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Q
Special commemorative issue (September 2020)
CategoriesMusic magazine
FrequencyMonthly
Circulation44,050 (ABC Jul – Dec 2015)[1]
Print and digital editions.
PublisherBauer Media Group
First issueOctober 1986
Final issueJuly 2020
CountryUnited Kingdom
Based inLondon
LanguageEnglish
Websiteqthemusic.com
ISSN0955-4955

Q was a British popular music magazine. It was founded in 1986 by broadcast journalists Mark Ellen and David Hepworth, who were presenters of the BBC television music series The Old Grey Whistle Test.[2] Q was published in print in the UK from 1986 until July 2020. In 2023, it was revived as an online publication, which ran until May 2024.[3]

History

[edit]

Q was originally published by the EMAP media group and set itself apart from much of the other music press with monthly production and higher standards of photography and printing.[2] In the early years, the magazine was sub-titled "The modern guide to music and more". Originally it was to be called Cue (as in the sense of cueing a record, ready to play), but the name was changed so that it would not be mistaken for a snooker magazine. Another reason, cited in Q's 200th edition, is that a single-letter title would be more prominent on newsstands.

In January 2008, EMAP sold its consumer magazine titles, including Q, to the Bauer Media Group.[4][5] Bauer put the title up for sale in 2020, alongside Car Mechanic, Modern Classics, Your Horse, and Sea Angler.[6][7][8] Publication ceased in July 2020 as Kelsey Media decided to buy a number of non-music titles from Bauer (Sea Angler, Car Mechanics and Your Horse),[9] making the 28 July 2020 issue (Q415) the last to be published.[10] The end of the print version of Q was blamed both on lower circulation and advertising revenue caused by the COVID-19 pandemic, as well as being "a symptom of an expert-free internet age."[11]

After the sale of the brand to Empire Media Group,[12] Q was soft launched as an online publication in November 2023, posting new content along with articles from their archive.[13] It was officially relaunched in January 2024, with a new editorial team spearheaded by US Editor Andrew Barker in Los Angeles and Oxford-based UK and Europe Editor, Dominic Utton.[12] In May 2024 the magazine ceased operations. Six full-time journalists were laid off.[14]

Original print magazine

[edit]
First issue of Q (October 1986)

The magazine had an extensive review section, featuring new releases, reissues, compilations, film and live concert reviews, as well as radio and television reviews. Each review included a rating from one to five stars. While its content was non-free they hosted an archive of all of their magazine covers.[15]

Much of the magazine was devoted to interviews with popular music artists.[2] According to Alexis Petridis of The Guardian, it was originally set up after the success of "rock’s old stagers" at Live Aid, which co-founders Mark Ellen and David Hepworth had co-presented, to focus on long-established acts that appealed to an older music market, such as Paul McCartney, Rod Stewart, Paul Simon, Elton John, Genesis, and Eric Clapton.[16] It also compiled lists, ranging from "The 100 Greatest Albums" to "The 100 Richest Stars in Rock", with a special edition magazine called "The 150 Greatest Rock Lists Ever" published in July 2004.[17] Q also produced a number of special editions devoted to a single act/artist like U2 or Nirvana, but these magazines stopped in 2018, with its sister magazine, Mojo[2] (also owned by Bauer) continuing to produce specials devoted to artists like Bob Dylan.

Promotional gifts were given away, such as cover-mounted CDs[15] or books. The January 2006 issue included a free copy of "The Greatest Rock and Pop Miscellany … Ever!", modelled on Schott's Original Miscellany.[citation needed] Each issue of Q had a different message on the spine. Some readers tried to work out what the message had to do with the contents of the magazine. This practice (known as the "spine line") has since become commonplace among British lifestyle magazines, including Q's sister publication Empire and the football monthly FourFourTwo.[citation needed]

