performers<\/a> for 2024 is full of various famous artists. Big stars like Lana Del Rey, Tyler, The Creator, and Doja Cat lead the show<\/b>, keeping up with Coachella’s tradition of having all kinds of music. Adding Japanese pop stars like YOASOBI, Hatsune Miku, and ATARASHII GAKKO! and K-pop groups ATEEZ, LE SSERAFIM, and The Rose shows Coachella’s effort to bring music from all over the world to its stages\u200b\u200b\u200b.<\/p>\nElectronic Beats and Sounds<\/b><\/h2>\n
Coachella 2024 is also set to be an amazing time for electronic music fans<\/b>. Steve Angello is returning to the festival, famous for his awesome shows. Anyma will perform his Genesys show for the first time at Coachella, mixing music and visual effects in new ways. Plus, fans can get excited for performances by Peggy Gou, Justice, and Charlotte de Witte, to name a few\u200b.<\/p>\nTickets: How Much and How Fast They’re Selling<\/b><\/h2>\n
Ticket sales for Coachella 2024 are the slowest they’ve been in ten years<\/b>. Even with this, the festival hasn’t changed ticket prices, with the first weekend passes starting at $499. This drop in ticket sales speed might show bigger issues in the live music world or a change in what people want from festivals\u200b.<\/p>\nThe Future of Coachella<\/b><\/h2>\n
There’s a lot of guessing about what will happen with Coachella. But one thing is clear: the festival is changing. Even though ticket sales are slower, Coachella is still trying new things, like bringing in different kinds of music and reaching out to fans from across the globe<\/b>. This effort to have a wide variety of music, from electronic pioneers to new stars in J-pop and K-pop, shows Coachella’s important place in the music world.<\/p>\n
To sum it up, Coachella 2024 looks like it will continue the festival’s tradition of being innovative and welcoming. With a lineup that includes all sorts of music and fans from everywhere, Coachella is still a big event in the music calendar, even as it deals with the challenges of today’s music scene.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":10028,"featured_media":170776,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[398],"tags":[],"class_list":["post-170767","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"acf":[],"_links":{"self":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/170767"}],"collection":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/users\/10028"}],"replies":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/comments?post=170767"}],"version-history":[{"count":0,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/170767\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media\/170776"}],"wp:attachment":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media?parent=170767"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/categories?post=170767"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/tags?post=170767"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}