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Before the Coachella Valley Music and Arts Festival became a world-famous event, it started as a much more modest music festival in Southern California’s desert in 1999.

During the festival, the Empire Polo Club in Indio has been the site of some of the biggest music and pop culture moments of the century, from Daft Punk’s iconic pyramid spectacle in the Sahara Tent in 2006 to Beyoncé bringing a legendary “Homecoming” to Coachella’s largest stage in 2018.

As the festival kicks off its 25th year, we combed through The Times’ extensive archives to take a trip down Coachella’s memory lane. Scroll through and you’ll see those epic moments from Daft Punk, Beyoncé, Prince and Madonna, but also the iconic large art installations at the festival and just how much the event has grown and changed over the years.

1999

The inaugural Coachella happened in October 1999 and was a two-day affair headlined by Beck, Rage Against the Machine and Tool, which The Times’ then-pop music critic Robert Hilburn dubbed the “Anti-Woodstock 99.” However, the inaugural event was marred by a triple-digit heat wave and was a financial disaster.

Dennis Carrillo wears a sombrero as a shield against the blistering sun as he and friend Dario Soto, both of Los Angeles, walk toward the stage at the inaugural Coachella Valley Music and Arts Festival in Indio in October 1999, where the temperature hit triple digits.

(Luis Sinco / Los Angeles Times)

Beck was one of the headliners of the original Coachella in October 1999.

(Luis Sinco / Los Angeles Times)

Thousands of music fans wait at the main stage area at the inaugural Coachella in 1999.

(Gina Ferazzi / Los Angeles Times)

Rage Against the Machine was one of the headliners of the inaugural Coachella Valley Music and Arts Festival in 1999.

(Gina Ferazzi / Los Angeles Times)

2001

Due to the financial losses, Coachella skipped a year and returned in April 2001 as a one-day event with a headlining set by Jane’s Addiction and a bill featuring artists such as Weezer and Paul Oakenfold. It drew more than 32,000 people to the desert.

When Coachella returned as a one-day event in 2001, Jane’s Addiction headlined the show.

(Lori Shepler / Los Angeles Times)

Even in its early years, Coachella made art part of the vibe. In 2001, people on stilts roamed the field in front of the main stage.

(Lori Shepler / Los Angeles Times)

Thousands of fans hang out on the main field at Coachella in 2001.

(Lori Shepler / Los Angeles Times)

Paul Oakenfold’s first time playing Coachella was in 2001.

(Lori Shepler / Los Angeles Times)

2002

Coachella went back to being a two-day event in 2002, headlined by Bjork and Oasis. One of the emerging acts on the bill that year was a rock combo out of New York called The Strokes.

Oasis, with guitarist Noel Gallagher, headlined the second day of Coachella 2002.

(Kevin P. Casey / Los Angeles Times)

When The Strokes first played Coachella in 2002, the New York band was just emerging in the rock scene. Singer Julian Casablancas and the group will perform again in 2026.

(Kevin P. Casey / Los Angeles Times)

The first time Bjork headlined Coachella was the 2002 edition of the festival.

(Kevin P. Casey / Los Angeles Times)

Fans watch arm in arm as Oasis closes out Coachella 2002.

(Kevin P. Casey / Los Angeles Times)

2003

The Beastie Boys and Red Hot Chili Peppers headlined Coachella 2003, but the lineup also included The White Stripes, Iggy and The Stooges, Underworld and the Blue Man Group.

Coachella attracted about 35,000 fans per day in 2003.

(Myung J. Chun / Los Angeles Times)

The White Stripes were one of the standout acts at Coachella 2003.

(Myung J. Chun / Los Angeles Times)

The Sahara Tent has always been the heartbeat of Coachella’s dance scene, but in 2003 it was much smaller than the airplane hangar-sized stage it is today.

(Myung J. Chun / Los Angeles Times)

The Blue Man Group performed at the 2003 Coachella Valley Music and Arts Festival.

(Myung J. Chun / Los Angeles Times)

2004

In 2004, the Flaming Lips created an iconic Coachella moment when singer Wayne Coyne traveled over the crowd in a giant inflatable ball. Headlined by Radiohead and The Cure, the festival also included a reunion of the Pixies. It also marked Coachella’s first sellout, with 60,000 attendees per day.

The Flaming Lips’ Wayne Coyne travels over the Coachella 2004 crowd in an inflated plastic bubble.

