I first came across this audio play written by John R. Gordon with sound designed by Kayode Gomez in Kayode’s guest lecture here at LCC in the winter term. Since listening in the lecture I have revisited the audio play many times since then. Kayode explained how this piece was created during the 2021 lockdown and released in April of 2023.  In the lecture Kayode talked about their DIY approach to their practice, highlighting that the taught ways of creating sound aren’t always the best. They talked about creating sound effects at home, using their duvet to muffle the sound of the outside world as well as being playful and proformative when creating sound effects. 

The story follows the perspective of young queer black men in south London. The script is clearly written to appeal to a younger audience, using slang and making references to pop culture and modern day life from.

Setting scenes differently depending on location, outdoor and indoor ambiences immerse the listener. Seamlessly changing location gives a good pace to the piece keeping suspense high and minds interested. Inside Bunni Boi’s house, the background music sort of represents an in-between between past and present this time transition adds clarity to the plot. The background music sounds a bit like what you might hear in a lobby or elevator, I find this somewhat satirical and like the impending feeling of a new part of the plot happening. We see this when Ranksy tells a story from earlier in his day, the sound design and music sort of brings us back in time. Because he is reminiscing – telling a story, the overdramatic parts (necessary for radio/ audio dramas) work really well, I feel this part of the story is clearly not the present moment throughout and was exicuted well.

In the story someone gets hit by a bus, I found the squelch sound effect to be reminiscent of the foley lecture at the beginning of the unit. 

The voice effects in the lift/ corridors are realistic, the resonances and reverberations create imagery of the location accurately as well as adding emotion when necessary.

The music from the party is very subtle before they go in and then intensifies. We are introduced to the next scene prior to it actually happening, similarly when the characters leave the party (in a hurry, trying to flee the crime scene) we hear similar music but there is an intensely sinister vibe to it. Building tension at the point when they run away is crucial to the plot and gives a sense of relief after. 

Portraying distance gives a realness to the piece that makes the listening experience all-encompassing. This is done on numerous occasions but I found when vertical distance was portrayed particularly impressive. 

In ‘Radio Drama’ by Tim Crook, chapter 7, he discusses the dynamics of audio drama to broadcasted on the internet as oppose to the radio. He outlines that the internet may be a more accessible platform for broadcast particularly for young people. “The internet depends on participation in the political economy of the technology, but compared with terrestrial analogue economies of scale in broadcasting, the internet is remarkably cost-effective.” (p.41)

If the internet is a more accessible way for people to broadcast, one would assume that increases the opportunities for marginalised artists to share their work; adding a fresh perspective within the world of audio drama, potentially appealing to different audiences who may not have felt represented within audio drama previously.

“The listener can choose when and how long to listen to the play. The listener has access to the play 24 hours a day and this empowerment enables the listener to experience a less ephemeral relationship with the writer. In fact this dimension of communication provides a more defining and tangible literary quality to the authors work. The script can be published and scrolled on a screen at the same time as the sound play is transmitted on demand. Background and cultural context and critical review can be provided and exchanged with the audience. The listener can return to the work and deepen the experience of listening by repeating the process or choosing to select seqaunces exciting further interest.” (p44)

Due to the internet, listeners’ intentions are different, a listener has to seek out the audio rather than just coming across it when surfing the dial of a radio, as well as having the ability to revisit the play at their leisure.

 Similarly, context changes because of the internet, whether for better or for worse the chance aspect of coming across something on the radio is removed meaning sharing the piece with someone you think might enjoy it becomes infinite and endless.  

Crook, T. (1999) Radio drama. London: Routledge. 

Listen to Scooters, Shooters and Shottas here: