The last YTAA Show of 2024 broadcast on 12-31-2024 is up on the YTAA Mixcloud page! Please give the show a listen and share it with all of your friends. The first time you sit behind the mic and hear that low hum of the studio, you realize it’s a weird kind of experience. You’re not broadcasting a war, no, you’re not even sending out a weather report; you’re sending out your heartbeat. You’re putting yourself on the line, with nothing but an inch-thick foam divider and a sliding board full of dials between you and the abyss of total silence, the void of being utterly ignored. But that’s the thing. Even when you feel apart and separated from others, you’re not really alone.
There’s something visceral about radio. Yeah, even in 2024. It’s a love affair with anonymity after a fashion — you’re sending out these fragments of yourself, these half-thoughts, barely strung together sentences (I try, I actually am trying for something snappy and catchy), hoping someone, anyone, will hear. But even when no one’s listening, it doesn’t matter. You can say the weirdest stuff. You can be as loud as you want, or as quiet as you need to be in that moment. It’s like a secret between you and the speakers on the other side of the room. Who knows if anyone’s tuned in? Does it matter? Perhaps, it doesn’t matter. You’ve got the mic, and in this space, it’s yours even if it is only for three hours. You’re not just DJing songs; you’re performing the act of being. Becoming.
And there’s a rhythm to it, a pulse you can feel in your chest. The songs bleed into each other, and you start talking, almost without thinking, like an out-of-body experience. You riff, you ramble, you may talk about everything and nothing — akin to late-night rants, whispered secrets, some tale of life in the margins. It’s punk, it’s soul, it’s funk, it’s rock ‘n’ roll, and if you’re doing it right, it’s all on the edge of disaster, waiting to fly off the rails at any moment. And that’s the magic. You could screw it up. You probably will. But that’s what makes it real. In an increasingly overproduced, AI-scam-laden world, radio may be messy but that is what creates some of the joy in doing it.
Well, folks, here we are at the end of 2024, and I gotta say—thank you for sticking with me through the weirdness, the noise, and the absolute chaos that is Your Tuesday Afternoon Alternative. You could’ve been anywhere, listening to anything, but you chose to tune in to this mess of records, rants, and ramblings. Maybe you were searching for something new, or maybe you just wanted to escape the grind. Either way, I’m grateful for your ears, your time, and your madness. This isn’t just my show—it’s our show, so keep riding the wave, wherever it takes us in 2025.
As we celebrate 20 years of Your Tuesday Afternoon Alternative, we thought we would ruminate for a moment or two on how music is selected for the show. It is never easy. There is always more that we want to play than we have the time to fit onto a show setlist. Curating a compelling playlist for any radio show is an art form that goes beyond just picking popular tracks or personal favorites. For an indie DJ, like myself, especially one focusing on alternative or non-mainstream genres, the process involves a balance of passion, research, intuition, and a non-ending effort to understand an audience. So, many listeners have asked how we choose music for Your Tuesday Afternoon Alternative, I thought I would create a list of key points and explain how we have been picking music over our 20 year history.
So, take a drink, and let’s jump in. Here’s a personal deep dive into the sometimes chaotic journey of how we select music for this radio show.
1. Understanding the Show’s Identity
The starting point for any DJ is a clear vision of the show’s identity. Being an indie DJ means that here at YTAA we strive to avoid the known names and focus on artists who are making incredible music but are overlooked for oh-so-many damn reasons. We typically try to craft a unique niche to stand out amidst the sea of mainstream programming. Whether the focus is alternative, indie-folk, dream pop, lo-fi beats, underground electronic, or indie rock, this identity serves as a guiding principle for music selection. When we say that we play “Music in all Directions!” this is what we mean.
Theme: Does the show explore specific themes, like nostalgia, indie holidays, memorial shows for those artists that we lost in the previous year, or emerging artists? We often decide to spotlight unsigned musicians or dedicate episodes to genres like shoegaze or post-punk revival.
Mood: We often prioritize mood over rigid genre boundaries. Whether the vibe is mellow, energetic, or experimental, the music should align with the emotional tone they aim to create. We might let more than the usual four songs and then radio break pattern because we don’t want to interfere with the groove, flow, or vibe.
2. Know the YTAA Audience
Understanding the audience is pivotal in crafting a playlist that resonates. While we often play music and artists we love, it is not exclusively about us. An indie DJ often caters to listeners who are adventurous, open to discovering new sounds, and appreciative of diversity. This is a critical piece of song selection for us at Your Tuesday Afternoon Alternative.
