerging from the Dundee-based free-listings publication Vibe, and quickly expanded its scope to include and content alongside its core music coverage. Initially published ten times a year, the magazine achieved broader distribution in its early years, capitalizing on the growing interest in scenes. In the late , Clash transitioned to a monthly publication schedule, marking a significant growth phase that solidified its position in the competitive music media landscape. This period saw the introduction of dedicated and sections, diversifying its appeal beyond pure . The magazine navigated the by maintaining its print operations amid industry-wide challenges, though broader market pressures began influencing publication strategies. In the 2010s, Clash adapted to digital shifts and economic pressures; Clash Music Ltd entered proceedings in November 2013, leading to a temporary suspension of print editions and a focus on online content until 2016. Revived under Music Republic Ltd, it relaunched as a bi-monthly title in February 2016 with a landmark 100th issue, emphasizing niche appeal and sustainable operations in a declining print market. Specific milestones included partnerships with major festivals such as T in the Park, where Clash provided exclusive ticket giveaways and on-site coverage to enhance reader engagement. By the late 2010s, the frequency had reduced to quarterly to prioritize quality and viability. As of 2025, Clash releases four issues per year, reflecting resilience in the niche music and culture sector.

Leadership and Editors

Clash magazine's early leadership was shaped by its founders, who transitioned the publication from its roots as the Dundee-based free-listings magazine Vibe into a dedicated music and fashion title. Simon Harper served as the initial editor following the 2004 relaunch as Clash, guiding its editorial direction during the formative years. By the late 2000s, Harper shifted toward a more strategic publisher role, overseeing business operations while John O'Rourke took on publishing duties, allowing the magazine to expand internationally. Iain Carnegie, a co-founder and longtime from the magazine's Vibe origins through the 2000s, played a pivotal role in establishing Clash's visual identity, blending indie aesthetics with bold design elements that defined its early issues. In the , notable appointments included Joe Zadeh as deputy editor, who contributed to strengthening the music coverage during a period of digital growth and diversification. As of 2025, Robin Murray holds the position of , leading a team that includes deputy editor Shahzaib Hussain and fashion editor Sabrina Soormally. Under Harper's editorship, Clash received the Consumer Magazine Editor of the Year award at the 2007 PPA Scotland Magazine Awards, recognizing innovations in content and team-driven approaches that elevated the publication's profile. This accolade highlighted the impact of leadership on fostering creative excellence. The editorial philosophy evolved from a founder-led emphasis on indie music scenes to a more inclusive framework under subsequent leaders, with diverse teams prioritizing broad representation in , fashion, and cultural coverage to reflect global audiences.

Content and Style

Positioning in the Market

Clash magazine targets a demographic of savvy young adults aged 18–35, primarily interested in alternative music, , and cultural trends, with online readership data as of October 2025 indicating that 25–34-year-olds form the largest group and the audience is roughly balanced between genders (54% male, 46% female). This positions Clash as a "cool" alternative to more mainstream music titles like and , appealing to readers seeking discerning, non-corporate insights into underground scenes rather than broad pop coverage. The brand's ethos centers on an eclectic, forward-thinking blend of music discovery, style, and film, with a deliberate emphasis on championing emerging artists and talents over established celebrities to foster genuine cultural innovation. This approach underscores Clash's role as a tastemaker that bridges underground and mainstream elements, prioritizing quality and crossover appeal in its . Its quarterly print format enables in-depth features and , setting it apart from weekly or monthly competitors, while its Scottish origins in provide a distinctive non-London-centric perspective on global music trends, incorporating diverse viewpoints from a regional base. Over time, Clash's positioning has evolved from its roots as an indie-focused publication emerging from Dundee's local listings scene in the to a tastemaker in the , adapting seamlessly to the streaming era and by expanding into digital platforms, live events, and festival partnerships like SXSW. This shift has allowed the magazine to maintain relevance amid declining print sales in the industry, transforming it into a multi-platform that integrates , reviews, and video content to engage a global audience while retaining its core commitment to discovering new music.

