Tag: rock

Spotlighting the Artists To Watch in 2024

It’s a new year, and that means it’s time to predict which artists will make their mark in 2024. Continuing our annual Artists To Watch campaign, we’ve expanded the list to feature even more artists across many more genres. 

Along with streaming data, we tapped our North American music team and editors of our playlist brands—Viva Latino (Latin), Pop Rising (pop), Hot Country (country), juniper (folk), New Noise (rock), Lorem (indie), R&B Rising (R&B), Most Necessary (hip-hop), and mint (dance)—to help select the 90 rising talents featured below. You can also find all of our picks rounded up in one convenient spot with our brand-new Artists To Watch playlist. 

You’ll find Musica Mexicana crooner Chino Pacas among Viva Latino’s picks, and introspective hitmaker Teddy Swims included in Pop Rising’s selections. Country and folk singer-songwriters MacKenzie Carpenter and Chance Peña made Hot Country and juniper’s cuts, respectively, while all-women rock band The Beaches and moody indie songstress Chappell Roan were tapped by New Noise and Lorem. Meanwhile, South African vocalist Tyla, Texas rapper That Mexican OT, and Greek electronic producer Argy were recognized by R&B Rising, Most Necessary, and mint, respectively. 

Who else should you keep an eye on in 2024? Keep reading for the full list of Artists To Watch. 

Viva Latino’s Artists To Watch

Bellakath
Chino Pacas
Dei V
Estevie
Gonzy
Jasiel Nuñez
Junior Zamora
Saiko
Xavi
Yami Safdie

Hot Country’s Artists To Watch

Anne Wilson
Dylan Gossett
Graham Barham
Lauren Watkins
Mackenzie Carpenter
Matt Schuster
Michael Warren

Owen Riegling
Sam Barber
Wyatt Flores

Pop Rising’s Artists To Watch

Aidan Bissett
Alexander Stewart
bludnymph
Emei
Isabel LaRosa
Matt Hansen
Meg Smith
METTE
SNOW WIFE
Teddy Swims

juniper’s Artists To Watch

Bo Staloch
Chance Peña
hey, nothing
Jack Van Cleaf
Kara Jackson
Mon RovÎa
Paris Paloma
Richy Mitch & The Coal Miners
Searows
Tiny Habits

New Noise’s Artists To Watch

Amira Elfeky
Destroy Boys
Jack Kays
Jhariah
julie
Scowl
Teen Jesus and the Jean Teasers
The Beaches
The Last Dinner Party
ThxSoMch

R&B Rising’s Artists To Watch

Amaria
Bellah
Chxrry22
Elmiene
Jordan Ward
Khamari
Lekan
Leon Thomas
Naomi Sharon
Tyla

mint’s Artists To Watch

Argy
BUNT.
DBN Gogo
HoneyLuv
Knock2
LP Giobbi
Mochakk
Sammy Virji
Shermanology
Uncle Waffles

Lorem’s Artists To Watch

Abby Sage
bar italia
Chappell Roan
Frost Children
Hannah Jadagu
hemlocke springs
Provoker
sign crushes motorist
waterbaby
Wisp

Most Necessary’s Artists To Watch

310babii
41
BabyDrill
BigXthaPlug
Hunxho
Lay Bankz
ODUMODUBLVCK
Skilla Baby
That Mexican OT
Veeze

Press play on our Artists To Watch playlist to discover the sounds of all the artists we’re expecting to make waves in 2024. 

P!nk Takes the Helm as This Month’s EQUAL Global Artist

With more than 20 years in music, P!nk has cemented herself as a powerful force. She racked up so many top singles that she filled a greatest hits album just 10 years into her solo career, and her passionate fans have helped her sell out arenas around the globe.

Since her debut, she’s released nine studio albums—2023’s TRUSTFALL is her latest—and received 21 Grammy nominations, and she took home three of those awards. P!nk has always pushed boundaries to emerge as an artist with a strong message that empowers women. Her advocacy is just one reason she’s our August pick for EQUAL Global Artist of the Month.

Spotify’s EQUAL Global Music Program started in 2021 with the aim of contributing to gender equity in the music industry by amplifying and celebrating the work of women creators around the world. As a Global Ambassador, P!nk adorns the cover of our EQUAL Global playlist, and her hit single “TRUSTFALL” is featured in the top spot of the playlist.

For the Record chatted with the award-winning artist to learn what it’s like to be a part of EQUAL and how she’s breaking down barriers for women in the music industry.

The thing that excites me most about being a part of EQUAL is…

That I believe in equal representation for everyone in all walks of life, regardless of your gender, who you love, or how you identify. Having strong and inspiring women leaders in all industries, and especially in music, is important because it shows our children what’s possible. It inspires their dreams and aspirations of who they can become. I am so grateful and humbled that I can play a small role in the evolution of future generations. 

As an artist, to me, women’s representation means…

When I was a little girl, I looked up to my favorite female artists like Madonna and Mary J. Blige, who were not only talented and successful but pushed artistic boundaries and were unapologetic and fierce with their messages. It’s so important that women are an equal part of the artistic conversation at all levels of the music industry—as artists, executives, directors, choreographers, studio engineers, etc., because we have a different way of seeing things, expressing ourselves, and understanding and leading the world. If we want our little girls to be inspired and believe they can do these things too, women need equal representation to show them the way.

The artists who have most inspired me are… 

There are so many. So obviously it’s hard to choose. Cher, Madonna, Debbie Harry, and Bette Midler. Bette Midler comes to mind because she, to me, is one of the most incredible entertainers. You can tell when someone really loves what they do. And to me, Bette is a triple threat: singer, actress, dancer. . . well, a quadruple threat—she’s also a comedian. I’ve watched her walk into a room, and she’s so incredibly charming and she’s so joyful that she has the entire room eating out of the palm of her hand. And she does that onstage. When I go and see somebody perform, I want to know that they love it. I want to know that their heart is in it. I want to feel like I’m getting to know the actual person who’s onstage. And I don’t think anybody does that like Bette Midler. I love her.