The magazine had a relationship with the Glastonbury Festival, producing both a free daily newspaper on-site during the festival and a review magazine available at the end of the event. That was first started as a Select magazine spin-off, although as Q moved its focus to the Britpop and indie rock stars of the 1990s, it was decided that EMAP did not need two monthly titles (and Raw magazine as well) covering the same genre of music; Select was shut in late 2000, with Q continuing. In January 2008, Mojo was launched by EMAP as a rival to Uncut and focused on all the rock stars, now viewed upon as being heritage and classic, that Q originally featured in its pages in 1986. In late 2008, Q revamped its image with a smaller amount of text and an increased focus on subjects other than music.[citation needed]

In February 2012, Andrew Harrison was recruited as editor, replacing Paul Rees during a difficult period when on-line publishing had led to a 17% decline in the magazine's circulation in the first half of 2012. It had fallen to 64,596 units; a reduction in volume described by The Guardian as "the worst performance of any music magazine in the period".[18][19] Directly reporting to Publishing Director Rimi Atwal of Bauer Media Group, Harrison's brief said to "refocus" and revive the magazine and to that end he took on a number of new journalists launching the magazine's iPad edition, but decided against a rebranding. Under his tenure, Q was named "Magazine of the Year" at the 2012 "Record of the Day" awards.[20] He left just 14 months later, according to the Guardian, "as print music magazines continue to endure torrid times" and even free titles were failing to compete against blogs and platforms dependent on online advertising.[18]

In July 2020, Bauer published a Special Collector's Issue of the magazine (Q414), which it had intended to be the last edition[21][22] before deciding to attempt to sell the publication to another media group. This issue was more of a 'throwback' publication, similar to what Mojo had been doing, and featured articles and acts from 34 years of Q magazine. With other firms, such as Long Live Vinyl's owner Anthem Publishing,[23] ending the publication of a number of monthly music magazine titles, a buyer could not be found for the title, with editor Ted Kessler announcing that issue Q415 would be the last, on 20 July 2020.[24][16]

Notable articles

[edit]

In the early days of publication, the magazine's format was much closer in tone to that of Rolling Stone (though with some of the characteristic humour of former Smash Hits staff shining through), with Tom Hibbert's "Who The Hell..." feature (including interviews with people like Jeffrey Archer, Robert Maxwell, Ronnie Biggs[25] and Bernard Manning) and film reviews.[26] After EMAP started to publish a new magazine called Empire in 1989 (the idea being that Empire would be 'Q with films'), the movie reviews migrated to the new publication, with Q becoming a magazine focused on music (one found for sale alongside Select and Vox in various magazine racks).

In the 1990s, former NME staff writers, such as Andrew Collins, Danny Kelly, Stuart Maconie, and Charles Shaar Murray joined Paul Du Noyer and Adrian Deevoy at Q. Music coverage in IPC's 'inkie' indie weekly[27] was becoming more serious after Melody Maker closed down and so writers like Maconie[28] felt more at home at a publication that would still run tongue-in-cheek articles such as "40 Celebs About Whom We Only Know One Thing" and "Do I Have To Wear This, Boss?" (Du Noyer's feature about every band having a member who looks out of place in the line-up).[25]

In 2006, Q published a readers' survey, "The 100 Greatest Songs Ever", which was topped by Oasis' "Live Forever".[29] In the April 2007 issue, Q published an article listing "The 100 Greatest Singers", which was topped by Elvis Presley.[30] Lady Gaga posed topless in a shoot for the April 2010 issue of the magazine, which was banned by stores in the United States due to the singer revealing too much of her breasts.[31]

Other Q brands

[edit]

After a few years as a radio jukebox, Q Radio launched in June 2008 as a full-service radio station with a complete roster. Shows and presenters include Drivetime with Danielle Perry and Q the 80s with Matthew Rudd. The station was transmitted on the digital television networks in the UK and online. Coldplay were involved with the launch of the station by giving an exclusive interview on Q's flagship programme QPM on the launch day. It was based in Birmingham alongside the now-closed Kerrang! 105.2 after moving from London in 2009. The station was closed in mid-2013 after owners Bauer Media decided to use the station's bandwidth on various platforms (DAB, Digital TV) to launch Kisstory, a spinoff of their Kiss brand. There was a Q TV television channel in the UK, which launched on 2 October 2000 and closed on 3 July 2012.[32]

Q held a yearly awards ceremony called the Q Awards from 1990 until 2019. The Q Awards came to an end along with the publication itself.