Demographics: Who is tuning in? College students might appreciate indie pop and fresh remixes, while an older audience might gravitate toward timeless indie rock or alt classics from the 80s and 90s alternative scenes.
Engagement Patterns: Over the years, we have tried to find ways to interact with the audience through social media, email requests, or live call-ins. Feedback from listeners helps shape future playlists, as we gain insights into what resonates and why those sounds or those artists mean something to the listener.
By understanding an audience, hopefully, we strike a balance between challenging listeners with fresh sounds and offering comfort through familiar tracks. Adventure and comfort may sound like contradictions, and perhaps that is not a problem.
3. Endlessly Scouting for New Music
Fear of missing out on an exciting song is something that drives Dr. J. One of the most exciting yet challenging aspects of being an indie DJ is the constant search for new music. Indie/Alternative music thrives on discovery, and looking for hidden gems means we may listen to hundreds of songs in the week before the show airs.
Digital Platforms: Streaming services like Spotify, Bandcamp, and SoundCloud are goldmines for discovering up-and-coming artists, even though those services have serious problems and refuse to compensate artists for the art they create. Playlists curated by other indie enthusiasts, labels, and blogs often serve as inspiration for YTAA.
Music Blogs and Reviews: Sites like Pitchfork, Stereogum, and Consequence of Sound provide reviews and spotlights on emerging indie artists. Niche blogs that focus on specific genres are especially valuable. Writers in local city papers can be worth their weight in gold in helping us find new artists and new music.
Live Performances: Attending local shows, festivals, and open mic nights allows us to experience new music firsthand and connect with artists in the Dayton community. This direct interaction often results in exclusive tracks or insider knowledge that we can share about the artists.
Labels and Press Kits: Indie labels like Rough Trade, Carpark Records, Gas Daddy Go, Sub Pop, 4AD, Sofaburn Records, Poptek Records, and Matador Records regularly send promotional material to DJs. Receiving press kits with unreleased tracks gives DJs access to fresh music before it hits mainstream platforms.
4. Balancing Familiarity with Discovery
One of the hallmarks of a great indie radio show is its ability to introduce listeners to new music while maintaining a sense of familiarity. That balance is always a challenge – we like to think of it as familiar without being too familiar.
Anchor Tracks: These are well-loved songs by established indie artists that help ground the playlist. For example, including tracks from artists like Tame Impala, The National, or Phoebe Bridgers can provide a touchstone for listeners.
Deep Cuts and Rarities: We often dig into back catalogs of popular bands to find lesser-known tracks, giving fans a deeper appreciation of their favorite artists.
Spotlighting the Unknown: The thrill of indie radio lies in the discovery of fresh talent. By including tracks from unsigned bands or debut singles, hopefully, we contribute, in some small way to creating an air of excitement and exclusivity.
Balancing these elements ensures the show is approachable while staying true to the indie ethos of exploration.
5. Crafting an Authentic Narrative or Flow
Great playlists tell a story or create a sonic journey. We carefully consider the sequence of songs to maintain engagement and evoke a range of emotions. Not too many fast songs in a row, not too many slow songs. We think of it as creating a wave and movement — ups and downs, fits and starts — that keeps the audience engaged and interested.
Opening and Closing Tracks: The first song sets the tone, grabbing the listener’s attention immediately. Over 20 years we usually start with a rocking driving tune. The closing track often leaves a lasting impression, so we choose something memorable or reflective, something that feels like it matters. Something that has the effect of a closer.
Transitions: Songs are placed in an order that feels natural, with smooth transitions in tempo, key, or mood. For instance, an upbeat indie-pop track might flow into a mid-tempo electronic piece before tapering into a dreamy ballad.
Themes: Some shows revolve around specific themes, like a “Summer Nostalgia” episode or a “Women in Music” feature. Thematic playlists require careful curation to ensure cohesiveness.
6. Incorporating Listener Input
Interactive elements often play a significant role across many of our radio shows. We incorporate song requests or dedicate segments to listener suggestions.
Requests: Allowing listeners to request songs fosters a sense of community and makes the show more dynamic. This is a sacred duty. It is important for us to do this to ensure these requests fit the show’s overall vibe.
Shoutouts: Listeners often feel a deeper connection to the show when their recommendations or dedications are acknowledged on air and in social media.
