Triple J is perhaps the most discussed, divisive station in Australia’s musical landscape. Paradoxically, it is also the most supportive of emerging Australian artists, with an average weekly reach of 1.8 million listeners across the country. Theories about every aspect of Triple J’s policies and operations are debated endlessly in bars, offices and rehearsal studios. But the single accusation that leaves the worst taste in musicians’ and music fans’ mouths is the suggestion that musicians are ignoring pure self-expression in favour of manufacturing a sound to get played on the popular station. Is this leading to homogenisation in new Australian music?