Coachella Valley Music and Arts Festival is back to dominating the headlines thanks to an all-encompassing, star-abundant collection of artists who will be performing at the 2019 iteration of the Indio, CA-based music festival. The next chapter of the legendary soiree has not met the media’s gaze without its fair share of controversy, mainly Kanye West dropping out of the lineup due to what he recently referred to as “artistically limiting” stage design.
On a brighter note, 2019 will be the first year fans will be able to live stream the festival for both weekend one and two. In previous years, fans were limited to the festival’s first weekend exclusively for streaming capabilities. Now fans across the world will be able to watch back-to-back weekends of acts including DJ Snake, Kayzo, Bassnectar, Ariana Grande, and more. The live streaming for Coachella 2019 commences the first weekend, April 12th-14th, rolling all the way through to the next, which spans April 19th-21st.
Photo Credit: Scott Dudelson/Getty Images for Coachella
Although Lido‘s visual I O U 2 EP may have received limited screenings in a handful of US theaters last month, Lido has now released the transcendent project in its entirety to YouTube.
Directed by close Lido confidant, Arudz Goudsouzian, the visual realm of the EP is highly emblematic of Lido’s own coming to terms with a real-life lost love; an exploratory journey reflecting on despondence, confusion, and eventual resolve. The visceral tour through Lido’s psyche oscillates between immaculate baths of light and forestry (including pensive pans over the project’s British Columbia backdrop) and poignant, lone bedroom scenes.
Lido’s own vocals, heard homogeneously throughout the five-part project, bolster the narrative’s accessibility in regards to the artist’s path to self-reconciliation. The story is a timeless one: unflinchingly relatable, while remaining empirically authentic to its creator.
According to a new consumer report, music listeners devour nearly 18 hours of music per week on average — about half of a full-time job.
The International Federation of the Phonographic Industry (IFPI) is the non-profit institution that represents the recording industry worldwide. They recently released their annual music consumption report, noting the 17.8 hours a week consumers listen to music mostly happens in the car. This makes sense when thinking about daily routine commutes back and forth without audio, which sounds like torture.
The report also showed 86 percent of the listeners tested use an on-demand streaming service such as Spotify, Apple Music, or YouTube. Fifty-seven percent of users who pay for these streaming services are between the ages of 16 and 24 years old, suggesting it’s mostly young drivers listening to Spotify, Apple, or YouTube on their commute to school or work.
IFPI CEO Frances Moor says the report “tells the story of how recorded music is woven into the lives of fans around the world. As it becomes increasingly accessible, it continues to be embraced across formats, genres and technologies.”
The Marshmello track that started it all for many fans, “Alone”, is creeping up on turning three years old. Earlier this week, “Alone” hit the legendary 1 billion views mark on YouTube. Marshmello’s track now joins the ‘billion views club’ alongside songs like PSY’s “Gangnam Style”, Wiz Khalifa and Charlie Puth’s “See You Again” and
Dillon Francis recently stopped by the Zach Sang Show on YouTube to talk Wut Wut and what lead him to make a Spanish language album. The relatable Sang has a specialty in crafting discourse in long-form, speaking with Francis for more than an hour about his childhood, Brendon Urie, Gerald, and Nicki Minaj sampling him and Skrillex‘s “Bun Up The Dance.”
Francis discusses how he found the genre so many think he created himself: moombahton. Though he didn’t, he was close to the source. His affinity for Spanish music was made obvious early on, having attended the 2016 Latin Grammy’s with Toy Selectah, met De La Ghetto and El Guincho there who eventually introduced Francis to Arcangel and Bad Bunny off the album.
In an hour-long segment, Sang dives into the weeds, having Francis talking about music production showing his inner nerd. This interview proves to be a truly authentic look into the life of Francis’ current state in music, adding to the list of curated collaborators from the deliberate funny man whose noticeably having a good time.
Now, iOS users can view credits on Spotify’s app. To browse the accreditation associated with a given track, a Spotify listener needs only to press the button with three dots that appears next to the Spotify selection. The user can then scroll down the drop down menu to select “Song Credits” at the very bottom of the list.