Criticism

[edit]

According to the global business magazine Campaign in 2008, Q had been criticised for "playing it safe" with its album reviews and cover mounts.[33] In its early years it was sneered at as "uncool and lacking edge", with Steven Wells from NME calling it "the magazine that says 'Hey kids, it's alright to like Dire Straits'".[16]

In a 2001 interview in Classic Rock, Marillion singer Steve Hogarth criticised Q's refusal to cover the band despite publishing some positive reviews.[34] In 2005, after winning the Q Legend award at the Q Awards, New Order bassist Peter Hook criticised the magazine for being "two-faced" as it had given New Order bad reviews.[35]

References

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

Q (magazine)

View on Grokipedia
from Grokipedia
Q was a prominent British music magazine that focused on rock, pop, and related genres, targeting an older, more affluent readership with in-depth journalism, high-quality photography, and monthly publication. Founded in October 1986 by journalists and broadcasters Mark Ellen and David Hepworth, it emerged as a sophisticated alternative to weekly music titles like NME, aiming to appeal to fans revisiting classic artists from the 1960s and 1970s amid the CD reissue boom. Early issues featured cover stars such as Paul McCartney, Elton John, and Eric Clapton, setting a tone of respectful yet irreverent interviews that became a hallmark of the publication. The magazine gained significant cultural influence during the 1990s, particularly through its coverage of and events like the 1996 Q Awards, where British Prime Minister met Oasis frontman , symbolizing a pivotal moment in "." It was renowned for annual "100 Best" lists on albums, singles, and guitarists, as well as the , which ran from 1990 to 2019 and honored achievements across various music categories. Under ownership shifts from EMAP to , Q reached peak circulation of 200,000 monthly copies in 2001 but faced declining sales in the 2000s due to the rise of online and free content. Bauer ceased print publication in July 2020 amid the , with the final issue dated August 2020, citing insufficient advertising revenue and a drop to 28,000 copies per month. A digital revival launched in December 2023 under a licensing deal with New York-based Empire Media Group, operating via www.qthemusic.com and achieving 1.5 million monthly page views, but it abruptly closed on , 2024, affecting six staff members despite growing audience metrics. Throughout its run, Q maintained a reputation for thoughtful, cynical analysis that bridged mainstream and niche , influencing the evolution of media in the UK.

History

Founding and early years

Q magazine was founded in October 1986 by journalists and broadcasters Mark Ellen and David Hepworth, who had previously served as presenters on the BBC's music television series Whistle Test and as writers for the pop magazine Smash Hits. Originally conceived under the title Cue—a reference to cueing a record on a turntable—the name was changed to Q to avoid confusion with a snooker publication. Ellen and Hepworth aimed to create a sophisticated alternative to the prevailing British music weeklies, such as NME and Melody Maker, which they viewed as overly tabloid and youth-focused, instead targeting an older readership with disposable income seeking more mature, in-depth coverage of music and culture. The inaugural issue, published monthly by EMAP, emphasized a glossy format with high-production values, including premium paper stock and extensive to elevate the visual presentation of beyond the newsprint style of contemporaries. It featured a landmark interview with conducted by Chris Salewicz, alongside coverage of artists like XTC's , setting a tone for substantive, long-form profiles rather than brief reviews. Subsequent early issues in the late 1980s included in-depth interviews with acts such as in July 1987 and Morrissey of in August 1987, reinforcing the magazine's commitment to thoughtful artist examinations. Q quickly achieved commercial viability, achieving strong circulation figures in the late that demonstrated strong market reception for its monthly publication model and positioned it as a staple in British media during the era's rise. This early success solidified its role as a bridge between pop culture and enduring , appealing to a broadening of enthusiasts.

