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.”
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.”