A woman artist that I’m excited about is… 

Brandi Carlile. I have been a fan of Brandi’s since her EP came out, Eye of the Needle. Her voice is very, very, very, very special and I am a fan of a singer that you can feel their soul. I like when her voice cracks and it’s imperfect and she has so much f*@kin’ swag. I love her so much and she plays the sh!t out of a guitar. She’s kind. She’s been working her ass off for years and years and years and years, and she’s finally hit this place in her career where people are giving her the love that she deserves. I love singing with her. I love being her friend. I love walking the earth at the same time that she does. I love what she’s doing for the industry. She’s really bringing women together and she’s out and proud and she’s a mama. And I couldn’t love her more. And I get to tour with her soon because I’m a lucky b*tch.

The idea behind your newest song, “TRUSTFALL,” is…

I sort of went to the studio with [the lyrics] “it’s a trust fall, baby.” Just the idea that, in today’s world, it requires so much of us to feel safe and to get out of bed and to leave the house and to love and be who you really are. And it feels like a trust fall. It feels like you’re falling backwards and you don’t know where the ground is. I love performing it live because it’s a different-style song than what I do a lot of the time. And it’s so amped and it’s at such a perfect point in the show—it just feels like letting go. It feels like why I used to go to raves. You want that moment where the music comes on, it’s inside of your entire body, and you can’t do anything but move and let go of all the stuff you’ve been carrying around. And that’s what “TRUSTFALL” feels like to me. So I’m grateful to have written a song like that. And it’s a f*@king banger.

Get ready to turn the volume up and sing along with P!nk, and other amazing talents, in our EQUAL Global playlist.

Rock On During Black Music Month With These Frequency x Spotify Singles Tracks

a compilation of song cover art featuring bands: Zulu, Meet Me @ The Altar and Jean Dawson

This June, in honor of Black Music Month, a group of talented Black rockers recorded new tracks as part of a Frequency x Spotify Singles collaboration. Pop-punk darlings Meet Me @ The Altar, hardcore/metal band Zulu, and alternative artist Jean Dawson each showcase their distinct music stylings on a reimagining of one of their original songs and a cover of another artist’s single that they love.

Frequency’s year-round program celebrates Black art, entertainment, creativity, culture, and community both on- and off-platform.

“Frequency was launched in 2021 out of the desire to create a space where listeners and creators can come together to celebrate Black expression in music. Since its inception, we’ve fostered community within diverse subgenres through marketing, editorial, and shared experiences,” explained Kimmy Summers, Lead for Artist Partnerships at Spotify.  “We take pride in our responsibility to partner and invest in artists that redefine what Black artistry looks and sounds like, and are thrilled to support the next generation of rising stars.”

These particular Spotify Singles reflect the diversity and talent within the Black music community and help expand perceptions of the range of genres in which Black artists excel.

“For this iteration of Spotify Singles, we chose to highlight Black artists making waves in Rock— whose contributions, despite the expansiveness of the genre, are not traditionally amplified,” shared Chissy Nkemere, Lead for Rock & Alternative Artist Partnerships at Spotify. “Each artist comes from a different subgenre within rock, and their distinct styles are reflected through the songs they chose and the recordings themselves.”

Get to know these musicians and check out their new Spotify Singles.

Meet Me @ The Altar is a critically acclaimed trio currently on tour for their debut album, Past // Present // Future. They put a new spin on their second single, Kool,” and covered Kelly Clarkson’s 2003 hit “Miss Independent.” 

How did you choose and add your personal stamp to the song you’re covering?

Kelly Clarkson is an artist that we have looked up to all of our lives. Our favorite Kelly Clarkson era is the early 2000s pop rock she was serving. I mean . . . everyone loves “Since U Been Gone”! We are giving this song [Miss Independent] our personal spin by making it an even more rock ’n’ roll–leaning listen.

How does your music reflect your identity?

The music we make is the manifestation of many forces and influences throughout our lives, but primarily we would say that it’s exactly what we would’ve wanted to hear from the stage when we were kids and started experiencing live music, or playing on the radio on the way to school. It’s reaffirming for us to be able to say it’s fully authentic to what we want our sound to be. Nobody tells Meet Me @ The Altar what we have to sound like or be other than the three of us.

What advice do you have for other Black rockers?

Take up space and be yourself. Be proud of your identity, but don’t let it be the only thing people talk about. At the end of the day, your music is the most important thing. You being Black should be an afterthought, not the first thought. 

 

Zulu, whose sound blends hard-core and power-violence with elements of jazz, hip-hop, funk, and soul, recently released their first full-length album, A New Tomorrow. Their Spotify Singles are a reworking of “Shine Eternally” and a cover of  Slipknot’s Wait and Bleed.”

How did you choose and add your personal stamp to the song you’re covering?

Honestly, some of us kind of naturally thought of either Slipknot or System Of A Down for some reason, and we ended up going with Slipknot. It’s funny how we all naturally shared that same thought. 

How does your music reflect your identity?

It’s a musical representation of my identity—it is who I am, and no matter what I make, it’s represented. Different styles of music are just different aspects of my identity. 

What advice do you have for other Black rockers?

Don’t let anyone tell you this music isn’t for you, or that you’re playing white-people music. Our ancestors made it possible for this music to exist, and we can’t let people take that away from us.

 

Jean Dawson is a Black and Mexican musician and visual artist whose most recent album CHAOS NOW* debuted in 2022. He reimagined his track PORN ACTING*” and covered “Window Shopper” by 50 Cent for his Spotify Singles. 

How did you choose and add your personal stamp to the song you’re covering?

“I’ve always looked at this song as a rock song, so I decided I would take it there and add my twist to it. People fail to realize that 50 Cent was an innovator in being hyper melodic while doing a format of music that was known for being more rhythmic. I have always seen him as being very punk rock. 

The Crossover Effect: Artist Collaborations Thrive on Spotify

The crossover collaboration is one of music’s great traditions. When artists from different genres, regions, or simply different career stages bring their talents together on a track, it’s sure to capture fan attention. It can even breathe new life into a song or group. 

When Run-D.M.C. linked up with Aerosmith in the ’80s to reimagine the latter’s single “Walk This Way,” it resulted in an international smash hit. It also helped birth the rap rock subgenre and still stands as Run-D.M.C.’s biggest hit. Decades after its release, the song has racked up hundreds of millions of streams on Spotify to date.

More recently, we’ve seen major crossover collaboration moments from the likes of SZA and Phoebe Bridgers on “Ghost in the Machine,” PinkPantheress and Ice Spice on “Boy’s a Liar Pt. 2,” and Taylor Swift and The National on “The Alcott.” 

