With more people making lists on BMC since the start of Bandcamp Fridays, the way people are organizing music on the site is expanding, too—from themed lists to collections based around geography or era, all with a natural bent towards the lesser-known. “Over the past year, we’ve seen a lot of growth that we didn’t anticipate,” says Reynaldo. “On Juneteenth, when there was a big focus on finding and supporting music from Black artists, we had a huge influx, hundreds of lists getting made in a single day.” What’s immediately appealing about BMC is how sparse and self-contained it is. You don’t have to make an account to publish a list. There are no social media-style features to speak of—you can’t follow users or individual lists, you can’t track your engagement, and you certainly can’t pay for promoted exposure. Outside of selected homepage picks by the site’s team of volunteers, the only way you can sort new lists (for now) is by “Most Recent,” which can make using BMC feel like sifting through the world’s most egalitarian record shop.

COTQ is featured here.

A followup to the article 'Do Fees Rationalize/Incentivize Communal-Culture Ecommerce?' checks in with actual musicians using the site, and finds that they're more or less unfazed by the change, and don't think it's evil by any means.