This thesis explores how Sofar Sounds, primarily known as live concert organizers, with digital platforms and tools, fosters community, inclusivity, and artist visibility within the digital music landscape. Using a qualitative case study approach, the research combines Fairclough’s (2010) three-dimensional Critical Discourse Analysis (CDA) with netnography (Kozinets, 2015) to examine Sofar’s Community Guidelines, selected blog posts, and user comments on Instagram.

The analysis shows that although Sofar promotes creativity and diversity through emotional language and stories, these values don’t always appear in deeper structures. Blog posts and guidelines highlight community values, but user comments include support and criticism, exposing a gap between inclusive messages and ongoing industry hierarchies.

The study draws on theories of cultural capital (Bourdieu, 1986) and social capital (Putnam, 2000) to assess how participation and recognition are shaped across platform communications. It concludes that Sofar Sounds enables meaningful engagement, but also reflects the limitations of platform driven inclusion.

This research adds to discussions about representation, platformization and fairness in creative industries by looking at how alternative platforms like Sofar Sounds encourage new ways for audiences to connect, build social ties and be included. It shows the need for stronger and longer lasting efforts to achieve genuine inclusion while dealing with existing industry challenges.

Keywords: alternative media, community, inclusivity, cultural capital, social capital, Sofar Sounds, netnography, discourse analysis