Core Coverage Areas

Clash magazine's print editions emphasize a multidisciplinary approach, blending music with complementary cultural spheres to appeal to a youthful audience attuned to contemporary trends. At the heart of its content is , featuring album reviews, in-depth artist interviews, and explorations of diverse genres such as indie, electronic, and hip-hop. These pieces often delve into emerging and established acts, providing critical analysis and context for listeners navigating evolving sounds. A signature element of this coverage is the for albums, introduced in 2014 to offer a clear, numerical evaluation alongside qualitative insights. Fashion and style form another pillar, with photo spreads showcasing visual editorials, trend analyses that dissect seasonal influences, and profiles of designers whose work intersects with music culture. These features highlight how apparel and aesthetics reflect artistic identities, often tying runway developments to concert scenes or album aesthetics. The magazine extends into film and lifestyle, covering independent cinema through reviews and festival highlights, while addressing youth trends via regular columns on books, technology, and broader cultural shifts. This section captures the intersections of screen narratives with musical inspirations, alongside practical explorations of gadgets and literature that resonate with modern lifestyles. In terms of format, Clash prioritizes long-form articles for substantive , complemented by visual-heavy layouts that integrate high-quality and graphics. Themed issues, such as dedicated editions or annual style guides, allow for focused deep dives into specific cultural moments, enhancing the magazine's immersive print experience.

Digital Presence

Development of ClashMusic.com

ClashMusic.com was launched in early 2008 as a digital extension of the Clash magazine, initially focusing on music news, artist interviews, reviews, and event listings to provide timely updates beyond the print schedule. The platform underwent significant technical evolution throughout the 2010s, transitioning from a basic website to a comprehensive digital magazine that incorporated multimedia elements. By 2013, Clash introduced an iOS app for iPhone and iPad, offering offline access to issues, streams, and exclusive content, which enhanced mobile engagement. In parallel, the site integrated video content through its dedicated YouTube channel and a podcasts section, with audio series available on platforms like Apple Podcasts starting around the launch period and expanding in the ensuing years to cover artist discussions and industry insights. Operated by Music Republic Ltd., the parent company of Clash since acquiring assets from the liquidated Clash Music Ltd., the website has seen steady growth in user traffic, reaching over 250,000 monthly visits by September 2025, largely propelled by strategies and active promotion across channels. Strategically, ClashMusic.com serves as a vital bridge between the magazine's quarterly print editions and daily digital content delivery, enabling real-time coverage of live events, , and emerging trends in music, , and to maintain audience connection in a fast-paced online environment.

Signature Online Features

ClashMusic.com distinguishes itself through a series of curated digital content initiatives designed to spotlight emerging and influential music talent. One of its flagship features, the Clash Essential 50, originated in 2009 as a countdown of the 50 most significant albums from the magazine's inaugural five years, serving as a benchmark for cultural impact and innovation in music. This series has evolved into an annual tradition of compiling essential albums, tracks, and artists, with recent editions such as the 50 Best Albums of 2024 (So Far) and the 60 Best Albums of 2025 (So Far) emphasizing rising talents and genre-defining releases to guide user discovery. Complementing these lists is the "Audio Inception" series, which provides forward-looking previews of promising artists poised to shape the music landscape. Launched to highlight breakthrough potential, the 2025 installment spotlights 25 emerging acts as key risers, positioning the feature as a vital resource for fans seeking new sounds and early exposure to innovative creators. The platform further enhances engagement with comprehensive live reviews from major festivals and venues, offering detailed on-site accounts that capture the energy and atmosphere of performances, such as reports from Lost Village 2025 and individual shows at London's Roundhouse and . Video content, including exclusive interviews and premieres, rounds out the multimedia offerings, with features like artist breakdowns and performance clips fostering deeper connections between readers and musicians. User interaction forms a core pillar of ClashMusic.com's online experience, enabling community-driven discovery and participation. Active comment sections on articles allow readers to discuss and debate coverage, contributing to a dynamic around music trends and releases. The site's , available for subscription since at least , delivers curated roundups of , reviews, exclusive interviews, and photo galleries directly to users, ensuring ongoing engagement beyond the website. Additionally, the "Win" section facilitates ticket giveaways for concerts and , such as pairs of tickets to boutique festivals featuring acts like and , which incentivize user involvement and tie digital content to real-world music experiences. These elements collectively emphasize tools for music exploration, including editorial playlists and genre-focused recommendations embedded in features, helping users navigate emerging scenes with guided, interactive curation.

