festivals
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04/23/2025
From Ultra South Africa to Afro Nation Portugal, here are the best lineups this year.
04/23/2025
Riot Fest is one year shy of legal drinking age and celebrating its 20th anniversary this summer with a stacked lineup of classic indie and alternative bands led by East Bay punk legends Green Day, pop punkers Blink-182, alt-rock darlings Weezer and rock icon Jack White. Explore See latest videos, charts and news See latest […]
All Things Go festival will return to New York with Doechii, Lucy Dacus and Clairo headlining. For the second edition of the New York festival, which will run the same weekend as the festival’s D.C.-area event, fans can also catch sets from Djo, Remi Wolf, The Marías, The Last Dinner Party, Lola Young and Gigi […]
Coachella 2025 will likely be considered one of the most political editions of the longstanding festival, with a flurry of artists using their onstage platforms to make statements on topics including Palestine, ICE, the Trump administration and more.
Nicolas Jaar of psych jam act Darkside used the trio’s Saturday night performances in the Gobi tent to address the audience about a myriad of issues, primarily Palestine. Jaar began his statement by acknowledging that Southern California is the ancestral home of various Native American tribes, with many of these people killed in the mass murders of Native Americans that occurred in the 16th, 17th, 18th and 19th centuries.
“Here were committed the genocides that are the blueprint for what’s happening in Palestine right now, the same racist logic,” Jaar stated during the band’s weekend 1 show, on April 12. “We must continue resisting, even from the belly of the beast, because this genocide is funded by American money, with technology from Silicon Valley, thanks to the complicity of all the politicians in this country.”
Jaar continued by referencing Mahmoud Khalil – the detained Columbia University graduate student currently being held in an immigration detention center following his role in on-campus protests.
“I also want to say that today, these days, as some of you may know, just protesting a genocide that is happening means that you can get deported, like Mahmoud Khalil. That doesn’t feel right. Mahmoud and many others are in ICE detention jails. These jails are run for profit by groups like CoreCivic and The GEO Group. They make money off of keeping people in cells. We need to keep fighting them. For the sake of everyone there stuck without trial, and with no hope, we need to give hope. Thank you, everyone.”
Jaar delivered a slightly different version of the same statement during the band’s weekend 2 performance on Saturday, April 19, stating that, “We’ve been on tour for about a month and a half, and during this month and a half, the administration of this country has been deporting people for their political views, they have been locking people up in ICE detention jails. The prisoner count of this country keeps on being the highest in the entire world. There’s more people locked up in California than at Coachella right now, and this country keeps on arming and funding, also with tech and Silicon Valley, the genocide of the Palestinian people and arming and funding Israel’s system of apartheid and ethnic cleansing.
“But the problem doesn’t stop at this administration and the administration of that country,” he continued. “It’s much deeper than that… It’s based off a system of racism, of ethnic cleansing both here in these lands, and also there. And there’s no way to continue in this planet without the empires falling as soon as possible. In all ways possible. A lot of people tell us to shut up and just play the music, but for us, music is being together, and how can we be together if our brothers and sisters are locked up and our brothers and sisters are literally burning in their homes?”
Elsewhere at the festival’s second weekend, Northern Irish hip-hop group Kneecap ended their performance with strong anti-Israel sentiments. On Friday (April 18), the Belfast trio closed their show by projecting strong messaging in support of Palestinians on their video screens. “Israel is committing genocide against the Palestinian people,” the projected messages read. “It is being enabled by the U.S. government who arm and fund Israel despite their war crimes. F— Israel; free Palestine.” This display came a week after the band claimed Coachella censored the pro-Palestinian messaging during their debut at the event.
On the main stage, headliners Green Day also changed the lyrics of “American Idiot” to state “I’m not part of the MAGA agenda.” Other artists including Bob Vylan and Blonde Redhead displayed Palestinian flags during their sets. During the performance by this latter artists, the onstage event was soundtracked by audio of Khalil. Senator Bernie Sanders also appeared onstage during Clairo’s weekend 1 performance and urged festivalgoers to “stand up and fight for justice.”
To decorate their Coachella stage like a beach party in their seaside home region of La Guaira, Venezuela, Rawayana hauled in inflatable SUVs, palm trees and tiki huts — all designed to make the Grammy-winning band’s YouTube festival livestream last weekend more colorful and magnetic. “It’s a live TV broadcast,” says Carlos Framil, Rawayana’s co-manager. “They knew it was going to be livestreamed. It was a prominent part of the strategic planning.”
The plan paid off. Rawayana’s streams, and ticket sales for its upcoming tour, spiked in the days after the first-weekend performance, narrated as part of YouTube’s new “Watch With” program by influencers Bryan and Eddy Skabeche. “We’re seeing it as a Coachella bump,” says Framil, of Miami-based Sound of Light. “And we’re attributing that to the livestream.”