While these collaborations offer new avenues for creative exploration, they also bring together each artist’s distinct fan bases, providing an opportunity for everyone involved to expand their audiences.

“I think one of the biggest things is how music collaborations can connect genres,” explains John Stein, Spotify’s North America Head of Editorial. “We see a lot more of these collaborations, and I think each artist’s core audience seems to be more open to these moments than in the past.”

It’s easy to see why artists love this approach, but how do fans respond? Are they listening more on Spotify when they discover a new artist on one of these songs? 

We took a look at more than 40 of the biggest crossover collaborations from the last 12 years and found that six months after the collab was released, 75% of artists involved saw an increase of at least 10% in overall Spotify streams across their catalogs compared to the six months prior. More than 50% of those same artists saw their number of streams grow by at least 50% in that same time period, while 30% saw their number of streams rise by at least 100%.

And while many of these collaborations are well received, some of them have been very well received.

There are few examples that paint this picture more clearly than Lil Nas X and Billy Ray Cyrus uniting on “Old Town Road – Remix.” In the six months following the song’s release, the increase in shared listeners between the two artists skyrocketed by nearly 390,000%.

For further proof, you can also look back to 2017, when Latin music icon Luis Fonsi joined forces with reggaeton godfather Daddy Yankee on “Despacito.” The song quickly caught on with fans around the world, but its popularity went into overdrive and the song became an inescapable tour de force when Justin Bieber hopped on the “Despacito (Remix)” three months later.

Luis in particular saw his fame reach unforeseen heights, and in the six months following the release of the original version, streams of Luis Fonsi on Spotify jumped by more than 2,600% (compared to the six months prior). 

But it was the remix, specifically, that helped to expand the Puerto Rican singer’s reach in English-speaking markets. Spotify streams of Luis Fonsi in the U.S., U.K., and Canada combined spiked by more than 4,300% in the six months following the release of “Despacito,” with most of that increase coming after the remix dropped. 

“When the ‘Despacito’ remix came out, it felt like a huge and rare moment to have artists from such different backgrounds and genre spaces collaborate and experience such success,” John says. “Now it feels like it happens all the time, and there’s almost a level of expectation that artists are going to mix it up and work with artists from different spaces. And I think we see that reflected in the data on the platform and in the reaction on our playlists.”

Such is the case with Nigerian afropop star Rema and American pop star Selena Gomez, who created a cross-continental connection on the 2022 hit “Calm Down.” 

“When Rema dropped the solo version of ‘Calm Down’ last year, it was doing really well in terms of streams, especially in Africa,” John explains. “Then, at the exact right moment, Rema teamed up with Selena Gomez on a new version of the track.”

In the six months following the collaboration’s release, daily Spotify streams of Rema in North America increased by more than 230% compared to the six months prior. Meanwhile, daily Spotify streams of Selena Gomez in sub-Saharan Africa increased by more than 120% in that same time period.

“With Selena being such a big pop star globally, I think the song reached an audience that checked it out to see what Selena was doing,” John says. “But they kept coming back because it was such a good song.”

And much like Lil Nas X and Billy Ray Cyrus, the respective fan bases of Rema and Selena Gomez started to merge together. In the six months following the release of “Calm Down,” the number of fans who listened to both artists increased by over 600%.

A springboard to success

For emerging artists, the crossover effect can help them break through in previously untapped markets, or help them define their musical identity on their own terms.

When Khalid had his breakthrough moment with his 2016 hit single “Location,” he was often labeled as an R&B artist. But after his 2017 collaboration with Alina Baraz—an artist who floats between the lines of pop, R&B, and electronic—on “Electric,” Khalid flashed his potential to be a pop star in the broadest possible sense.

And, like Luis Fonsi, Khalid is another artist who benefitted from the crossover effect. Following the release of “Electric,” streams of Khalid on Spotify spiked by more than 3,100% in the six months following its release (compared to the prior six months).

Building on the momentum of “Electric,” Khalid showcased his versatility as he hopped between genres on a number of high-profile collaborations. At every turn, the singer won over new fans, appearing alongside Alessia Cara on Logic’s “1-800-273-8255” and connecting with EDM producer Marshmello on “Silence.” To date, both songs have been streamed more than a billion times on Spotify.

“The editorial team used to have a lot of conversations about Khalid, and the general consensus was, ‘Wow, he is on everything,’” John reflects. “He has a really unique voice that brings a special quality to songs, so it makes sense in a lot of ways that he was finding success with those collaborations.”

Khalid’s fruitful run even included an appearance on Billie Eilish’s 2018 chart-topping juggernaut “lovely,” which has been streamed more than 2 billion times and remains his most successful song to date.

Amplifying crossover collaborations

In the streaming era, fans’ access to music isn’t limited by what’s on the radio or TV, or by what’s available at the record shop. With a few taps of the screen, fans have instant access to the catalogs of millions of artists.

So when a collaboration comes along that catches the ear of listeners, there are a variety of features on Spotify that both enhance the discovery process for fans and help expand the reach of those songs even further.

Many Spotify fans often start with search. And when they discover a new artist through a crossover collab, we’ve noticed a sizable jump in searches for that artist. 

When Grupo Frontera collaborated with Bad Bunny on “un x100to,” the star power of Spotify’s three-time most-streamed artist confirmed Música Mexicana’s status as an explosive genre on the rise.

In the two weeks that followed the release, daily Spotify searches for the Mexican sextet surged by more than 330% compared to the two weeks prior. At their peak, searches for Grupo Frontera increased by more than 1,100%.

The National experienced a similar bump from their collaboration with Taylor Swift, with Spotify searches increasing by more than 1,500% on the day of release.

For Spotify’s global team of editors, successful crossover collaborations also offer up a valuable signal that helps guide their curation of playlists. Every week, our editorial team sits down and discusses the latest cultural movements in the regions and genres they focus on. When a crossover collaboration starts to make waves, it can encourage editors to feature them in playlists they might not have appeared on before. 

“I know among our indie-focused editors, there was a discussion of the SZA and Phoebe Bridgers single and whether or not it was an indie track,” John explains. “While SZA might primarily be a pop or R&B artist, our editors overwhelmingly felt that it was an indie song, and having Phoebe on ‘Ghost In The Machine’ helped her open the door to Spotify’s core indie audience.”

Crossover collaborations can also appear on personalized playlists like Release Radar and Discover Weekly if a Spotify listener follows or regularly listens to one of the artists involved. When that happens, fans can easily discover the other artists.