(Robert Gauthier / Los Angeles Times)

Syd Klinge’s “Cauac” Tesla coil was one of Coachella’s firstart pieces. It made its debut in 2004.

(Robert Gauthier / Los Angeles Times)

Coachella 2004 featured a highly-regarded reunion of the Pixies.

(Robert Gauthier / Los Angeles Times)

Fans brave sweltering heat as they wait for the Pixies to perform at Coachella 2004.

(Robert Gauthier / Los Angeles Times)

2005

Coldplay and Nine Inch Nails headlined Coachella in 2005. Weezer, The Chemical Brothers and Wilco were some of the other notable acts on the bill. Among the memorable moments was the reunion of Bauhaus and singer Peter Murphy performing “Bela Lugosi’s Dead” while hanging upside down like a bat.

Wilco performs before a crowd of tens of thousands at dusk at the 2005 Coachella Valley Music and Arts Festival.

(Myung J. Chun / Los Angeles Times)

Trent Reznor and Nine Inch Nails headlined Coachella in 2005. Reznor will return to the festival in 2026 with German music producer Boys Noize to perform as Nine Inch Noize.

(Myung J. Chun / Los Angeles Times)

Music fans break a sweat dancing in the Sahara Tent during the 2005 Coachella Valley Music and Arts Festival.

(Myung J. Chun / Los Angeles Times)

Allen Writhen, of Santa Maria, takes a spin on a bicycle at the Cyclecide arena at Coachella 2005. Cyclecide, a San Francisco–based bicycle rodeo group, brought bike-centric art installations to Coachella for multiple years.

(Myung J. Chun / Los Angeles Times)

2006

Technically Depeche Mode and Tool headlined Coachella in 2006, but neither of those is the act everyone remembers from that year. Daft Punk brought out its elaborate pyramid stage and changed the festival and dance music. It was also the year that Madonna surprised Coachella fans by performing in the Sahara Tent. Kanye West was added to the lineup two days before the festival.

One of the most iconic moments in Coachella’s history was the performance by French electronic duo Daft Punk at the 2006 festival.

(Spencer Weiner / Los Angeles Times)

Madonna surprised Coachella fans by making her festival debut in the Sahara Tent in 2006.

(Spencer Weiner / Los Angeles Times)

Alisa Davis, of Las Vegas, enjoys the music and the view at Coachella 200 from Michael Christian’s climbable sculpture “Hypha.”

(Spencer Weiner / Los Angeles Times)

Dave Gahan and Depeche Mode headlined the opening night of Coachella 2006.

(Spencer Weiner / Los Angeles Times)

2007

Coachella expanded to three days in 2007 with headliners Bjork, Red Hot Chili Peppers and Rage Against the Machine. Amy Winehouse performed to an overflowing Gobi Tent. However, it was the reunited Rage that made headlines, particularly when Zack de la Rocha called for the George W. Bush administration to be “hung and tried and shot” for war crimes during “Wake Up.”

Zack de la Rocha called for the Bush administration to be tried for war crimes during Rage Against the Machine’s reunion set at Coachella 2007.

(Spencer Weiner / Los Angeles Times)

Stefano Corazza’s “A Field of Sunflower Robots” was one of the interactive art installations at Coachella 2007.

(Spencer Weiner / Los Angeles Times )

Raising the flag, music fans from all over the world set up camp at Coachella 2007.

(Spencer Weiner / Los Angeles Times)

Abigail Plumhof traveled from New York to Indio for Coachella 2007.

(Spencer Weiner / Los Angeles Times)

2008

Prince was added as a headliner two weeks before the festival began and performed a cover of Radiohead’s “Creep” that is still talked about. It was also the one year that there was a dedicated Coachella Express Amtrak train from Los Angeles to Indio. Jack Johnson headlined the first night and Roger Waters closed the main stage, performing Pink Floyd’s “Dark Side of the Moon” and letting a giant inflatable pig loose in the sky.

Prince headlined Saturday night of Coachella 2008, performing a memorable cover of Radiohead’s “Creep.”

(Spencer Weiner / Los Angeles Times)

Kestrin Pantera dances while Marc Goldstein DJs aboard a special Amtrak charter, the Coachella Express, which traveled from Los Angeles to Indio in 2008. The free train service provided transportation to Coachella Valley Music and Arts Festival attendees.