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Coachella’s live YouTube feed, now in its 13th year, is the “gold standard” of festival livestreaming, according to Lee Anderson, president of Wasserman, the talent agency whose many Coachella acts this year include Ravyn Lenae, Viagra Boys and A.G. Cook. “When the streams started, most people didn’t want them, or thought they should be compensated. It was a big fight,” he says, adding that the Coachella livestream really took off just before the pandemic, which then boosted the popularity of watching live events at home. “The Coachella one went from people being upset that they were on it to being upset that they weren’t on it.”
Music festivals have live streamed performances since the early 2000s, when Bonnaroo partnered with America Online; YouTube then helped turn live performances into music-business revenue in 2010, when it removed its 15-minute cap on video lengths, thus enabling long concert videos that could be festooned with money-making advertising clips. Artists’ initial reluctance has “long been resolved and it’s an old issue,” says Lyor Cohen, YouTube’s head of music and a longtime ex-major-label exec, referring to a “super-valuable” partnership with AEG-owned Goldenvoice, Coachella’s promoter. “The Goldenvoice team feel like it’s a two plus two equals five opportunity.”
Coachella performances often boost headliners’ streaming numbers — this year, Charli XCX earned 12.7 million on-demand streams in the days after her Saturday performance, a 27% increase. Lady Gaga scored a similar spike; Green Day‘s jump was 17%. As for the livestream, YouTube reps won’t provide viewer metrics, but the Google-owned streaming giant reports huge bumps in international consumption. Over the past three Coachellas, more than half of the views came from outside the U.S., as Brazil views doubled, Mexico views jumped fivefold, India views increased 900% and Korea views increased 1,400%. The festival has scored more than 1 billion YouTube views overall.
Cohen suggests Goldenvoice has booked more international acts in recent years due to the livestream’s global-viewership increases — this year’s lineup includes Thailand-born K-pop star Lisa, Nigeria’s Seun Kuti & Egypt 80 and Egypt’s Mohamed Ramadan, among many others. “I don’t think there’s actually science in representing the amount of people sitting in any given living room in Mexico or Nigeria or Korea,” Cohen says. “They’re not watching alone. You can bring your friends over.”
The Watch With collaboration, adds Christian Oestlien, YouTube’s vp of product management, was inspired by “watch-along” commentary by social-media creators for soccer and other sporting events. YouTube’s research showed 50% of viewers preferred “hearing a creator walk them through a live event than watching the live event themselves,” according to Oestlien, and Coachella posted regional YouTube curators in Brazil and elsewhere for commentary on top headliners like Lady Gaga. “In every market, we’re trying to appeal to local fandom,” he says.
For Alok, a Brazilian DJ and producer, last weekend’s Watch With show with Bloguerinha was a way of linking the Coachella livestream audience with the influencer’s 4.3 million Instagram followers and 1.8 million YouTube subscribers. “This enriches and enhances the experience we can offer around an artist, so this is a very powerful tool,” says Fabio Soares, Alok’s creative director. Filipi Minatel, manager of Alok’s label, adds that the first-week Coachella livestream has led to more social-media and streaming activity. “Coachella makes this massive exposure,” he says. “It’s not only the live broadcast. It is everything that happens after that.”
04/15/2025
Whether it was Cardi B spraying Whipshots into the crowd or LISA shutting things down just by showing up, these were our favorite moments in the desert.
04/15/2025
SoCal’s high holiday of music festivals, Coachella, returned to Indio, California, this past weekend, April 10-13. As always, the event offered far more music than one person can possibly consume, with some of the biggest music stars in the world turning up and turning out across the festival’s many stages. As an acutely hot Friday […]
Janelle Monáe, RAYE and The Roots are all headed to Rhode Island this summer, with the musicians set to join dozens of other acts in holding down the 2025 Newport Jazz Festival taking place in the first few days of August.
As announced Tuesday (April 15), this year’s iteration of the iconic jazz music celebration will feature the above artists as well as Jacob Collier, Jorja Smith, Esperanza Spalding, Willow, Thee Sacred Souls, De La Soul, The Yussef Dayes Experience, Rachael & Vilray, Cécile McLorin Salvant, Dianne Reeves and Sofi Tukker. The Christian McBride Big Band, Preservation Hall Jazz Band, Knower, Samm Henshaw, Cymande, Hiromi’s Sonicwonder, Kenny Garrett, Carrtoons and many more are also on the billing.
Taking place on three back-to-back days Aug. 1-3 at Fort Adams State Park, this year’s iteration of the festival will mark its 71st edition. Specially priced three-day passes became available for online purchase on a first come, first serve basis Tuesday, and on Thursday (April 17), more ticket packages will go on sale at 1 p.m. ET via DICE.
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Run by the Newport Festivals Foundation — which, in addition to running its iconic annual jazz and folk offerings, is dedicated to supporting music education and artist relief programs — Newport Jazz is one of the world’s longest running music festivals. Last year, the lineup featured André 3000, Laufey, Cory Wong, Nile Rodgers & Chic, Kamasi Washington, Elvis Costello, Brittany Howard, Robert Glasper, Thievery Corporation, Samara Joy, Noname, PJ Morton and more.