“I think in the case of Ice Spice and PinkPantheress—with one being a rapper from New York and the other being a British artist who makes dance-oriented music—Release Radar has helped them both reach each other’s core audiences across genres and regions,” John says. “These types of collaborations can make listeners more open to checking out a new artist if they like what they hear.”

Spotify for Artists’ Fan Study has previously revealed that artists see their international reach increase significantly when they collaborate with someone outside of their home market. And we found the same to be true for Ice Spice and PinkPantheress. In the three months that followed the release of “Boy’s a Liar Pt. 2,” daily Spotify streams of PinkPantheress grew by nearly 250% in the U.S. (compared to the six months prior). Ice Spice, meanwhile, had a breakthrough moment in the U.K., with daily Spotify streams of her songs rising by nearly 1,400%. At the peak, daily streams for PinkPantheress and Ice Spice soared by more than 400% and 1,900% in the U.S. and U.K., respectively.

Taken altogether, the numbers on display here tell a powerful story about the crossover effect. This insight is invaluable, suggesting that the cross-cultural exchanges and expression of fresh ideas can lead not only to globe-expanding visibility, but the opportunity to forge new career paths. As the songs grow, so do the artists.

Discover the Enduring Legacy of Brazilian Music With Our New Spotify Singles Series ‘Atemporais’

This year, four of Brazil’s most iconic musicians—Caetano Veloso, Gilberto Gil, Milton Nascimento, and Paulinho Da Viola—all celebrated their 80th birthdays. As a way to commemorate this remarkable milestone and pay tribute to their many contributions, we launched a new series of Spotify singles we’re calling Atemporais.

The aim of Atemporais—which translates to “timeless” in English—is to bring generations together by taking two classic songs from each of the four artists and having eight of Brazil’s most talented artists record covers. We teamed up with Pabllo Vittar, Linn da Quebrada, Djonga, LUDMILLA, Marina Sena, Mari Fernandez, Criolo, and Emicida to honor each of the legends by releasing the following singles:

Caetano Veloso

Mari Fernandez – “Você Não Entende Nada”

Marina Sena – “Da Maior Importância”

Milton Nascimento

LUDMILLA – “Maria Maria”

Djonga – “Travessia”

Paulinho da Viola

Emicida – “Não Quero Vingança”

Criolo – “Argumento”

Gilberto Gil

Pabllo Vittar – “Back In Bahia”

Linn da Quebrada – “Babá Alapalá”

On each of the eight songs, the artists have taken the original songs and reimagined them in their own unique style. And for fans who want to dive deeper into the greatest hits of Caetano, Milton, Paulinho, and Gilberto, we’ve rounded up some of our favorite tracks and added them to our Atemporais playlist. 

With these singles, we’re giving different generations of music fans around the world a new way to appreciate these musical pioneers and something new to love.  

Ready to experience the timelessness of Brazilian music? Stream our Atemporais playlist below:

 

From Eurovision to Spotify’s Top Viral 50 Global Playlist, Italian Rock Band Måneskin Plays On

The four members of Måneskin are no strangers to music competitions. From their fist, a local Roman contest back in 2015, to clinching second place on the Italian X Factor, to their May 2021 win on the world stage at Eurovision, the Italian rock band has spread their sound and gained a following at home and across the globe. 

Since Eurovision, the band has been smashing records globally—going on to number one artist in countries like Italy, Belgium, Greece, Finland, Holland, Sweden, and others, and topping Spotify’s Top Viral 50 chart. The band quickly garnered 500 million streams on Spotify, with 250 million of those from just two tracks. Those two songs are now in Spotify’s global top 10, and Måneskin has become the most-listened-to Italian artist in the world. 

Finally, the band’s track “I WANNA BE YOUR SLAVE” entered the U.K. singles charts last week, scoring two simultaneous Top 10 singles. The band is even claiming space in NYC on Spotify’s Times Square billboard, moving their guitar riffs and lyrics—with songs in both English and Italian—across the ocean. (And in case you were wondering, “måneskin” means “moonlight” in Danish—chosen by band member Victoria De Angelis in honor of her Danish heritage.)

We asked the band to reflect on all of the group’s accomplishments over the past few months, how they’ve been using Spotify to keep up-to-date on their new fans, and what’s next. 

A few months ago, you were crowned the winners of the Eurovision song contest. Tell us about the experience—from the Sanremo music festival to the final Eurovision performance.

After our victory at Sanremo Festival, we were thrilled to know we got the opportunity to participate at Eurovision, which is a massive music event. It was an incredible experience, because we met so many different people from many different countries. It was so much fun and it was also a healthy environment to be in—we didn’t feel the competition. When we got the chance to perform onstage and play during the final, it was a huge experience for us and it was amazing to finally be able to play in front of an actual audience after two years.

Have you noticed a shift in your audience since then? Where is your music resonating outside of Italy?

We are seeing crazy results and great feedback from so many countries outside of Italy—we didn’t expect all of this! We have now been on a promo tour all around Europe, meeting so many fans in every country we go to, and we are really happy about this. 

How are you using Spotify tools to track and engage with this growing audience?

We are constantly checking Spotify for Artists and Spotify charts to monitor our results. We are noticing that our songs are in so many different country charts on Spotify. At the moment we are the 78th-most-listened-to artists in the world on the platform!

At Eurovision, you declared “Rock never dies!” What opportunities lie ahead for the genre?

We hope that we can prove that rock music doesn’t have to stay underground and can be appreciated by everyone. If a song is good, it will speak louder than its genre. We hope that, from now on, the music industry will be more open-minded about that to allow more artists to express themselves with rock music. For us it’s not about what kind of music you make: If you believe in what you are doing, people will believe in it too.

What’s next for you as a band? 

We don’t know what’s coming up next! We are trying to live step by step, day by day, naturally. We will keep writing and working on new music and see where it will lead us!

 

Stream Måneskin’s top-streamed song, “I WANNA BE YOUR SLAVE” below.

Spotify’s Emerging Artists Program, RADAR, Kicks Off in Russia

Last year Spotify launched RADAR, our emerging artist program that spotlights rising talent from around the globe. RADAR’s goal is to help up-and-coming artists in all stages of their development as they connect with new audiences. Now, after working with creators in the U.S., New Zealand, Spain, and many other markets, the program is ready to launch in Russia.