(Spencer Weiner / Los Angeles Times)

Roger Waters performed Pink Floyd’s “Dark Side of the Moon” during the final day of Coachella 2008. His set also included a giant inflatable pig that was let loose into the Indio night.

(Spencer Weiner / Los Angeles Times)

A dance circle develops inside the Do Lab at the 2008 Coachella Valley Music and Arts Festival.

(Jay L. Clendenin / Los Angeles Times)

2009

Coachella 2009 marked the final year the general public could buy single-day tickets to the festival. Paul McCartney headlined opening night and played 50-plus minutes after curfew. When The Cure tried the same thing to close down Sunday, the sound was cut earlier. Sandwiched in between was a headlining set from The Killers. Other notable performers included M.I.A., who stepped in after Amy Winehouse dropped off the lineup, Morrissey, who complained about the smell of burning flesh, and Leonard Cohen.

Paul McCartney headlined the main stage at Coachella 2009 in a career-spanning set that went nearly an hour past the 1 a.m. curfew.

(Spencer Weiner / Los Angeles Times)

Festivalgoers find shade in the Do Lab at Coachella 2009.

(Jay L. Clendenin / Los Angeles Times)

M.I.A. stepped in to perform at Coachella 2009 after Amy Winehouse dropped off the lineup.

(Jay L. Clendenin / Los Angeles Times)

“Bamboo Starscraper” was a 90-foot-tall bamboo tower by Gerard Minakawa that was part of the art at the festival in 2009.

(Jay L. Clendenin / Los Angeles Times)

2010

This year was the first time the festival only offered three-day passes and Coachella drew a record 75,000 people per day, up nearly 15,000 from the previous year. It was also the year Coachella had its first rap headliner with Jay-Z, who brought out wife Beyoncé to perform “Young Forever.” The other headliners in 2010 were Muse and Gorillaz. The eruption of an Icelandic volcano kept some artists from getting to the festival, including The Cribs and Frightened Rabbit. Then there was Sly Stone’s oft-delayed set that ended with him ranting about his former manager and led to a slander lawsuit. The full festival was also livestreamed for the first time.

In 2010, Jay-Z became the first rapper to headline Coachella. He brought out wife Beyoncé as a surprise guest.

(Luis Sinco / Los Angeles Times)

Members of the Old Crow Medicine Show jam in the VIP area of the Coachella Valley Music and Arts Festival at the Empire Polo Club in Indio in 2010.

(Luis Sinco / Los Angeles Times)

DJ Lance Rock and the creatures of “Yo Gabba Gabba!” performed at Coachella in 2010.

(Luis Sinco / Los Angeles Times)

The crowd reacts during Benny Benassi’s DJ set in the Sahara Tent at Coachella 2010.

(Jay L. Clendenin/Los Angeles Times)

2011

Kanye West closed out Coachella 2011, the year before the fest expanded to double weekends, with a theatrical main stage set that featured dozens of dancers. He co-headlined with The Strokes on a lineup that also included Kings of Leon and Arcade Fire, the latter of which dropped giant light-up LED balls on the crowd as part of the performance.

Kanye West had an elaborate headlining set with dancers to close Coachella 2011.

(Brian van der Brug / Los Angeles Times)

A concertgoer crowd-surfs as Death From Above 1979 performed at Coachella 2011.

(Brian van der Brug / Los Angeles Times)

Arcade Fire dropped giant balloons that had LED lights in them during its 2011 Coachella headlining set.

(Brian van der Brug / Los Angeles Times)

Concertgoers cool off at Coachella 2011.

(Luis Sinco / Los Angeles Times)

2012

In 2012, Coachella added a second weekend. It also marked the first time in Coachella history when the famously sunny desert festival received rain. The big moment of the festival was the Tupac Shakur hologram that appeared on stage with Dr. Dre and Snoop Dogg during their headlining performance. The other artists topping the bill included The Black Keys — who brought out John Fogerty for a Levon Helm tribute Weekend 2 — Radiohead, Pulp and Swedish House Mafia. Attendance was estimated at 85,000 people per weekend.

Snoop Dogg performs with a hologram of Tupac Shakur near the end of the Snoop Dogg and Dr. Dre’s headlining set at Coachella 2012.

(Jay L. Clendenin / Los Angeles Times)

Laura Newton, left, Lucy Holme and Louise Watkins from Britain attended their first Coachella in 2012 and protected themselves from the rain that swept in on opening day with garbage bags.

