The most recent of the informal Critical Musicology study days focused on the concept of authenticity in popular music. The day consisted of seven short papers on this subject and was followed by a group discussion of issues raised by these papers.

In his opening paper, ‘ “We stripped it apart like a car and put it back together totally again”: music's authenticity-speak in the age of digital technology, c.1985’, Dai Griffiths (Oxford Brookes University) was keen to draw attention to the way that sampling technology had been interpreted, both in terms of practice and of discursive context, as a marker of identity. His historical framework made reference to earlier practices of cover and intertextual reference from the early 1960s onwards. Referring to A Tribe Called Quest and Beck, even with samples, it looked as though racial authenticity was still at issue. The role of sampling in the rendering of authenticity was also considered by Rupert Till (University College, Bretton Hall) in his paper ‘Club cultures and authenticity’. Making reference to hip-hop and dance music, he suggested that there are different authenticities for different kinds of popular music. Drawing on Sarah Thornton's (1995) study of club culture in which the underground is considered authentic and the commercial, inauthentic, Till gave examples of some of the alternative means by which it is considered possible to be financially successful and yet retain an aura of authenticity.