Ownership and editorial changes

Launched in October 1986 by the EMAP media group, Q magazine was founded and initially edited by Mark Ellen, who oversaw its first 52 issues and established its focus on mature music journalism targeting an older readership. In 1990, Paul Du Noyer succeeded Ellen as editor, guiding the publication through the early 1990s with contributions from notable writers like Adrian Deevoy and a continued emphasis on in-depth features. EMAP retained ownership during this period, supporting Q's growth into a respected title within the UK's music media landscape. In December 2007, EMAP announced the sale of its consumer magazines and radio assets, including Q, to the German-owned for £1.14 billion, with the transaction completing in 2008. Under Bauer, Paul Rees, previously editor of Kerrang!, became editor-in-chief of Q in July 2008, tasked with expanding the brand across multiplatform channels, including enhanced website integration and digital content strategies to adapt to the rising influence of online media. This shift broadened Q's coverage to encompass more mainstream acts alongside its traditional rock focus, while introducing special anniversary editions, such as the 10th anniversary issue in 1996 and the 25th in 2011, which featured exclusive interviews and retrospective content. By the 2010s, editorial leadership transitioned to Ted Kessler, who joined Q in 2004 as reviews editor, advanced to features editor in 2010, and assumed the role of editor in May 2017. Under Kessler and Bauer ownership, Q further adapted to the digital era by launching initiatives like a weekly in 2019, integrating online-exclusive content with print editions to maintain relevance amid declining physical sales. These changes reflected a strategic pivot toward diversified music storytelling, incorporating broader cultural elements while preserving the magazine's core commitment to authoritative interviews and analysis.

Decline and print closure

In the 2010s, Q magazine experienced a significant decline in circulation, dropping from a peak of over 200,000 copies in 2001 to around 77,500 by , a year-on-year decrease of 12.1%. By 2019, sales had further eroded to approximately 28,000 copies per month, reflecting broader challenges in the print sector driven by the rise of , music streaming services, , and changing consumer habits that favored free or instant online content over physical magazines. The exacerbated these pressures, severely disrupting advertising revenue and print distribution channels as lockdowns halted live events, reduced ad spending from music-related industries, and accelerated the shift to digital consumption. In May 2020, parent company Bauer Media placed Q up for sale alongside other titles amid a sharp downturn in both sales and advertising, but no buyer emerged. This led to the decision to cease print publication entirely, announced on July 20, 2020, with the August issue—dated July 28—serving as the final edition after 34 years. Under editor Ted Kessler, who had provided relative stability to the title in prior years, the farewell issue featured reflective editorials looking back on Q's history, including Kessler's personal letter apologizing for the abrupt end while expressing gratitude for the magazine's legacy in music coverage. The closure resulted in immediate redundancies for Q's editorial and production staff, contributing to the ongoing contraction of the UK music press and highlighting the vulnerability of specialist print titles to economic shocks.

Digital revival and final end

In August 2023, Andrew Barker was appointed of Q magazine by new owner Empire Media Group, with the mandate to lead a digital revival of the publication following its 2020 print closure. The initiative aimed to restore the magazine's legacy through online-exclusive content, including in-depth interviews and music features accessible via the website www.qthemusic.com.[](https://www.einpresswire.com/article/684221867/the-legendary-music-magazine-q-relaunches-under-empire-media-group-at-www-qthemusic-com) The digital edition launched in late January 2024, featuring exclusive interviews such as one with nine-time Grammy winner and another with of . To support the relaunch, the team expanded to include six full-time journalists based in the and , covering editorial roles under Barker and UK editor Dominic Utton. Despite early metrics showing 1.5 million page views and 926,000 unique visitors, the ceased operations abruptly in May 2024 after just five months, as a financial and business decision by Empire Media Group with no prior warning to staff. The closure resulted in the layoff of all six full-time journalists, effectively ending all Q publications and marking the definitive termination of the brand. As of , Q magazine remains fully defunct, with no ongoing digital or print activities under any ownership.

