‘The Reincarnation of an Egyptian Queen: Dystopian Lateness and Speculation in Nina Simone’s Afrofuturism’. Jazz Research Journal 15, no. 1-2 (2022): 25-50.

‘The Most Annoying Noise of All Time’. Australian Humanities Review 70 (2022): 58-66.

‘Aneka, “Japanese Boy” (1981)’, in One-Hit Wonders: An Oblique History of Popular Music, edited by Sarah Hill (New York: Bloomsbury Academic, 2022), 129-37.

Brilliant Disguises: Persona, Autobiography and the Magic of Retrospection in Bruce Springsteen’s Late Career’, Persona Studies 5/1 (2019): 17-32. DOI:

‘Sounding Out Popular Music History: A Musicological Approach’, in The Routledge Companion to Popular Music History and Heritage, edited by Sarah Baker, Catherine Strong, Lauren Istvandity and Zelmarie Cantillon (London: Routledge, 2018), 46-54.

Species of Sonic Spaces’, Literary Geographies 3/1 (2017):  69-86.

“Words Take the Place of Meaning”: Sound, Sense and Politics in the Music of Robert Wyatt’, in The Singer-Songwriter in Europe: Paradigms, Politics and Place, edited by Isabelle Marc and Stuart Green (London: Routledge, 2016), 51-64.

“My Tongue Gets t-t-t-”: Words, Sense and Vocal Presence in Van Morrison’s It’s Too Late to Stop Now’. Twentieth-Century Music 13/1 (2016): 53-76.

Words from the New World: Adventure and Memory in Patti Smith’s Late Voice’, in Patti Smith: Outside, edited by Claude Chastagner (Montpellier: Presses Universitaires de la Méditerranée, 2015), 113-35.

Across the Evening Sky: The Late Voices of Sandy Denny, Judy Collins and Nina Simone’, in Gender, Age and Musical Creativity, edited by Catherine Haworth and Lisa Colton (Farnham: Ashgate, 2015), 141-53.

“Time and Distance Are No Object”: Holiday Records, Representation and the Nostalgia Gap’, Volume! 11/1 (2014): 131-43.

You can’t just say “words”: Literature and Nonsense in the Work of Robert Wyatt’, in Litpop: Writing and Popular Music, edited by Rachel Carroll and Adam Hansen (Farnham: Ashgate, 2014), 49-62.

The Choreography of Longing: Songs, Screens and Space in Carlos Saura’s Fados’, Quaderns de Cine 9 (2014): 71-8.

So Transported: Nina Simone, “My Sweet Lord” and the (Un)folding of Affect’, in Sound, Music, Affect: Theorizing Sonic Experience, edited by Marie Thompson and Ian Biddle (London: Bloomsbury, 2013), 75-90.

Free, Confused and Lonely: On Age, Pop, Fashion and Incompatibility‘, Radical Musicology Volume 6 (2012-2013), PDF

Public Consciousness, Political Conscience and Memory in Latin American Nueva Canción’, in Music and Consciousness: Philosophical, Psychological and Cultural Perspectives, edited by David Clarke and Eric Clarke (Oxford: Oxford University Press, 2011), 327-41.

The Same Distant Places: Bob Dylan’s Poetics of Place and Displacement’, Popular Music and Society 32/2 (2009): 249-70.

‘Popular Music and/as Event: Subjectivity, Love and Fidelity in the Aftermath of Rock ’n’ Roll’, Radical Musicology 3. (2008). More

Reconstructing the Event: Spectres of Terror in Chilean Performance’, British Postgraduate Musicology 8 (2006), PDF


‘Aging and Popular Music’, in Encyclopedia of Gerontology and Population Aging, edited by Danan Gu and Matthew E. Dupre (Cham: Springer, 2020). DOI:

‘Beatboxing’, in Bloomsbury Encyclopedia of Popular Music of the World (New York: Bloomsbury, 2018).

Revising author for the following entries in Bloomsbury Encyclopedia of Popular Music of the World originally authored by Richard Middleton:

  • ‘Singing’ (revised 2018)
  • ‘Solo’ (revised 2018)
  • ‘Song’ (revised 2018)
  • ‘Songwriter’ (revised 2018)
  • ‘Vocalized Tone’ (revised 2018)
  • ‘Voice as Instrument’ (revised 2018)

‘The Testimonial Imperative: Reflections on Saer’s The Witness, written in late 2003 as an exercise in bringing together ideas arising from postcolonial theory and psychoanalysis as preparatory work for my doctoral thesis on loss, memory and nostalgia. PDF

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