I pride myself on at least trying to be aware of much going on in the world as possible, but when it comes to various aspects of pop culture that often proves to be more difficult. That’s no truer than when it comes to contemporary music. At least when I worked in an office and/or had friends who were passionate about it I was exposed to soundtracks and sounds that would pique my curiosity, and they would welcome the chance to indoctrinate me to performers they particularly loved. When I briefly lived with two roommates who were especially music-savvy I learned more about rappers and crossover standouts than I had ever hoped to know. My first exposure to Bad Bunny came long before he became a cultural flashpoint earlier this year, along with the likes of Cascade and Diplo. They weren’t particularly interested in hearing more of Elton John and Billy Joel in return, but to each their own.
But those special people are long gone from my life (sadly) and where I work pivots to either mariachi or Muzak, neither of which I’m particularly interested in. And since it’s now been months since my work has yielded a dime of the oft-teased commissions that might allow me the chance to actually go to a live concert–let alone not having anyone like those special people even remotely interested in sharing the experience–it’s not like club-hopping is an option these days, either.
So I savor chances like those I was given both last weekend and this to experience festivals like Coachella via the miracles of YouTube. Last weekend, I was able to enjoy Karol G, Addison Rae, Sombr, Slayyter, Clipse, Wet Leg and Jamie xx. Yesterday I was able to get home in time to enjoy Sabrina Carpenter, who thanks to Saturday Night Live I at least had some expectations for (she met and exceeded them, BTW). Later today, it’s Kasey Musgreaves. Tomorrow Karol G’s returning for an encore. I’m especially looking forward to her, and not just for the music.
The fact that someone as seasoned as I can even be facile enough to know who these performers is something I believe music labels–especially those who have oars in the water with streaming services–should take better note than they seem to. Coachella is a unique experience that commands an exceptionally high price tag and investment that’s all the more elite depending upon how one chooses to roll. In the same manner that I am typically late to the parties that these headliners have started it turns out I’m even later to this sort of debate, as I discovered this was a topic that DISTRACTIFY’s Elizabeth Randolph covered in detail last year:
While most people desire to go to Coachella, the festival, like most events, is what you make it. In addition to Coachella attendees having different reasons for attending the event, everyone has varying experiences when attending the festival. Of course, the internet wouldn’t be the internet if those online didn’t highlight the differences on TikTok in a trend called “Rich Coachella vs. Poor Coachella.”
(T)hose who were into watching the festivities from afar couldn’t help but notice the stark differences in how the event was handled for the wealthy guests versus the ones who likely saved up a few months after deciding to go. As fashion editor and influencer Jessica Andrews (@dressupwithjess) shared on TikTok, the “rich” side of Coachella is filled with poolside drinks, onsite makeup artists, golf carts, passes to see the artists up close during the weekend, and a sprinter van willing to take you out of the desert heat and directly back to your hotel. Jess’s voiceover from the TikTok accurately shares how being on the luxurious side of things is the best way to do Coachella. “I just don’t think… at this age that I’m meant to live an uncomfortable life,” the voiceover in the clip states. “I don’t have the will.”
Randolph then spelled out the hard numbers for even the “poor” Coachellans:
According to the festival’s website, general admission tickets cost $599 (Weekend 2) or $629 (Weekend 1), plus fees. That doesn’t include travel costs, which can run for an extra $300 to $1,000 depending on your location, or tent rental, which can range from $149 for car camping to $300 for festival camping…While general admission is arguably cheaper than VIP, which can cost $1,199-1,269, in this economy, coughing up over $1,000 for general admission isn’t a small feat…If you can afford tickets to Coachella, you’re not poor,” one user wrote.
I’d contend that anyone who recenylu found a way to get to see Bruce Springsteen, Taylor Swift or Lady Gaga merely in an arena might have similar sentiments. I can certainly speak to the costs associated with the latter; had the pandemic not hit I would have been on the hook for upwards of $40,000 for a mere six shows–and that was six years ago. And that was just to placate my ex. I would have been stuck at home feeding the cat–and not her usual high-grade diet after that.
VARIETY’s Cynthia Littleton moderated a spirited debate earlier this week defending the “Couchellans”, noting that YouTube provided enhancements to the viewing experience that in-person did not. I appreciated them in much the same way that I appreciate what they offer via Sunday Ticket and what other sports rights holders offer with alternate feeds on everything from Prime Video to HBO Max to, of course, ESPN. Those sorts of perks have justified and continue to reinforce ever-escalating monthly subscriptions–and they haven’t hurt one iota the ability for any of these events to fill their stadia when the quality of the contest warrants. And I know for a fact they spark monetizable social media engagement and discourse and help sell merch incrementally and immediately with the necessary proof of performance that sponsors and advertisers demand.
It really got to think why Universal wouldn’t seek out a similar model to drive their artists to Peacock, or Warner Music to drive theirs to HBO Max (or Paramount Plus, whichever way the wind in the Ellison household might be blowing) or for Sony to create a niche service of their own that could prove to be a driver to potentially drop some of their other IP onto without exclusively having to be an arms dealer. Bring Live Nation and Ticketmaster into the partnership if you must–there is indeed potential to drive ticket sales to live events to the sliver that can potentially afford it or may still be married to an enabling schmuck like I once was. And maybe providing this for free a la Coachella isn’t a route that could be sustained on an ongoing basis–and it could certainly be argued that doing so might indeed be counterproductive in the long run. But if sports nuts are willing to drop $10-$20 a month onto a platform to quell their lusts (depending upon how much advertising they can stomach), wouldn’t music fans be equally willing to find that much to deal with theirs? I suspect a goodly number would be incremental subscribers to the platforms mentioned above–all of which could certainly use an infusion.
And heaven forbid they might actually discover an original series or library product they may not have already known about and stick around the walled garden a while longer. Hey, Cindy Holland, now that you’re gonna call all the shots fer sure maybe bringing a few “couchella” types of a certain age into your tent could help them discover some MTV catalogue content that collectively could goose the numbers for the ambitious original series you’re seeking to produce?
Then again, I’d like to think some of these discussions are already under way–because I sure can’t poke too many consequential holes in these contentions. Those calling the shots in those and other companies with labels and ambitions probably still have people in their lives to make sure they arrive earlier to a party than I now do. Lucky stiffs.
Until next time…