Recognition and Impact

Major Awards Won

Clash magazine has received several notable awards recognizing its contributions to , design, and digital innovation since its relaunch in 2004. In 2004, shortly after its rebranding, Clash won the Best New Magazine award at the PPA Magazine Awards, highlighting its fresh approach to blending music, , and in the Scottish publishing landscape. In 2008, Clash was named Scottish Magazine of the Year at the PPA Scotland Magazine Awards. By 2007, the magazine's editorial and visual excellence earned multiple honors at the PPA Magazine Awards, including Consumer Magazine Editor of the Year for editor Simon Harper and Best Magazine Design of the Year, praising the publication's innovative layout and . In 2011, was named Magazine of the Year at the Record of the Day Awards, an accolade voted on by professionals that underscored its influence in music promotion and . The magazine's digital expansion continued to garner recognition in 2013, when its app won Music Magazine of the Year at the Digital Magazine Awards, celebrating the platform's engaging multimedia features for mobile users. Additional design accolades include Best Magazine Cover Design of the Year at The 2009 (Lifestyle category) and Best Magazine Feature of the Year at the Record of the Day Awards 2010 for the WARP20 pullout.

Influence on Music and Culture

Clash magazine has played a significant role in artist discovery by spotlighting emerging talents across genres, often through curated features and annual roundups that serve as launchpads for new acts. For instance, its "Audio Inception" series highlights promising risers, such as the 2025 edition profiling 25 artists poised to shape the year, positioning the publication as a key tastemaker for unsigned and up-and-coming musicians. This focus extends to underrepresented genres like , Gen Z pop, and genre-bending punk, providing early exposure that helps propel careers in a competitive landscape. The magazine's cultural impact is evident in its contributions to the UK alternative music scenes, where it fosters connections between artists, festivals, and style trends. Through extensive on-site coverage and "ones to watch" guides, Clash highlights alternative voices and hybrid genres, as seen in its previews of the 2025 Glastonbury lineup featuring acts such as The 1975 and Charli XCX. Additionally, its advocacy for diversity in music journalism is rooted in a multi-racial editorial team and content that champions inclusivity, such as essays on Black British experiences and calls for equitable representation following movements like #TheShowMustBePaused. This approach has helped shape broader cultural discourse on equity in the industry. As of 2025, Clash's industry legacy lies in its pivot to digital tastemaking, maintaining relevance amid shifting media landscapes by blending with and content to engage global audiences. Collaborations with cultural events, including immersive reporting and partnerships elevating emerging sounds, underscore its role in sustaining independent voices during print's decline. However, the publication has faced occasional criticisms regarding its review scoring system, with internal reflections noting concerns over inflated high ratings and a deliberate avoidance of zero scores to encourage nuanced , sparking debates on transparency and in coverage. Despite this, Clash is widely praised for its editorial independence and commitment to authentic .

References

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  3. https://www.musicweek.com/news/read/clash-magazine-wins-scotlands-ppa-awards/033610
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  38. https://www.clashmusic.com/live/
  39. https://www.clashmusic.com/features/
  40. https://www.clashmusic.com/music-videos/
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  42. https://www.clashmusic.com/news/sign-up-to-the-clash-newsletter/
  43. https://www.clashmusic.mtcserver.com/win/
  44. https://www.thedrum.com/news/scottish-magazine-awards-2007-results
  45. https://16kdesign.com/about/
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  47. https://www.inpublishing.co.uk/articles/digital-magazine-awards-2013-winners-announced-7525
  48. https://www.clashmusic.com/features/meet-the-next-wave-22-artists-who-will-shape-2022/
  49. https://www.clashmusic.com/features/glastonbury-festival-2025-ones-to-watch/
  50. https://www.clashmusic.com/news/following-theshowmustbepaused-we-must-enact-real-change/
  51. https://www.clashmusic.com/features/parallel-lives-an-essay-by-morgan/
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  53. https://www.clashmusic.com/features/clash-likes-to-score-the-psychology-of-scoring/
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