Since Spotify’s launch in Russia in 2020, we’ve seen tremendous success with subscriber growth and service adoption. According to our 2020 Q3 results, Russia has been our most successful new market launch to date and represented the largest portion of subscriber outperformance for the quarter. 

With RADAR, we will amplify emerging artists in the region through ongoing marketing and editorial support. Artists will be featured in the local creative marketing campaigns, and their tracks will be added to the RADAR RUSSIA playlist in the global RADAR hub, helping fans from all over the world discover their music. For the Record had the opportunity to chat with two bands that are a part of Russia’s RADAR program.

Сёстры (pronounced “sestry,” translation: Sisters) is an indie pop duo that debuted their first album, Когда были волны (When There Were Waves), in October of 2020. The group has already seen success, including having recently performed on a popular Russian late-night talk show.

Три дня дождя (pronounced “tri dnia dozhdia,” translation: Three Days of Rain) is an alternative band that released their first album in February of last year. Their most popular track, “Не киряй,” has racked up more than 4.5 million streams on Spotify.

Read what the bands had to say about their music, their experience, and more below.

What are you looking forward to as a Spotify Russian RADAR artist?

Сестры: We have been watching the RADAR program for a long time now, as it’s helped us discover many talented foreign artists, and it is very unlikely we would have discovered them without it. Now, through RADAR, it’s amazing that many more listeners will learn about us—our tracks will become a part of Spotify’s global ecosystem, and our songs will be heard by many people all over the world. We are just at the beginning of getting to know our audience, and it is so important for us to develop strong relations with our fans. 

Три дня дождя: We have big plans and ambitions going forward, and we hope the support of Spotify can help us with establishing our name not only in Russia but also abroad. We are honored to have been chosen as one of the first artists to take part in the program in the country. Russian rock is not dead and we’d love to prove it! We are hopeful that RADAR can help us bring our art to the new audiences.

What advice do you have for fellow emerging artists?

Сестры: Trust yourself and your vision, work hard, and carry on no matter what.

Три дня дождя: First of all, don’t ever give up. Ever! And practice as often as possible. Secondly, try to minimize all factors that restrain you from doing what you love. Lastly, always believe in yourself and your art.

What message do you want people to take from your music?

Три дня дождя: With my music I’d love to convey the emotions everyone is familiar with. And about showing the listeners that love can be a very dangerous thing at times. 

This past year presented many unprecedented challenges. How has it changed the way you approach your musical career?

Сестры: 2020 is exactly the year when our music career began developing. The music industry turned to online, but it somehow brought us all even closer together. We are definitely looking forward to the day when live concerts and performances become possible again, but our approach to our music career has not changed a bit. We will continue gathering at home or at the studio to make new music together.

 

Ready to give these Russian artists a listen? Check out the new RADAR Russia playlist below.

From New Songs to Nostalgic Favorites, Tony Hawk’s Pro Skater Playlist Hits All the Right Notes

At the turn of the millennium, Tony Hawk’s Pro Skater video games brought together the best of the gaming and skateboarding worlds. And while the series was popular for letting anyone land a virtual ollie or kickflip, it also became known for its soundtrack. So when news broke that Tony Hawk’s Pro Skater 1 + 2 would be remastered and released later this year, skaters, gamers, and audiophiles rejoiced.

For original fans, the game will have a familiar look, feel, and sound—but there will also be some major modern upgrades. The soundtrack includes a lineup of throwbacks from the original game and newer songs from up-and-coming artists. And with genres spanning rock, punk, and rap, there’s sure to be a little something for everyone.

“I think that the new game is going to make fans remember why they enjoyed this series in the first place,” Tony Hawk told For the Record. “Since many of us have been stuck at home, people have told me they’ve busted out their old consoles to play our video games, especially the first two, because it brings them back to a time they remember fondly. When they see what we’ve offered them in the new game, in terms of upgrading, remastering, and the new music, I think they’re going to love it. I can already feel the excitement and people haven’t even gotten their hands on it yet.”

The new game launches September 4, but the wait for the soundtrack lineup is over. On July 28, Activision teamed up with Noisey for an exclusive virtual concert where the set list for Tony Hawk’s Pro Skater 1 + 2  was revealed. The show featured performances by some of the game’s new musical additions, including CHAII, Merkules, Machine Gun Kelly, and Rough Francis.

Alongside these new artists, the soundtrack will also feature iconic songs from the original game including Bad Religion’s “You” and Goldfinger’s “Superman.”

“I get a lot of feedback about the game’s music, specifically ‘You’ and ‘Superman,’” says Hawk. “People tell me that was the starting point for their musical interest when they played the game during their formative years. I’m thankful that these bands are still performing and that they’re still supporting us in this remaster.”

For the Record also caught up with Bad Religion’s Jay Bentley and Goldfinger’s John Feldmann to talk about the new game and find out why they think music and skateboarding go hand in hand.

Other than appearing on the Tony Hawk soundtrack, does your band have a personal connection to skate culture?

Bentley: We were recording Suffer, No Control, and Against the Grain around the same time that camcorders were becoming popular. A lot of people used them to shoot skate videos. People started asking us if they could use our songs in their videos, and we would always say, “Yeah, of course!” I don’t think any of us realized at the time that we were part of a culture bubble that was growing so exponentially.

Feldmann: I discovered so many bands like T.S.O.L., Social Distortion, and Dead Kennedys through skate culture, mostly through the skateboarding magazine Thrasher. There was also a connection between our band and the culture itself. I remember this one show we played where the audience was just okay. Then we played “Superman” and the crowd went ballistic. We didn’t know what was going on. After the show we realized that the song was in the Tony Hawk game and that’s how all these people discovered our band.

Speaking of, can you give us some background on “Superman”? Did you expect it to still be popular 20 years later?

Feldmann: I wrote “Superman” in 1994 in my Santa Monica apartment in probably 15 minutes. It was too late to make it onto the album we were working on at the time so when Tony Hawk’s team asked us for an unreleased song, it was just sort of there. I never thought much of the song at first, but I’m grateful that it’s still relevant.

What do you think was key to the popularity of the Tony Hawk soundtrack when it was first released and also today?

Bentley: I think when people hear something at a specific time in their life, like playing video games over summer vacation, those memories stick with you. You always have that good feeling when one of those songs comes on.