7. Staying True to Personal Taste
Any indie DJ’s personal taste is often the driving force behind their show. And we hope that is true for us. Passion for music is infectious, and when we share tracks we genuinely love, hopefully, it resonates with listeners. Our deep respect and love for local music is a critical hallmark to Your Tuesday Afternoon Alternative.
Signature Style: Do we have a style? Hmmm… this is an interesting question. We often try to develop a signature style that makes the YTAA show distinctive. This could be an affinity for quirky lo-fi sounds, obscure indie, or lush dreamscapes. We love it all.
Experimentation: We might take risks by featuring avant-garde or unconventional tracks, and it does not always work. While not every experiment will succeed, these moments often create the most memorable radio experiences.
8. Navigating Practical Constraints
Despite their creative freedom, we operate within certain boundaries that influence our choices. Yeah, left to our own devices, we would probably play songs with the occasional swear but we can’t. Or more correctly, we shouldn’t because there are consequences if we do so. Does anyone have a spare $25,000 to cover us for a song… right? Yeah, let’s not do that.
Time Limits: A radio hour typically includes advertisements, station IDs, and announcements, leaving about 40-50 minutes for music. We must prioritize tracks that fit the allotted time. This is why we rarely play long songs (five minutes or more is our definition here).
Licensing and Permissions: We often face restrictions on what we can play, depending on the station’s licensing agreements. This can limit access to certain tracks, especially from major or regional labels.
Technical Considerations: Some tracks may require editing for length, explicit content, or spoken elements in the beginning or ending of songs. Again, we have to ensure every song fits seamlessly into the show’s format.
9. Highlighting Diversity and Inclusivity
This matters. We often champion diversity by including music from a wide range of backgrounds, genres, and cultures.
Global Sounds: Many indie DJs explore music scenes from around the world, introducing listeners to genres like Afrobeat, K-indie, or Latinx dream pop.
Underrepresented Voices: Highlighting female artists, queer voices, or musicians of color can enrich the playlist and provide representation often missing in mainstream radio.
10. Staying Current While Embracing Timelessness
Balancing the latest trends with timeless classics is a delicate dance. While we pride ourselves on staying ahead of the curve (if we are lucky), we also appreciate the value of songs that transcend time.
New Releases: Every Tuesday afternoon we regularly update the station libraries with the latest tracks, ensuring YTAA shows feel fresh and relevant.
Evergreens: Some indie songs never lose their charm. Revisiting tracks from influential artists like The Replacements, R.E.M., or Uncle Tupelo can add depth to a playlist.
Conclusion: We are doing our best but wish we could play more.
Choosing music for an indie radio show is both an art and a science. It requires personal dedication, creativity, and a deep connection to the music. For us, every playlist is a reflection of our identity, a bridge to an audience, and a celebration of the vibrant, ever-evolving world of indie music. By blending passion with thoughtful curation, we hope to craft shows that are not just entertaining but deeply meaningful experiences for listeners. Thank you for sharing your valuable time with us over these 20 years. It means the world to us here.
In a dimly lit space of my basement home studio, surrounded by an array of vinyl records, cassette tapes along a small wall, stacks of vintage vinyl 45s, piles of CDs, and an eclectic mix of posters from local and underground shows, I sit hunched over a laptop, ready to embark on music discovery. With a cat on my lap and another nearby, I listen to new songs, local music, and pieces of someone’s heart that they have kindly shared with Your Tuesday Afternoon Alternative. This is my sanctuary, the cockpit from which I navigate a vast sea of independent music. As an indie music radio DJ, I’ve made it my mission to curate and broadcast tunes that I believe in, music that resonates beyond the mainstream. There is no shame in loving the music that speaks to you, mainstream or not. But I want to find something new, something unique. Perhaps it is an overwhelming sense of fear of missing out on something incredible, something wonderful that was released and far too few have heard it. Providing a conduit for the amazing music that has gone overlooked has kept me interested in radio for over 19 years at WUDR and for many years prior.
My love affair with indie music began in the smoky corners of obscure spaces, crowded clubs, and hidden venues in Minneapolis in the 1980s. And that interest was heightened in 1983 when I joined KUMM Student Radio at the University of Minnesota at Morris. I had chosen a college a few hours away from home, Herman, Minnesota population 550. My graduation class only had 25 students in it. I was not sure what I wanted to become when I went to college, but I knew one thing quite clearly — I wanted to leave the confines of small-town Minnesota life. The albums that my classmates loved were not my music, they did not feel real and authentic to me. The music that I heard on the few radio stations — mostly country music — did not speak to me nearly as much as the obscure bands and music that I found on late-night TV shows or magazines like The Trouser Press, Cream, and Crawdaddy.
I had a few musically progressive friends and a cousin who was like a brother to me who broadened my music experience. I was exposed to so many unique bands and records by cool friends who introduced me to bands like The Ramones, Big Star, Alice Cooper, R.E.M., early KISS records, The Replacements, The Suburbs, Loud Fast Rules (who later changed their name to Soul Asylum), and Prince. I am still prepared to argue that his first three records were and are brilliant records that fused soul, funk, R&B, pop, and punk. While I enjoyed the British New Wave of Gary Numan and the Romance Wave of Roxy Music, it was Duran Duran who led me to Joy Division, Adam and The Ants, Spandau Ballet, and The Cure. From ‘Planet Earth’ and ‘Girls on Film,’ I found ‘Love Will Tear Us Apart,’ ‘Transmission,’ ‘Ant Music,’ ‘True’ and ‘Boys Don’t Cry’ — I then spent years over Robert Smith’s catalog. I was captivated one late night when David Bowie’s music video for Ashes to Ashes played on some obscure program. It was life-changing and led me to seek out music from Ziggy Stardust in all of his personas and identities.
While others were getting lost in the polished melodies of chart-toppers, I found solace in the raw, unfiltered sounds of independent artists. It wasn’t just about the music; it was about the stories told through the lyrics, the rebellion against conformity, and the genuine passion that fueled every chord, every snap of the drum, every note that was delivered with passion. These sounds and bands were authentic and real to me. I read a story in a music magazine — Melody Maker, New Music Express, Smash Hits… to be completely honest I do not remember — about a band named after a plane, U2, and that eventually led me to their first album ‘Boy’ and that again, led me to be changed. Now, to be fair I was listening to a seriously concerning amount of Pink Floyd, Nick Drake, Television, and Patti Smith. The gateway of The Ramones led to The Sex Pistols, The Clash, Blondie (especially those early records), and more. While I did enjoy some truly strange fascination for some rock and pop groups, I had records and the usual posters on my bedroom walls of Scandal, Rick Springfield, Journey, Styx, Hall & Oates, and a brief fling with The Eagles’ Hotel California and Long Run (that led me to The Flying Burrito Brothers and Graham Parsons — thanks for sharing your records, mom!).
When I got to college, I decided to take this passion to the airwaves, embracing the role of a sonic designer. Armed with a microphone and a collection of gems that I could not wait to share, I set out to carve a niche for myself in the crowded world of radio, one that would champion the unheard and challenge the established norms. It helped tremendously that bands like R.E.M., U2, Ministry, Depeche Mode, Red Rockers, The Cure, and far more than I have the time (or you dear reader – the interest in reading) to recount here were releasing amazing records in the 1980s. The time period of 1983 to 1988 was not only my college years but an amazingly fertile time for what became known as College Rock then was labeled as Alternative or Post-Punk.
It has not always been easy trying to build bridges with the unknown for me. Being an indie music DJ is more than just spinning records or pushing play or fading sounds in and out; it’s about building bridges between artists and listeners. In a world saturated with predictable playlists, my goal is to be a conduit for the undiscovered. I sift through submissions from garage bands in Brooklyn to folk troubadours in the Pacific Northwest, searching for that spark of authenticity that sets them apart. We have a policy at YTAA, anything shared with us gets a listen. And in those perfect moments when we want to hear a song again, that captures our attention when there are so many records to preview, there is magic in the sound waves.
It’s not always about polished production or catchy hooks; it’s about the genuine emotion that reverberates through the music. Each song is a unique brushstroke on the canvas of the YTAA show, painting a sonic landscape that moves beyond the conventional. The thrill of introducing listeners to a hidden beauty, the adrenaline of playing a track that might just become someone’s favorite song – that’s the heartbeat of our radio station. I cannot express how much joy is experienced when someone requests a song we have played or calls the station to ask who was that amazing musician or band that they heard.
In the sprawling landscape of commercial radio, where playlists are often dictated by corporate interests or worse an inhumane algorithm, maintaining independence is a dance on a tightrope. Yet, this dance is the very essence of the existence of Your Tuesday Afternoon Alternative and my role as a DJ. There’s a certain liberation in knowing that a YTAA playlist is not dictated by market trends or corporate interests. Sometimes it is an accident of happenstance or from a connection on social media. Whatever the reason, it’s a rebellion against the formulaic, an assertion that there’s value in the unconventional, the unknown, the liminal. I would like to believe that we have built a community of listeners who crave the unexplored, and who trust this program to guide them through sonic places and spaces of undiscovered music.
