So Young Magazine Release Their Twentieth Issue

In a day and age where journalism has predominantly evolved from magazines and newspapers to blogs, websites and social media accounts, the future of Music print publications grows increasingly uncertain. It may therefore come as a surprise to many that So Young are celebrating the release of their twentieth magazine issue.

Founded by Josh Whettingsteel and Sam Ford, So Young is a collaboration between artists, writers and musicians. It’s documentation on the underground guitar music scene picks up where the NME left off, presented in a DIY, zine-like fashion that perfectly caters to the interests of the subculture. It’s scruffy cut and stick style design is presented in colourful and abstract artwork, and unlike most other music publications, it’s pretty much free of advertising. This is further emphasised by the fact that basically all of its imagery consists of original artwork contributed by the newest talents in illustration. Competitions to gather artwork are promoted on their website and social media, encouraging anyone to get involved and become a part of the So Young community. And it’s this sense of community that drives the business, demonstrated in the growing number of music lovers sporting the brand on T-shirts, badges, and tote bags at gigs and festivals across the country. With what seems like an unlikely success story given today’s online dominated society, So Young is truly an Underground revolution.

So where does the success of So Young magazine stem from? It would appear there are a number of reasons. Where larger companies are targeting a general, mass-market, So Young’s journalism is more concise and focused, directly writing for its audience. In a day and age where there is such a vast amount of accessible journalism, reading something that feels personal to you goes along way. You get the sense that So Young is a magazine for music lovers created by music lovers, an aspect readers are attracted to this. Natalya Davies, founder of Absolutely Audio Press, has something to say on the matter: “There is no demand for larger publications to target mass-markets. Social media has equipped artists with platforms which fulfil the role of these publications and there is no longer a need for middle-men corporations to tell their brand story”. She adds, “Independent publications dedicated to niche genres usually play heavily on the importance of social belonging in their target audiences. Therefore, an opportunity has been presented through the basic human desire of wanting to connect with like-minded individuals”.

It would appear that the success of smaller publications stems further than So Young magazine. For example, independent title Electronic Sound launched in 2013 as an app however the business model failed. “After 19 issues we did the opposite of what everyone was trying to do and switched to print,” explains their editor-manager director (and former Melody Maker writer) known as Push. After implementing a clear focus and aesthetic, the rising title now shifts 10,000 copies a month and turns a profit.

After identifying a current rise in independent publications, it seems as though print journalism isn’t as bad off as we might have anticipated. Which begs the question, has our ability to connect with peers and online publications so easily encouraged consumers to seek exclusivity in the journalism they are digesting? Nonetheless, it demonstrates an encouraging positivity for print Journalism moving forward and proves that it’s up to us as music lovers to show our support to underground publications such as So Young to lead their charge and stay relevant in today's society.