Feldmann: I just think that music and skateboarding go hand in hand, it always has. Even when I was a kid, we would make our own soundtracks on cassettes based on whatever we were listening to at the time and play those while we skated.

How do you think your band has changed from your first album to your most recent?

Bentley: I remember years ago, [guitarist and songwriter] Brett Gurewitz said that one of the hardest things for him was to express a lifetime of emotion in two minutes. That’s something that we’ve always strived to do. I think as a band, we’ve gotten better at putting out our feelings in a way that’s easier to understand.

Feldmann: When I started, I never listened to anybody. I just made records that I wanted to make and I wrote songs that I thought were interesting. I’m still making music for myself, but now I’m also thinking about what kind of reaction songs are going to have live and how much fun I’m going to have playing them at shows.

Is there an artist or a band that has inspired your sound that fans might be a little surprised to learn?

Bentley: When we started, we each had our own favorite band. I came in loving The Clash, Greg was really big on the U.K. Subs, and Brett was into the Ramones. Between all of us, we discovered that the only artist that we all liked was Elvis Costello. I don’t think that we tried to replicate his sound, but more his attitude and style.  

Feldmann: The Police are my favorite band of all time. Coldplay has also had a huge influence. Their sounds are so lush and they’re incredibly cinematic.

Why are you, personally, excited for the new Tony Hawk Pro Skater playlist?

Feldmann: This game is going to be incredible. But for me, people are going to play it and our song’s going to be in it. What more could I ask for than having a song that’s survived so long that’s going to come back around again? “Superman” was never a song that was on the radio or a big hit, but on an underground level, I don’t think there’s anything bigger.

Stream songs from the Tony Hawk Pro Skater 1 + 2 soundtrack now, available on Spotify.

Lucio Battisti: A Legend in Ten Songs

Depending on whom you ask—or which of his albums you’re listening to—Lucio Battisti was the Italian Serge Gainsbourg or David Bowie. But from a commercial-powerhouse standpoint, this singer-songwriter had more in common with top 40 superstars than he did with critically acclaimed rock artists. Of the 18 studio albums Battisti released between 1969 and 1994, 13 of them went to number one on Italy’s album charts, and all but one (1977’s Anglo-crossover bid, Images) hit the top five. 

Even if the words to Battisti’s songs are difficult for non-Italian speakers to understand, his appeal certainly is not: with the help of long-time lyricist Giulio “Mogol” Rapetti, Battisti synthesized the dominant sounds of the late ’60s and ’70s—folk-rock, sunshined psychedelia, orchestral prog, funk, disco, yacht rock—into an effortlessly anthemic brand of pop music infused with theatrical gravitas and straight-from-the-heart sentiment. Despite his chart-topping stature, Battisti wasn’t much of a public figure (he swore off live appearances in the early ’80s and rarely gave interviews), but then he really didn’t have to be—in Italy, his songs were and remain as pervasive as oxygen. 

Since his untimely death in 1998 at age 55, Battisti’s legend has crept beyond Italy’s borders ever so slowly. Thanks to renowned American reissue labels like Light in the Attic and taste-making indie artists like Blonde Redhead and Sébastian Tellier, Battisti’s music has landed in the crates of discerning record collectors worldwide. And as that cult has expanded, Battisti has come to be seen less as a solid-gold hitmaker and more as a fearless iconoclast who was eager to challenge his audiences as much as entertain them. 

Now that Battisti’s complete 1969-1980 catalog is finally available on Spotify, his mercurial music is primed to be rediscovered by a new generation of heads. Battisti released an overwhelming amount of music during this period; here are ten crucial tracks to help you navigate it. 

Balla Linda(1968)

Battisti’s first brush with success came as a writer for other artists—notably, beat combo Equipe 84, who took Battisiti and Mogol’s psych-pop nugget “29 settembre to number one on the Italian charts in the summer of ’67. A year later, Battisti released the single “Prigioniero del mondo,” but it was the B side that brought him his first top 20 showing as a solo artist in Italy. An entry in the 1968 Cantagiro song competition, “Balla Linda” established several Battisti signatures: the ecstatic British Invasion-inspired melodies; his tender delivery; the ornate orchestration and inventive arrangements. The song’s commercial potential was further reinforced when The Grass Roots (of “Midnight Confessions” fame) released an English translation, “Bella Linda,” that hit the top 30 in the U.S.

Mi ritorni in mente” (1969)

Battisti’s first-ever number one single is a perfect example of his ingenuity as a composer. What begins as a sweeping, string-sweetened break-up ballad gives way to an uproarious, brass-blasted folk-funk groove at the chorus, en route to a divine finale sent aloft on heavenly harmonies. For an accurate gauge of what made Battisti so unique, just consider the song’s 1971 English cover version (“Wake Me I Am Dreaming”) by UK rock ’n’ soul combo The Love Affair, who doubled down on the orchestration but excised the song’s eccentric shifts. 

Emozioni” (1970)

The title track from 1970’s Emozioni represents a crucial turning point in Battisti’s early trajectory. He starts to drift away from his formative rock influences to develop a more singular style of orchestral balladry, as he lets his tender voice swims in endless waves of luxuriant strings. The end result feels both dramatic and blissfully weightless at the same time.  

Pensieri e parole” (1971) 

The year 1971 was a pivotal one for Battisti as it yielded some of his biggest singles, like the cinematic serenade “Pensieri e parole.” But this grandiose track hints at a more experimental ethos coming to the fore, with Battisti’s double-tracked, panned vocals adding a disorienting quality to his familiar widescreen balladry. 

I giardini di marzo” (1972)

After Battisti’s psychedelic curveball of an album, Amore e non amore (a cult classic to be filed alongside equally visionary works by Os Mutantes and Milton Nascimento), 1972’s Umanamente uomo: il sogno saw him reassert his chart-topping bona fides with lead single “I giardini di marzo,” a breathtaking ballad that suggests Leonard Cohen by way of Space Oddity. (But his restlessly adventurous spirit lingered: check out album closer “Il Fuoco,” whose discordant guitar reverberations anticipate Sonic Youth ten years early.)

Il mio canto libero” (1972)

Just as The Beatles marked the end of their psychedelic phase with the straight-forward, all-together-now anthem “Hey Jude,” Battisti likewise emerged from his early-’70s explorations with the song of his career. With the title track of his late-’72 release, Il mio canto libero, Battisti provided Italy’s post-hippie generation with their unofficial theme song, a stirring, defiant, brass-brightened portrait of young lovers who refuse to conform to the expectations placed on them by society. 

