Growing up in London, Matt Mason began DJing as a teen on the pirate radio stations ICE FM and MAC FM. Inspired by the flexibility and longevity of pirate radio culture, in 2008 he wrote the bestselling book The Pirate’s Dilemma, exploring the paradox of media piracy. He took time out from a busy schedule as a lecturer (and from writing his second book) to serve as our guide to the UK’s Pirate Frequencies.

You can check out Matt's book "The Pirate's Dilemma" here.

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Interview

Growing up in London, Matt Mason began DJing as a teen on the pirate radio stations ICE FM and MAC FM. Inspired by the flexibility and longevity of pirate radio culture, in 2008 he wrote the bestselling book The Pirate’s Dilemma, exploring the paradox of media piracy. He took time out from a busy schedule as a lecturer (and from writing his second book) to serve as our guide to the UK’s Pirate Frequencies.

Where does your fascination with pirate radio come from?

The big picture is it has always been important socially. The only reason commercial radio was legalized in Europe was because pirate radio became so huge and popular, European governments had no choice but to legalize it.

So the pirates were actually responsible for a lot of today’s pop culture?

[They] introduced Europe to rock and roll, Northern soul and hip hop. It was instrumental in the development of house, garage and techno. Acid house, jungle, drum and bass, UK garage, grime, dubstep and funky were all born on pirate radio.

Why is it such a British thing?

Pirate radio exists all over the world, Central/South America, the Middle East, Africa, Asia, Australia, all over Europe - every continent except the cold one. It’s usually a form of cultural expression or civil disobedience, it’s always hard to stop. But in London it’s big because its always been good business too.

Is that still true?

The money is drying up and other avenues are opening. [And] pirates are extremely provincial. People on one side of London have no idea about pirates on other side of London but follow their local stations fanatically. Every pirate station with a half decent following proclaims to be “London’s Leading Station” or “London’s Number One.”

Ha. So what’s the “real” number one?

Today Rinse might legitimately be London’s number one station, but it’s thanks to the internet and good branding rather than illegal transmitting.

But illegal broadcasting is still the lifeblood of the format.

Only now that’s changing. From shooting the doc—we talked to the DJs and MCs and owners running it now—there are less stations, less money from raves. Tough laws targeting pirate-run events mean money from raves is hard to come by—that’s a main revenue stream cut off. Also artist and labels don’t need pirates the way we used to. YouTube and the web are just as important for new artists now, if not more so.

So digital is a huge development.

To start a pirate you used to need a boat or a seafort. Then you just needed a studio, a scaffolding pole and some duct tape. Now all you need is an iPhone app. The future looks uncertain - but for now the pirates are still broadcasting on the radio.

You visited one of the birthplaces of Pirate Radio, right?

[Right]. We drove down to the east coast to explore Red Sands, probably the world’s most impressive sea fort that’s still standing. We spent the day with Tony and Robin, two first generation pirate DJs who used to broadcast from the forts in 1960s. Back then Red Sands was considered to be in international waters, being more than three miles off the coast, so pirates could play music from there without having to worry about things like getting caught. There were other risks, like falling in the sea and dying, but as Tony explained to me, he never really thought about it.

What was it like actually being on the Sea Fort?

It was a weird feeling climbing aboard Red Sands. There’s rusting pieces of history everywhere you look, both from the forts’ original use as artillery platforms and from their re-purposing as pirate radio stations. They are much roomier inside than you’d think - sort of like the Tardis (Dr Who even paid a visit to Red Sands back in the day). They’re bleak, dark, industrial and dank, but something about them is hypnotizing.

So what’s next for pirate radio?

Pirate mentality is baked into British music and culture. We had (nearly) 20 years of boat pirates, and 40 years of inner city pirates. Now it’s easier than ever to become a pirate. Thanks to the internet and smart phones, we all have transmitters. The next half century will likely be just as exciting and disruptive.