Behind every track played lies a story – the struggle of an indie artist trying to be heard, the triumphs and tribulations of navigating an industry that often favors the polished over the genuine. It’s not just about the music; it’s about the people who create it. It is a privilege to interview artists whose stories are as compelling as their melodies. From the indie folk singer who busked on street corners to fund her first album to the punk rock trio that converted an abandoned warehouse into a recording studio, each narrative adds depth to the sonic tapestry we weave on the airwaves. These stories resonate with our listeners, connecting them to the music in ways that transcend the superficial. These are real experiences told by real people about the authentic music they have made to present some feelings, emotions, and ideas — the search for solidarity and connection through music is important and it should be protected at all costs.
One of the joys of indie radio is the freedom to be unpredictable. While commercial stations follow rigid playlists curated by algorithms, YTAA revels in the spontaneity of crafting a playlist that mirrors the ebb and flow of emotions. From ethereal dream pop to gritty pop-punk anthems, the playlist is a rollercoaster ride that keeps listeners on the edge of their seats wondering what is coming up next. One of the most exciting experiences in music is when we are surprised.
On YTAA we are not afraid to delve into uncharted territories, juxtaposing genres in a way that challenges preconceived notions. A haunting acoustic ballad might be followed by a raucous electronic track, or a looking-back indie classic creating a musical journey that mirrors the unpredictability of life itself. It’s a sonic adventure that invites listeners to step outside their comfort zones and embrace the diversity of the indie music landscape.
As an indie music DJ, my connection with the audience goes beyond the confines of the radio waves. Social media has become a virtual extension of the studio, a platform where listeners can engage in real-time discussions about the music they love. We endeavor to play as many requests that we receive as possible. Sometimes a request can take the show in a different, unplanned direction, and isn’t that an opportunity? The sense of community that has emerged is a testament to the power of indie music to unite diverse souls under a common sonic umbrella. It has been a rare honor to connect with other music fans on Twitter, Instagram, Facebook, and on this page. From virtual album listening parties to live Q&A sessions with artists, the digital realm has allowed us to amplify the sense of camaraderie that defines the indie music scene. It’s not just about broadcasting music; it’s about fostering a community where passion for the unconventional is celebrated.
Navigating the indie wilderness is not without its challenges. Limited resources, the constant struggle for visibility, and the ever-present threat of obscurity are hurdles that indie artists face daily. As a DJ, I’ve witnessed the frustration of talented musicians grappling with a system that often seems designed to favor the established. Yet, it’s precisely these challenges that fuel the fire of the indie spirit. The tenacity of artists who refuse to be silenced, and the resilience of a community that thrives on the fringes – these are the stories that inspire me to keep pushing boundaries and championing the cause of the independent. It is possible that the unknown music can be even more captivating than the known.
As I peer into the future of my journey as an indie music DJ, the horizon is both exciting and uncertain. The music industry is in a state of constant flux, with new platforms and technologies reshaping how people find music. Yet, one thing remains constant – the hunger for authenticity, the craving for sounds that defy the cookie-cutter formulas of mainstream music. I envision a future where indie music continues to be a beacon of diversity and creativity. Whether through virtual concert experiences or immersive audio storytelling, the indie spirit will find new avenues to flourish. My role as a sonic guide will evolve, adapting to the changing currents of technology while staying true to the essence of independent expression. Maybe in some way, I am still the same person who knew that there was exciting and cool music waiting to be discovered, the only question was how to find it. Perhaps now the problem is how to find that music in an oversaturated culture of the moment; the internet is both friend and foe.
In the closing moments of every radio show, as the last notes of an indie anthem fade into the ether, I reflect on the journey that brought me to this point. From the dimly lit venues of my youth to the expansive world of radio waves, it’s been a ride fueled by passion, rebellion, and an unwavering belief in the power of independent music. In the vast sea of sonic possibilities, I continue to navigate the waves, a lone captain on a ship of indie music treasures. As long as there are artists pushing boundaries, as long as there are listeners hungry for the unconventional, the journey will endure. For in the realm of indie music, every note is a declaration of independence, and every DJ is a storyteller weaving tales of sonic rebellion. Now, let’s go listen to some interesting music we have not heard before.
All station photos by Tom Gilliam Photography. Photos used with permission.
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