Publication format and content

and features

Q magazine was renowned for its glossy, high-production values, utilizing premium paper stock and vibrant to create an aspirational reading experience that distinguished it from contemporaries. Launched in amid the rise of the CD format, the monthly adopted a larger, polished layout designed to appeal to an older audience seeking sophisticated coverage, with issues typically featuring comprehensive content spanning over 100 pages of detailed editorial. This emphasis on quality production, including sharp imagery and durable binding, positioned Q as a premium product in the press landscape. Recurring structural elements defined Q's identity, including in-depth interviews often extending several pages to explore artists' careers and personal insights, alongside an extensive reviews section covering albums, singles, and videos. Signature columns such as "Who the Hell Do They Think They Are?" provided satirical takes on egos, while list-based features like the "100 Best" series offered curated rankings of albums, gigs, and tracks. From the onward, many issues included cover-mounted CDs or DVDs compiling exclusive tracks or covers, enhancing the tactile appeal and providing added value to subscribers. Special collector's editions, focused on thematic retrospectives, further exemplified the magazine's commitment to archival depth. The design evolved from its early years' focus on icons and text-heavy layouts in the late to more visually dynamic presentations by the , incorporating bolder graphics and to broaden appeal. Under editor Ted Kessler from 2017, the format shifted toward even deeper interview-driven content, moving away from listicles to prioritize narrative journalism. Compared to the edgier, youth-oriented , Q offered a more refined alternative, while being less specialized than Uncut's heritage focus, striking a balance between accessibility and authority in music coverage. Later iterations introduced digital supplements, but the core print design remained centered on immersive, high-fidelity reading.

Notable articles and interviews

_Q magazine was renowned for its in-depth interviews that captured artists at pivotal moments in their careers. One iconic example is the December 1998 feature with , conducted by John Aizlewood shortly after his arrest for lewd conduct in a Beverly Hills park restroom; billed as "The Only Interview," it offered a candid exploration of Michael's personal struggles, sexuality, and future in music, marking a rare moment of vulnerability from the pop star. Similarly, in the 1990s, shared insights into his songwriting process during multiple Q appearances, including a 1990 interview. The magazine also excelled in special features that engaged music professionals and readers alike. In 2007, Q polled 50 songwriters—including of and —to rank the "10 Most Perfect Songs Ever Written," with Jeff Buckley's cover of "" topping the list for its emotional depth and structural elegance, followed by tracks like David Bowie's "Life on Mars?" and Billie Holiday's "." For its 25th anniversary in 2011, Q produced a collector's edition compiling covers of seminal tracks by contemporary artists, such as Depeche Mode's rendition of U2's "," to celebrate the magazine's influence on music discourse. Contributor , an early Q alumnus, contributed long-form pieces that dissected band dynamics and artistic evolution, such as his examinations of Oasis's internal rivalries during their 1990s peak and Radiohead's experimental shift post-, blending critical analysis with insider anecdotes to illuminate their cultural significance. These articles exemplified Q's unique journalistic angle: an irreverent yet celebratory tone that embraced commercial success while scrutinizing both mainstream icons and indie innovators, often infusing humor and provocation to make complex music histories accessible and engaging.

Q Awards

Establishment and categories

The Q Awards were launched in 1990 by the British music magazine Q as an annual event to recognize excellence in the music industry, quickly establishing themselves as one of the UK's leading music honors. Held each year in London, the ceremony featured live performances by nominated artists, award presentations, and after-parties that brought together musicians, industry figures, and fans, fostering a celebratory atmosphere centered on rock, pop, and alternative genres. This format allowed Q to extend its influence beyond print, creating a high-profile platform that highlighted the magazine's editorial focus on innovative and influential music. The awards' categories evolved over time to reflect changing musical landscapes, starting with core honors such as Best Act in the World Today, Best Album, and Best New Act in the early , and later incorporating genre-specific and special recognitions like Innovation in Sound—introduced to celebrate groundbreaking production techniques—and Best Live Act. Voting was conducted by magazine readers through ballots published in the magazine and later online, ensuring a public-driven selection process that emphasized fan perspectives alongside industry trends; for instance, seven categories typically opened to reader votes annually. This reader-centric approach distinguished the Q Awards from more academy-based events, aligning closely with 's mission to champion accessible, broad-taste music appreciation. Early winners exemplified the awards' emphasis on global rock icons and emerging British talent, with U2 securing Best Act in the World Today in 1990, 1992, and 1993, underscoring their dominance in the post-punk and alternative scenes. Oasis, reflecting Q's affinity for Britpop, won Best New Act in 1994 and Best Act in the World Today in 1996 and 1997, capturing the era's raw energy and cultural impact. These victories highlighted the awards' role in spotlighting acts with wide appeal, from stadium-filling veterans to breakout stars. The events were tightly integrated with the magazine, featuring extensive coverage in subsequent issues, including winner interviews, behind-the-scenes photos, and special awards-themed editions that boosted circulation and reader engagement.

