Chang Yu-chang said that although these groups were not as committed to "Taiwan Totem" and "Subversion Consciousness" as the Blacklist Workshop and Chen Ming-chang, they had very direct stage relations with audiences, which showed that pop music dissemination did not need to rely on the mass media and that an alternative culture to that which existed could be developed.
研究過台灣地下音樂歷史的《破周報》記者張育章為文指出，這些樂團雖然沒有黑名單工作室、陳明章等人創作時對「台灣圖騰」、「顛覆意識」的執著，但他們現場演唱與聽眾的關係相當直接，凸顯了流行音樂的傳播不必然要仰賴大眾媒體，並且更有可能發展出不同於既有體制的另類文化。