(Luis Sinco / Los Angeles Times)

David Guetta brought lots of lasers to his performance in the Sahara Tent at Coachella 2012.

(Jay L. Clendenin/Los Angeles Times)

An aerial view of the 2012 Coachella Valley Music and Arts Festival.

(Arkasha Stevenson / Los Angeles Times)

2013

Blur and The Stone Roses shared headlining duties on opening night in a celebration of Britpop while Phoenix and the Red Hot Chili Peppers also had headlining turns during the weekends, the latter battling a nasty dust storm Weekend 1. The house-centric (and air-conditioned) nightclub-like Yuma Tent also made its debut in 2013. Art collective Poetic Kinetics brought “Helix Poeticus,” colloquially known as the Coachella Snail, to Indio.

“Helix Poeticus,” created by Poetic Kinetics makes its way, slowly, across the polo field at Coachella 2013.

(Jay L. Clendenin / Los Angeles Times)

Flea of the Red Hot Chili Peppers headlined Sunday night at the 2013 Coachella Valley Music and Arts Festival.

(Brian van der Brug / Los Angeles Times)

The Yuma Tent made its debut at Coachella 2013 with air conditioning, a hardwood floor and comfy chairs.

(Luis Sinco / Los Angeles Times)

Tesla coils by artist Syd Klinge go off along with the “Coachella Power Station,” left, by artists Vanessa Bonet, Derek Doublin and Chris Waggoner at Coachella 2013.

(Jay L. Clendenin / Los Angeles Times)

2014

A reunited Outkast, Muse and Arcade Fire headlined Coachella 2014, but one of the most memorable performances was Pharrell Williams’ star-studded set on the Outdoor Theatre. We also saw the debut of Poetic Kinetics’ “Escape Velocity,” a.k.a. the Coachella astronaut, and the mirrored “Reflection Fields” by Phillip K. Smith among the festival’s major art installations.

A nearly 40-foot tall astronaut, “Escape Velocity” by L.A. art collective Poetic Kinetics, is reflected in “Reflection Fields” by Phillip K. Smith at the 2014 Coachella Valley Music and Arts Festival.

(Brian van der Brug / Los Angeles Times)

Andre 3000 of Outkast performs inside a screen box opening day of the 2014 festival. Andre 3000 and Big Boi reunited for the festival.

(Bethany Mollenkof / Los Angeles Times)

Fans pack the Sahara Tent for the performance of Showtek at Coachella 2014.

(Jay L. Clendenin / Los Angeles Times)

Pharell Williams performs at the second weekend of the 2014 Coachella Valley Music and Arts Festival.

(Jay L. Clendenin/Los Angeles Times)

2015

AC/DC, Jack White and Drake headlined, the latter bringing out Madonna for a smooch, but Florence + The Machine was one of the breakout performances from the year, literally. Florence Welch broke her foot Weeken d 1. This year also featured some of the most memorable art in the festival’s history, with the hippos running “Corporate Headquarters” and the transformation of Poetic Kinetics’ Coachella caterpillar into a butterfly.

Angus Young duck walked in his traditional schoolboy uniform during AC/DC’s Coachella 2015 headlining performance.

(Luis Sinco / Los Angeles Times)

Music fans flock to “Desiderium Eruca,” Poetic Kinetics’ large butterfly sculpture that replaced the “Papilio Merraculous” caterpillar sculpture at Coachella 2015.

(Marcus Yam / Los Angeles Times)

Florence + The Machine was one of the memorable performances at Coachella 2015. Singer Florence Welch broke her foot when she leaped from the stage during Weekend 1.

(Marcus Yam / Los Angeles Times)

Aerial performers spin above the crowd at the Do Lab at Coachella 2015.

(Marcus Yam / Los Angeles Times)

2016

Guns N’ Roses reunited for the festival, where singer Axl Rose performed from a throne after breaking his foot at a warm-up show at the Troubadour a week before. The festival also included performances from Ice Cube (with a reunion of N.W.A) and Mavis Staples as well as headlining sets from the reunited LCD Soundsystem and Calvin Harris, who brought out Rihanna.

After breaking his foot the week before Coachella 2016 during Guns N’ Roses’ Troubadour warm-up show, Axl Rose performed on stage at Coachella atop the motorized throne Dave Grohl previously used on tour after breaking his leg.