Legacy and discontinuation

The Q Awards established themselves as one of Britain's most prominent music award ceremonies, often regarded for their prestige in honoring artistic achievement across genres over more than three decades from to 2019. The event highlighted influential artists and albums, with standout winners including for Best Act in the World Today and for Best Solo Act in 2019, reflecting the awards' role in spotlighting contemporary music talent. These ceremonies, held annually at iconic venues like the Roundhouse, became a key fixture in the British music calendar, celebrating over 30 years of evolving trends from rock and pop to grime and indie. While generally celebrated, the Q Awards occasionally sparked controversies, including artist disputes and no-shows that added to their unpredictable allure. A notable example occurred in 2004, when , upon accepting the Classic Songwriter award, publicly accused of lip-syncing during her live performances, igniting a high-profile feud after she won Best Live Act. Such moments underscored the event's candid atmosphere, where unfiltered opinions from industry figures occasionally overshadowed the honors. The awards' run concluded abruptly in 2020, with the planned ceremony canceled due to the , as restrictions on large gatherings made hosting impossible. Following Q magazine's full cessation of publication in July 2020—attributed to pandemic-related financial pressures—no further events were revived, effectively ending the awards and marking the close of a significant chapter in the brand's history. In a symbolic gesture, singer received a final Q Award for the magazine, recognizing his donation to support laid-off staff. The ' enduring legacy lies in their comprehensive winners lists, which serve as a valuable historical archive documenting shifts in music popularity, from early honorees like Prince in 1990 to modern acts like , providing researchers and fans with a chronological record of cultural milestones.

Q TV

Q TV was launched in October 2000 by Box Television, a joint venture between EMAP and Television Corporation, as a 24-hour digital music channel specializing in , and alternative music videos. The channel served as a direct extension of the Q magazine brand, with its content developed in close collaboration with the magazine's editorial team to align programming with the publication's emphasis on in-depth music coverage and rock-oriented . This integration allowed for cross-promotion between the magazine and television platform, featuring exclusive artist content that complemented Q's print interviews and features. The channel's programming initially operated as a jukebox-style service, where viewers selected through premium-rate phone lines or voting, focusing on alternative genres to appeal to music fans seeking non-mainstream content. Over the , the schedule evolved to include themed blocks such as chart shows, artist interviews, and live performance segments that echoed the magazine's style of substantive discussions and acoustic sessions with musicians. These elements targeted young adults interested in indie and , fostering a shared audience with the magazine through branded exclusivity and promotional tie-ins. As part of broader shifts in the music television landscape toward celebrity and mainstream programming, Q TV ceased operations on 3 July 2012, after nearly 12 years on air, and was replaced by Heat TV under (which had acquired EMAP's consumer media assets in ). The closure reflected declining viewership for niche music channels amid the rise of online streaming, and there has been no subsequent revival of the Q TV brand.