See the Newport Jazz Festival announcement and lineup below.
The MATI Festival and Conference is returning for its fifth edition in St. Louis, Missouri later this year, organizers announced on Tuesday (April 15). Taking place Sept. 12-14 in the Grand Center Arts District, the festival — which is leaning into the acronym for Music at the Intersection — will feature over 100 performances and presentations across three main stages and several nearby venues.
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This year’s headliners include rapper-actor Common with Pete Rock, R&B icon Patti LaBelle, hip-hop influencers De La Soul, jazz composer Branford Marsalis, recent Grammy winner Lucky Daye and neo-soul singer-songwriter Leon Thomas. Local trumpeter Keyon Harrold returns as MATI’s artist-in-residence, while Pedrito Martinez joins as the artist-at-large, performing across multiple sets.
With a new format and identity focused on celebrating “St. Louis Made” music, MATI honors the city’s heritage rooted in blues (the National Blues Museum is down the street), jazz, soul, R&B and more, alongside artists from culturally connected regions like the Caribbean and Mississippi Delta. Local artists such as Ryan Trey, The Baylor Project, Marquise Knox and Weedie Braimah will feature prominently.
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MATI’s footprint has also been tinkered with to provide a barrier-free experience, replacing a stage on Washington Avenue with food trucks, street performers and other family-friendly activities. Three main stages—The Big Top, Field Stage and The Sovereign —will host the headliners, while a new “MATI Places” initiative will activate adjecent indoor venues with acts, DJ sets, poetry slams, workshops, panels and keynotes, with the conference portion now spanning the full weekend.
Passes go on sale April 18 here, with weekend passes priced at $150. Special MATI Places-specific day passes will be available this summer.
Presented by the Kranzberg Arts Foundation, MATI is supported by the Steward Family Foundation and Regional Arts Commission of St. Louis.
“If you’ve been to MATI, you can feel that it’s special,” said Chris Hansen, executive director of Kranzberg Arts Foundation. “It’s a microcosm of the city: all ages, races, ethnicities. No neighborhood divides. People who can afford tickets and people who can’t. All joyous. All together in the streets of Grand Center. We want to keep MATI a true, representative community experience.”
The lineup includes Common & Pete Rock, Patti LaBelle, Lucky Daye, Leon Thomas, De La Soul, Branford Marsalis, John Medeski’s Mad Skillet, Karl Denson’s Tiny Universe, The S.O.S. Band, The Budos Band, Leela James, Arooj Aftab, The Baylor Project, The Womack Sisters, Coco & Breezy, Pedrito Martinez, Keyon Harrold, Delvon Lamarr Organ Trio, Pirulo Y La Tribu, Butcher Brown, Marquise Knox with Funky Brass Band, Brothers Lazaroff Super Friends, Weedie Braimah & The Hands of Time and more.
Just weeks after being named Billboard‘s 2025 Woman of the Year, Doechii is heading to the Create & Cultivate Festival to inspire women in business as the event’s headlining performer.
As announced exclusively by Billboard on Tuesday (April 13), the Swamp Princess will take the stage at Rolling Greens DTLA in Los Angeles in front of an audience of female executives, innovators and entrepreneurs on July 19. Billed as the “largest event for women in business,” the two-day festival will also feature speeches from Olympic gold medalist Jordan Chiles, Proper founder Amanda Kloots, TV personality Paige DeSorbo and more, as well as a keynote address from Ciara.
According to the event’s online schedule, attendees will experience back-to-back days filled with workshops, networking opportunities, start-up pitch competitions, live podcast recordings, investor meetings and more. Doechii will perform at the end of Day 1 on the Main Stage.
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“We’re pioneering a new type of event to better serve the needs of modern businesswomen said Create & Cultivate CEO Marina Middleton in a statement. “Most women-focused event experiences focus exclusively on empowerment or are reserved for side events of large industry-specific conferences built only for industry optics. The Create & Cultivate Festival will break down industry barriers to unite a newly formed community of ambitious women across business, tech, sports, entertainment, hospitality, finance and culture.”
For a festival about empowering women, it’s hard to think of a performer who’s better suited than the “Denial Is a River” rapper. In February, she became only the third woman to ever win the best rap album category at the Grammys thanks to her hit mixtape Alligator Bites Never Heal, and in March, Billboard gave her top honors at the 2025 Women in Music Awards.
“I stand here as a fierce ally,” the Florida native said during her acceptance speech at the latter event. “This event was created out of a necessity. That word, necessity, is important. My mixtape, Alligator Bites Never Heal, was a space I created out of necessity. A space where I could feel seen, heard and connect with other people through experiences.”
“This is our motherf–king night to rightfully come together to acknowledge each other, support each other and to celebrate,” she added at the time. “We are the creators, we are the executives, we are the innovators who are just as central to this industry as the men. Clock it.”