Streaming shapes how we find and play music today. However, it often removes context and human connection. NTS, founded in 2011 in Hackney, East London, offers a different path. Its mantra, “Don’t Assume,” favors curiosity over tribalism and guides events like Don’t Assume Day.
Curation, Trust, and Community
NTS succeeds through curation and trust. For example, CEO Sean McAuliffe says, “People don’t wear their music taste on their sleeves anymore.” Therefore, visual cues that once signaled community have faded. In response, NTS creates an auditory space where listeners feel seen. Moreover, the station invites anyone to play anything, which encourages exploration over conformity.
Don’t Assume Day shows how radio can build community. The event features an eclectic lineup: Jeremy Corbyn, Keith LaMar, Chris Packham, Adam Curtis, Hans Ulrich Obrist, Isamaya Ffrench, and Yusuf Dikeç. Importantly, the mix is deliberate. It reflects listeners’ broad, cross-disciplinary interests. In addition, the broadcast raised funds for the UN World Food Programme, turning listening into collective action. As a result, passive listening becomes meaningful participation.
The Role of Trust in Programming
Trust is central to NTS’s model. For instance, listeners tune into an Adam Curtis and God Colony show that contains no speech. Yet they listen for over an hour simply because they trust the curator. This trust grows from intuitive programming and personal networks. In short, NTS knows its audience and responds to their tastes.
NTS does not aim to replace streaming platforms. Instead, it complements them. As the station puts it, “If DSPs are Pinterest, NTS is an art gallery.” One offers vast, user-driven discovery. The other offers context, curation, and connoisseurship. Thus, both can coexist and serve different needs.
In conclusion, Don’t Assume Day is a clear model for the future of listening. It proves that curated programming can restore connection in a streaming world. Finally, the key takeaway is simple: community and trust are the most defensible assets in music today.
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