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At Coachella, which has not only been a tastemaker for electronic music but also an event that honors the history and breadth of EDM’s subgenres, Meute offers a twist on those who came before as well as their own originals.

Well before Kamala Harris was “Brat” and Barack Obama was a Spotify tastemaker, Carter, as one documentary labeled him America’s first “Rock & Roll President.”

In one memorable moment in 2013 I’ve been replaying to hear her alto lilt and girlish chuckle, she tells tastemaker radio DJ Sway Calloway she’s happily at once “a little, old lady” and all that “I’m a thug” encompasses.

The role of tastemaker has, alas, devolved into influencer, where the main qualification isn’t aesthetic judgment but the size of one’s social media following.

In May, following the death of Steve Albini, the engineer and tastemaker who helped define the aesthetics of independent rock in the early 1990s, a consensus about his past work started to emerge: Among the slew of albums that Albini recorded in those days, few encapsulated his signature sonic wallop — and the potency of the broader scene he championed — better than the early work of the Jesus Lizard.