Other spin-offs

In addition to its core publications, Q magazine produced a range of special editions that extended its brand into collector's items and thematic deep dives, particularly during the and . These included annual-style yearbooks reviewing the year's music highlights and genre-specific series, such as the 2013 special on the birth of covering the 1993 UK scene with in-depth features on key artists and albums. Other notable collector's editions focused on iconic moments and figures, like the 2003 Led Zeppelin retrospective and the 2018 photography issue featuring curated iconic images from rock history. Q also ventured into events and partnerships to broaden its engagement, notably sponsoring stages and content at major festivals. In 2019, the magazine partnered with London's All Points East festival to create bespoke advertising and promotional packages, leveraging its editorial expertise to drive ticket sales and audience interaction. Earlier, Q produced on-site newspapers and mobile coverage for , including special review editions in 2004 and 2010 that captured performances and cultural highlights. Branded merchandise, such as limited-edition posters and apparel tied to these events, was offered through official channels to fans. In the , Q experimented with digital extensions, launching an app in 2012 for enhanced reading experiences with interactive features, though it was short-lived amid shifting digital priorities. The magazine also dabbled in podcasts, including early audio content series in the late 2010s that complemented print interviews, but these initiatives were discontinued as focus returned to core publishing. Following the magazine's print closure in 2020 and a short-lived digital revival from late 2023 to May 2024, no active spin-offs persist as of 2025. Instead, remnants include archival content licensing through platforms like , allowing access to back issues and special editions for subscribers.

Reception and impact

Circulation and commercial success

Q magazine experienced steady growth in circulation following its launch in 1986, reaching a peak of over 200,000 monthly copies by 2001. This expansion was driven by a combination of subscriptions and newsstand sales, establishing it as one of the UK's leading music publications during the late and early . The magazine's primary revenue sources included advertising from music labels and related industries, which supported its operations amid rising production costs. In the 2000s, cover mounts such as compilation CDs were introduced to boost sales, contributing to temporary increases in circulation by attracting collectors and casual buyers. Although specific figures for international distribution are limited, Q achieved availability in multiple markets beyond the , enhancing its global reach. Commercial highs included lucrative tie-ins with the , which drew sponsorships from brands like , , , and , generating additional income through partnerships and event integrations. Prior to , Q experimented with digital subscriptions via platforms like Pocketmags, offering electronic access to issues in an effort to diversify revenue streams. By 2019, circulation had declined to approximately 28,000 copies per month, largely due to the rise of free online music content and shifting consumer habits away from print media. This drop reflected broader challenges in the magazine industry, exacerbated by reduced .

Criticism and legacy

Throughout its history, Q magazine encountered criticism for adopting a more conservative approach to coverage, particularly in the 2000s. According to a 2008 analysis in Campaign, the publication was faulted for "playing it safe" by favoring positive album reviews and offering promotional cover gifts, which some argued diluted its critical edge to appeal to advertisers and a broader readership. This perception intensified as Q evolved from its 1986 launch as an irreverent outlet for older rock fans—contrasting with the punk-influenced "inkies" like —to a mainstream glossy . Critics, including Barney Hoskyns, contended that this shift left little room for "passionate, , subversive, committed" , while Melody Maker's Chris Bohn dubbed it "the rock critic’s graveyard," alienating indie enthusiasts who favored the edgier, youth-oriented press. Despite these critiques, Q's legacy endures as a pioneer of long-form , emphasizing in-depth interviews, features, and retrospectives that elevated the genre beyond short-form commentary. Many of its alumni, such as —who contributed to Q before becoming The Guardian's chief rock and pop —have influenced contemporary with a similar blend of wit and insight. The magazine's attempted digital revival from 2023 to May 2024, which folded after just five months, underscored the challenges of transitioning print-era formats to online platforms amid declining ad revenue and reader habits. Q's cultural impact is evident in the Q Awards, launched in 1990, which became one of Britain's most prominent music honors, recognizing innovations and achievements across genres and serving as a key benchmark for industry accolades. Its extensive archives, spanning coverage of artists from the 1980s icons like and to figures, offer invaluable historical documentation of music evolution, preserved through back issues and year-end lists. Following the digital closure in 2024, the brand remains inactive, with its content accessible online but no longer actively produced.