Anima Latina” (1974)

By 1974, Battisti was firmly ensconced in the elite tier of Italian pop, a position that gave him a renewed license to experiment. Anima Latina, which was inspired by a sojourn to Brazil, follows in the wild-card tradition of Amore e non amore (and likewise generated no major singles), but ventures even further afield in its explorations of cosmic texture and hypnotic rhythm. On the majestic title track, Battisti forges a genre all his own: mariachi disco-folk. 

Ancora tu” (1976)

Like any pop artist making music in the mid-’70s, Battisti put on his boogie shoes and made a beeline for the mirror-balled dance floor. “Ancora tu” was his first number one single in three years—fitting for a song whose title translates as “you again.” But Battisti’s idea of disco was more closely aligned with Gainsbourg’s spoken-word funk and Bowie’s plastic soul than Saturday Night Fever, and “Ancora tu” thrives on the tension between its plush arrangement and Battisti’s increasingly desperate performance. 

The Sun Song” (1977)

Battisti’s songbook had long attracted the attention of British rock stars like Mick Ronson and Graham Nash, both of whom covered his work. But it wasn’t until 1977 that Battisti made his own crossover bid by recording the album Images entirely in English. The record featured Anglicized versions of past Italian hits with slicker late-’70s production, including this souped-up, soft-rock remount of his towering 1971 folk-rock hymn “La canzone del sole.” 

Una donna per amico (1978)

“Una donna per amico” is an unimpeachable pop bop that fulfills the ultimate EZ-rock fantasy of Billy Joel fronting ABBA. The song took up residency at the top of the Italian charts for a staggering 14 weeks, and was Italy’s second highest-selling single in 1978, behind only The Bee Gees’ “Stayin’ Alive.” But it would prove to be Battisti’s last number one single. After 1980’s Una giornata uggiosa, he would part ways with his long-time label Mogol, bringing one of the most prolific and successful partnerships in European pop history to an end. 

While each of Battisti’s subsequent, more sporadic albums in the ’80s and ’90s would crack the top five on name recognition alone, their austere synth-pop sound didn’t generate the same wide-scale cultural impact. But that’s okay—Battisti’s seemingly bottomless ’70s canon features enough indelible earworms, surprise left turns, and moments of pure beauty to fill a lifetime. 

Celebrate the addition of Battisti’s discography to Spotify with our This Is Lucio Battisti playlist.

Fans Couldn’t Wait for Vampire Weekend’s Father of the Bride—And Their Streams Show It

American indie rockers Vampire Weekend are all grown up—and in the six years since their last album, 2013’s romantic Modern Vampires of the City, their fans have grown up, too. But in the band’s absence, more than six million monthly listeners never strayed too far. And when Vampire Weekend began teasing their newest album, Father of the Bride, in early 2019, fans were equally excited to jump on board with the new songs—while also revisiting old favorites.

For months, Vampire Weekend teased their new album with a working title of Mitsubishi Macchiato. It wasn’t until January 24, when lead singles “Harmony Hall” and “2021” appeared, that the new album name, Father of the Bride, was announced along with a spring release date. Immediately, streams of their entire catalogue skyrocketed 219%, and fans eagerly awaited what would come next.

Vampire Weekend released three single sets featuring two songs each, which kept anticipation high. After the first set came “Sunflower” and “Big Blue” on March 6, followed by “Unbearably White” and “This Life” on April 4. These semi-surprise drops led to 60% and 63% catalogue streaming increases, respectively.

The double-single sets kept fans satisfied, but it wasn’t until May 3, when Father of the Bride was released in full, that fans really turned up the devotion. Catalogue streams of the band jumped 320% during release week in comparison to the previous week. And by May 10, the album had racked up almost 24 million total streams.

It’s no surprise that fans were eager to return to Vampire Weekend’s wonderful world of clever references and bright, tender songwriting. Father of the Bride takes adulthood’s most sacred rite of passage and playfully spins a sprawling narrative about love, loss, family, and time. It’s the band’s first album minus founding member Rostam Batmanglij, and the first since front man Ezra Koenig moved to Los Angeles and became a dad—hence the songs’ introspective themes and newfound mature vibes.

It was surprising, though, to find another indie rock fave, Danielle Haim of the sister trio HAIM, featured on three Father of the Bride tracks. Their duets helped inspire more HAIM listening on Spotify too, with noticeable streaming increases each day after May 3 and a peak on May 4 in particular. Recently, Vampire Weekend fans have also turned to other artists like indie vets The National, genre-bending pop star Billie Eilish, and breezy rocker Mac DeMarco, who all released new albums this year.

Vampire Weekend’s college days may be far from over, but even as tastes evolve and times change, their listeners have remained loyal—and their streams have shown that Father of the Bride is well worth the wait.

Los Piojos, legendaria banda de rock argentino, compartió su discografía completa en Spotify

El 21 de septiembre de 1986 en el Colegio Bernardino Rivadavia de Ciudad Jardín del Palomar, en el Gran Buenos Aires, Argentina, se empezó a gestar lo que sería uno de los grupos musicales más populares en la historia del rock nacional argentino: Los Piojos.

Con un nombre poco común, que tomaron de la canción “Los piojos del submundo” de Fabiana Cantilo y los Perros Calientes, y muchas ganas de vivir de su música, la banda fue escalando y pasó de tocar covers en pequeños escenarios a llenar estadios ante miles de personas. Se podría decir que Los Piojos se erigió rápidamente como uno de los grupos que llevaron al rock argentino a un nivel de convocatoria de estadios en la década de los noventa. En 20 años grabaron 7 discos de estudio, 2 álbumes en vivo.

A 10 años de su separación -el 30 de mayo del 2009 tras una última presentación ante 65.000 personas en el estadio de River Plate-, Los Piojos decidieron subir toda su discografía a Spotify, para que sus fans puedan revivir viejas épocas con uno de los grupos musicales más relevantes en la historia del rock argentino.

Su discografía completa:

1. Chac tu Chac (1992)

Este primer disco se compuso con todas las canciones de su autoría entre 1988 y 1992, y fue su primera experiencia en un estudio de grabación. Destacan los temas “Los Mocosos”, la versión roquera del tango “Yira yira“, “Tan sólo” y “A veces”.

