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‘More real than anything you’ll see scrolling’: the radical resurgence of UK fanzines, 50 years after punk
Fifty years after punk-era titles such as Sniffin’ Glue helped define the format, UK music fanzines are experiencing a revival as fans and creators look for alternatives to mainstream media, algorithms and short-form scrolling. The article argues that these DIY, self-published magazines matter because they offer a more tangible, personal and community-driven way to document music scenes and share enthusiasm. For their makers, zines are not just about fandom but also about preserving culture, building local networks and resisting the pressures of commercial music coverage.
The piece links today’s revival to both nostalgia and present-day needs, noting that modern zines cover a wide range of genres and scenes, from punk, hip-hop and glam rock to ska, mod, metal and folk. It highlights examples from across the UK, including titles focused on Glasgow, Belfast, south-east London, Teesside and the north-east, as well as newer projects such as Artificial, launched last year by an 18-year-old in Bristol. Contributors say zines create a lasting record of scenes that may otherwise disappear, with one editor describing them as a “living history” and others valuing them as a slower, more meaningful form of engagement than digital media.
In short
- UK music fanzines are enjoying a DIY revival
- Creators see them as resisting algorithms and commercial pressures
- Zines document local scenes and niche genres across Britain
Steelman: both sides, in good faith
The strongest fair case each way — we don't pick a winner.
The case for
Fanzines offer something genuinely irreplaceable—a tangible, intentional, community-centred way to document music and culture that resists homogenisation by algorithms and commercial pressures. They preserve local scenes that might otherwise disappear and allow people control over their cultural narratives rather than leaving storytelling to platforms and mainstream outlets.
The case against
Whilst fanzines have cultural merit, the resurgence narrative partly reflects nostalgia; digital platforms offer genuine advantages including lower barriers to entry, wider accessibility for marginalised creators, and far greater reach. Attributing depth uniquely to fanzines overlooks how people find authentic connection online and risks romanticising formats that, for all their value, had real limitations in accessibility compared to today's alternatives.
Explained simply
Music fanzines are self-published, DIY magazines created by fans and musicians to document music scenes. They emerged in the 1970s during the punk era, with influential titles such as Sniffin' Glue helping define the format and shape how people engaged with music culture. Though they declined with the rise of the internet, they are now experiencing a revival across the UK.
The resurgence is driven partly by the desire for alternatives to algorithms and commercial media coverage. Fanzines offer something more tactile and deliberate than online platforms that prioritise quick scrolling, allowing creators and readers to engage with music in a slower, more direct way. For many, they serve as a lasting record of local music scenes that might otherwise be lost, preserving cultural history in a personal way.
Today's fanzine revival spans diverse genres and regions across the UK, from punk and hip-hop to folk and metal, with new titles regularly emerging from cities including Glasgow, Belfast, London and Bristol. Contributors describe their work as creating a 'living history' of their local scenes, valuing the physical, intentional connection that fanzines foster between maker and reader.
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