References

  1. https://www.irishtimes.com/culture/music/q-magazine-closes-and-with-it-demise-of-the-old-music-press-is-complete-1.4309275
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  3. https://theopiatemagazine.com/2020/07/21/the-demise-of-q-magazine-another-death-knell-for-music-journalism-and-print/
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  5. https://www.bbc.com/news/entertainment-arts-53477377
  6. https://www.theguardian.com/music/2020/jul/20/q-magazine-to-fold-after-34-years
  7. https://www.crossrhythms.co.uk/articles/music/Q_An_overview_of_the_mainstream_music_magazine/60736/p1/
  8. https://www.theguardian.com/music/2020/jul/20/q-magazine-demise-signals-the-end-of-the-old-music-press
  9. https://www.rocksbackpages.com/Library/Article/paul-mccartney-an-innocent-manq-oct-1986
  10. https://www.rocksbackpages.com/Library/Article/u2q-jul-1987
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  24. https://www.linkedin.com/pulse/q-more-andrew-barker-bj8pc
  25. https://www.einpresswire.com/article/684221867/the-legendary-music-magazine-q-relaunches-under-empire-media-group-at-www-qthemusic-com
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  29. https://www.the-paulmccartney-project.com/interview/interview-with-q-magazine-2/
  30. https://www.cinemablend.com/music/Q-Magazine-Picks-Greatest-Songs-Ever-Written-6165.html
  31. https://www.u2.com/news/title/achtung-baby-covered/
  32. https://news.bbc.co.uk/2/hi/entertainment/6098926.stm
  33. https://www.prsformusic.com/m-magazine/news/q-awards-2012-voting-opens
  34. https://www.bauermedia.co.uk/news/q-awards-2019-winners-announced/
  35. https://www.everyhit.com/awardq.html
  36. https://news.bbc.co.uk/2/hi/entertainment/4325840.stm
  37. https://www.musicweek.com/media/read/the-1975-stormzy-and-lana-del-rey-among-big-winners-at-q-magazine-awards-2019/077775
  38. https://www.hollywoodreporter.com/music/music-news/elton-john-madonna-feud-insults-358794/
  39. https://www.femalefirst.co.uk/music/musicnews/paul-heaton-last-ever-recipient-award-1261806.html
  40. https://www.thejournal.ie/q-magazine-to-stop-publishing-5155253-Jul2020/
  41. https://news.sky.com/story/paul-heaton-receives-final-q-award-after-amazingly-kind-act-as-magazine-folded-12100456
  42. https://www.campaignlive.co.uk/article/bauer-axes-q-tv-nearly-12-years-heat-tv/1133462
  43. https://www.theguardian.com/media/2000/oct/12/emap.pressandpublishing
  44. https://drew1440.com/2021/08/03/remembering-uk-music-channels/
  45. https://www.worldradiohistory.com/UK/Music-Week/2002/Music-Week-2002-02-09.pdf
  46. https://www.ebay.co.uk/itm/155890349115
  47. https://www.inpublishing.co.uk/articles/q-magazine-publishes-photography-collectors-edition-2716
  48. https://www.ebay.com/itm/167818193332
  49. https://www.bauermedia.co.uk/news/q-magazine-partners-with-all-points-east-music-festival-to-create-bespoke-commercial-package/
  50. https://www.journalism.co.uk/news/story911.shtml
  51. https://forum.muse.mu/topic/7961-q-magazine-special-edition-glastonbury-review-muse/
  52. https://www.theguardian.com/media/2013/apr/11/q-editor-andrew-harrison
  53. https://www.pressreader.com/magazines/m/qmagazine/issues
  54. https://www.edinburghnews.scotsman.com/whats-on/arts-and-entertainment/cds-on-magazines-what-happened-covermounts-c86-samplers-5270062
  55. https://www.discogs.com/label/10445-Q-Magazine
  56. https://duranduran.fandom.com/wiki/Q_%28magazine%29
  57. https://www.campaignlive.co.uk/article/blackberry-sponsors-qs-25th-anniversary/1075386
  58. https://www.campaignlive.co.uk/article/focus-q-awards/742201
  59. https://pocketmags.com/us/q-magazine/issues
  60. https://www.theguardian.com/media/2020/may/18/future-of-q-magazine-in-doubt-as-coronavirus-crisis-hits-media
  61. https://www.irishtimes.com/culture/q-magazine-closure-marks-the-end-of-one-chapter-in-music-journalism-1.4311758
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