While some credits are currently available, some are not; record labels must submit the information in order for it to appear. As Chairman of the European Composer & Songwriter Alliance (ECSA), Alfons Karabuda noted in an Instagram post, publishers, songwriters, and societies will need to collaborate “in the near future” to ensure that the proper credits and, if applicable, corrections surface in conjunction with the production.
Armin van Buuren has allowed fans to hear him “trance it up,” once more for a full 90 minutes after his recent headlining Parookaville set from Sunday, July 22. Armin is all smiles and energy throughout the 90-minute display, wherein he lays down the classics as well as some lesser known remixes of his token tracks. The mix features everything from STANDERWICK‘s bootleg of The Killers‘ “Mr. Brightside” to a three-song mashup of Luke Bond, Loud Luxury, and Exis.
The State Of Trance radio host is wasting little time this summer, as he made his way to Germany for the performance just one day after headlining the legendary Tomorrowland in Belgium — where he will return for weekend two, Saturday, July 28.
Online video conference VidCon descended upon Anaheim, California from June 20-23, bringing with it a thrilling set of announcements to communities like YouTube.
Perhaps one of the biggest pieces of news to come out of the event is the introduction of YouTube Premieres, revealed during a keynote address from YouTube Chief Product Officer Neal Mohan.
YouTube Premieres will allow creators with a substantial following to introduce pre-recorded videos as a live moment. When viewers show up to watch the premiere, the creator will be able to interact with them in a live chat while they watch the video.
“When creators choose to release a Premiere, we’ll automatically create a public landing page to build anticipation and hype up new content,” Mohan says of the new feature. “It’s as if a creator’s entire community is in one theatre together watching their latest upload.”
It was also disclosed that YouTube Premieres will only be open to users with at least 100,000 subscribers who are part of the YouTube Partner Program. The new feature will roll out over the next few weeks and is already being tested by select YouTubers who chosen as beta test partners.
Instagram announced they will allow users to upload videos up to an hour long, a significant increase from previous one-minute limit. The Facebook-owned social media platform looks to compete with the media megalodon, YouTube, owned by Google.
These videos will be housed on IGTV, currently accessible in the top-right hand corner of the Instagram homescreen on mobile. IGTV is also available as a stand-along app on iOS and Android, featuring the most popular videos from internet celebrities.
CEO Kevin Systrom mentioned that it’s time for video to evolve and move forward. On the new platform, anyone can be a curator, not just celebrities. Currently, new and smaller accounts will not be able to upload hour-long videos. Users have the option to scroll through recommended videos, popular videos, curators they’re following, and continue watching previously started videos. Curators also have the option to add links in the descriptions of their videos to drive traffic elsewhere.
There are no ads on IGTV…yet. Instagram also isn’t paying it’s curators, unlike its parent company’s failed Facebook Watch video hub. With over 1 billion users on Instagram, IGTV certainly has leg to stand on. eMarketer predicted Instagram will earn $5.48 billion in U.S. ad revenue, without IGTV.
As younger generations are cutting the chord and looking towards various mediums to consume content, Instagram now has an opportunity to take over TV on mobile.
YouTube Music and YouTube Premium have officially launched in 17 countries including the US, Canada, and the United Kingdom. Just like other music streaming services, YouTube Music comes with free and premium tiers, as well as a reimagined mobile app and new desktop interface. Like Spotify, YouTube Music’s interface is driven by algorithms to best serve the app’s music discovery focus. The app will continually feed its users new recommendations based on their listening history, location, and activity. The free version of the app is ad-supported, while an ad-free YouTube Music Premium is $9.99 a month and allows for background listening (for audio tracks only) and downloads.
The service’s premium tier is priced just slightly higher at $11.99 per month, though it also includes background listening for videos and an ad-free experience across all content on YouTube. The app also includes access to YouTube Originals, which the company has the hopes to expand with “bigger original series and movies” across a wide variety of genres in the future.
YouTube is currently offering a limited promotion where users can try out the newly launched service for free for their first three months.