The genre of world music and its market’s reliance on musical exoticism, othering, and the audience’s insatiable quest for musical authenticity have influenced and shaped the way artists construct and negotiate their musical representation. With the popularization of democratized music platforms such as Bandcamp, artists have greater autonomy in terms of artistic representation and musical distribution in the online world. Although the internet has in some ways disrupted the old power structures of the music industry, the old forms of world music marketing have been reinscribed into a new context. Old stereotypes and narratives of authenticity in world music have permeated the digital representation of artists and their music. Music recommendation algorithms also shape the way artists are represented in digital environments. Semantic descriptors such as social tags play a vital role in musical identification and recommendation systems implemented by streaming platforms. The use of social tags such as #worldmusic homogenizes diverse cultural sounds into a single umbrella genre. #World music also creates avenues for old stereotypes and narratives of authenticity to re-emerge. This re-emergence of the old tropes of world music creates less equitable recommendation and representational outcomes for musicians operating within the genre. In the age of streaming, where does world music belong? How do artists negotiate representation online? This thesis explores the dynamics of representation and the projections of “authenticity” between world music artists and record labels inside of Bandcamp’s digital ecosystem. By juxtaposing the traditional framework of “world music” marketing with new and evolving methods of distribution and artistic representation, it is possible to see how digital media are reshaping but also reproducing some of the old paradigms of world music. I also propose that a new framework needs to be established to study the impact digital streaming has on the genre of world music. This new framework, which I call “World Music 3.0,” will encompass how algorithms, tech companies, and the democratization of musical practices interact within a globalized community.