El año siguiente tuvieron una gran cantidad de presentaciones en vivo, incluyendo una gira por el interior que los llevó a Bahía Blanca, Rosario y Mar del Plata.

2. Ay, Ay, Ay (1994)

Este álbum -dedicado a Diego Armando Maradona- vino con un corte un poco más profesional, teniendo sesiones de ensayo un mes antes de entrar al estudio y un primer videoclip grabado. “Ay ay ay”, el tema que le da nombre al disco, se grabó tal cual se tocaba en vivo: con una duración de entre quince y veinte minutos.

3. 3er Arco (1996)

Su tercer álbum de estudio fue disco de oro en pocos días -y luego doble platino-, poniéndolos al frente de las ventas y colocándolos como una promesa del rock. El tema “El farolito” encabezó el ranking en varias radios y el videoclip de “Maradó” -tema dedicado a Diego Armando Maradona- llegó a los top ten de MTV.

Eso derivó en los primeros shows en el estadio de Obras, dos presentaciones en el Microestadio de Ferro y otros tres shows más en Obras. En los shows comenzaba a forjarse esa especie de fiesta que la banda denominó “rituales”, y sólo lo entienden los que alguna vez vieron a la banda en directo.

4. Azul (1988)

En su décimo aniversario apareció el cuarto disco de la banda. Este trabajo, en el cual profundizan otros ritmos rioplatenses como el candombe y la murga, fue presentado en vivo en el Parque Sarmiento y en el estadio de All Boys.

5. Ritual (en vivo) (1999)

En 1999 llega el quinto disco de Los Piojos, y el primero en vivo. Este álbum se grabó durante el show que la banda realizó en el Estadio de Obras.

6. Verde Paisaje del Infierno (2000)

Este álbum se lanzó en octubre del 2000 y fue presentado en vivo en el estadio de Club Atlético Atlanta, en Buenos Aires dos meses después del lanzamiento. Un año más tarde, en octubre de 2001, Los Piojos debutan en el festival de Cosquin Rock con una presentación que los fans aún recuerdan.

7. Huracanes en Luna Plateada (en vivo) (2002)

Este álbum compila 19 temas registrados en los shows del estadio de Huracán, en el Luna Park, en el Polideportivo de Gimnasia y Esgrima de La Plata, en Rosario, en Neuquén, en Córdoba y en Mendoza.

8. Maquina de Sangre (2003)

El 2003 también fue un gran año para Los Piojos, no sólo porque fueron el número principal del tercer Festival Cosquín Rock y tuvieron su primera gira internacional por España, sino porque lograron grabar Máquina de sangre, que incluye, entre otros temas, la conocidísima y pegadiza canción «Como Alí».

9. Fantasmas Peleándole al Viento (en vivo) (2006)

En octubre de 2006 sacan su primer DVD, con una recopilación de lo mejor de las presentaciones en el Estadio de Boca Juniors (2005), en Obras al aire libre (Pepsi Music 2005) y en el Estadio Único La Plata (2004), más una versión de “Cruel” de 1992 en la Facultad de Ciencias Sociales, backstages de la grabación de Máquina de Sangre y el video con las jugadas de Diego que siempre ponen cuando tocan «Maradó».

10. Desde Lejos No se Ve (en vivo) (2007)

Desde Lejos No Se Ve fue el segundo DVD de la banda y cuenta con material de los recitales del estadio de Vélez Sársfield, River Plate y el estadio de Ferro.

11. Civilización  (2007)

Civilización, el noveno disco de Los Piojos, se presentó oficialmente en el Polideportivo de Mar del Plata y luego en una gira por Argentina. Es considerado por muchos el mejor disco de la banda, donde logran el punto máximo de maduración musical.

Tras 20 años de trayectoria, se despidieron el 30 de mayo de 2009 en un show multitudinario, ante más de 65 mil personas en el Estadio de River Plate. Los Piojos se erigió como una de las bandas más populares de Argentina incluso después de su separación.

Why the Boy Band Phenomenon Lives On

The Backstreet Boys just scored a number-one album—and no, you weren’t accidentally transported back to 1999. Even twenty years later, with the crooning quintet decades removed from actually being boys, their new album, DNA, has topped the charts. Backstreet isn’t just back, though. Boy bands in general never left.

Sure, it felt like the phenomenon exploded two decades ago, thanks to bands like Backstreet Boys (BSB), NSYNC98 Degrees, and O-Town. But groups of young men have been hitting high notes together since the earliest days of pop music. Then, as now, superstar boy bands inspire a new generation of devotion to near-perfect harmonies, lovelorn lyrics, and coordinated dance moves.

Think of it this way: Early twentieth-century barbershop quartets and doo-wop groups led to rock bands like The Beatles. Then, in the 1970s, kids went crazy for glitzy sibling boy bands like The Osmonds and The Jackson 5 (the latter of which launched the iconic career of Michael Jackson). The 1980s saw the rise of New EditionNew Kids on the Block, and Menudo, (whose hits went international well before the Latin Invasion) and the seeming rise of boy bands in the late ’90s.

The general story of boy-band immortality, however, can be told by BSB’s streaming data. In 2018, the band averaged almost forty-one million monthly streams; most of those listeners were under age forty-four, with more than a quarter of them under twenty-four. In other words, whether you were a toddler, starting your career, or somewhere in between when the Backstreet Boys first blew up, you’re still blasting the hits, and likely feeling nostalgic when you do.

Other boy bands, including superstar K-Pop groups like BTS and SEVENTEEN, clock monthly streams on Spotify in the millions, with the majority of those loyal listeners under age twenty-four. It’s the same for English-Irish group One Direction, British quartet The Vamps, and Australia’s 5 Seconds of Summer, whose hit “Youngblood” racked up a whopping sixty million average monthly streams in 2018. Nearly all these bands are quickly attracting listeners across continents, thanks to streaming, so you probably needn’t fast-forward a full two decades to see signs that all these groups’ fan bases will eventually resemble BSB’s today.

And, already, another new crop of boy bands is on the rise. In 2019, keep an eye on upstarts Prettymuch (U.S.-Canada), Why Don’t We (U.S.), In Real Life (U.S.), and CNCO (Latin America). No matter where they’re from, however, or which clothing or hairstyle trends they set, the speed at which new boy bands are building a global listenership suggests that the phenomenon will never age out.

Relive the music of the best boy bands of the ’90s with our All Out 90s playlist.