(Brian van der Brug / Los Angeles Times)

Alejandro Murcia and Wanda Quintero take a photo in front of R&R Studios’ “Besame Mucho” installation at Coachella 2016. The typographic sign was covered in silk flowers and is among the more memorable art pieces from the year. Today, the installation lives on at Miami International Airport.

(Jay L. Clendenin / Los Angeles Times)

Ice Cube’s performance at Coachella in 2016 led to an on-stage reunion with the surviving members of N.W.A, featuring MC Ren and DJ Yella Weekend 1 with Dr. Dre joining them on Weekend 2.

(Jay L. Clendenin / Los Angeles Times)

Brian Sneed and Claudia Jerez jump as a friend takes their photo in front of the “Katrina Chairs” art installation at Coachella 2016.

(Katie Falkenberg / Los Angeles Times)

2017

Beyoncé was originally supposed to headline Coachella in 2017 but was pregnant, so Lady Gaga stepped in. Kendrick Lamar and Radiohead also headlined, with the former releasing “Damn.” on the first day of the festival. Hans Zimmer brought an orchestra and performed his biggest music from the movies too. The festival grounds expanded 20 acres and Coachella boosted capacity from 99,000 to 125,000 people. This year was also the debut of the Sonora Tent, which offers air-conditioning and rock club vibes.

The first time Lady Gaga headlined Coachella was in 2017 and it was because she stepped in after Beyoncé had to postpone due to her pregnancy.

(Brian van der Brug / Los Angeles Times)

Crowds of people take photos of Gustavo Prado’s art piece “Lamp Beside the Golden Door”at Coachella 2017. The sculpture featured more than 2,100 mirrors.

(Luis Sinco / Los Angeles Times)

Kendrick Lamar released “Damn.” the Friday of Coachella 2017 Weekend 1, two days before his headlining performance that included ninjas.

(Brian van der Brug / Los Angeles Times)

Olalekan Jeyifous’ 50-foot-tall “Crown Ether” treehouse art installation provided a backdrop for photos at Coachella 2017.

(Brian van der Brug / Los Angeles Times)

2018

Coachella was already regarded globally as a music festival. Then Beyoncé turned Coachella into the pop culture moment of the year. Coachella became Beychella and her Homecoming performance was nothing short of epic, even becoming its own Netflix special. Beyond Beyoncé, Eminem and The Weeknd headlined, but one of the other standouts was Cardi B’s TLC-inspired performance on the main stage. On the grounds, 2018 was the year “Spectra,” the cylindrical rainbow tower, became part of the festival’s landscape.

Beyoncé’s stunning headlining performance at Coachella 2018 celebrated America’s historically Black colleges and universities. Her set also featured cameos from husband Jay-Z, sister Solange and a Destiny’s Child reunion.

(Luis Sinco / Los Angeles Times)

The rainbow-colored cylindrical tower “Spectra” made its debut at Coachella in 2018.

(Christina House / Los Angeles Times)

Cardi B performed a set inspired by TLC at Coachella in 2018.

(Kent Nishimura / Los Angeles Times)

Festival goers walk in front of Edoardo Tresoldi’s “Etherea” wire mesh cathedral structures and Randy Polumbo’s “Lodestar,” which was made with the fuselage of a military jet, at Coachella 2018.

(Maria Alejandra Cardona / Los Angeles Times)

2019

Ariana Grande, Childish Gambino and Tame Impala headlined Coachella in 2019, but the big memories from that year were the rise of artists like Bad Bunny and Billie Eilish as they were becoming bona fide superstars. Arguably the most memorable performance of the year wasn’t even during normal festival hours — it was when Kanye West held a Sunday Service in the campgrounds on Easter Sunday during Weekend 2. Meanwhile, to mark Coachella’s 20th year, Poetic Kinetics brought back the famous roving Coachella astronaut in a new form as “Overview Effect.”

Bad Bunny’s set at Coachella 2019 included a guest spot from J Balvin.

(Mariah Tauger / Los Angeles Times)

Kanye West’s Easter Sunday Service happened outside of the main festival grounds during Weekend 2 of the Coachella 2019.

(Kent Nishimura / Los Angeles Times)

“Overview Effect,” a roaming astronaut sculpture made by Poetic Kinetics, roams around the 2019 Coachella Valley Music and Arts Festival at the Empire Polo Club grounds in Indio.

(Brian van der Brug / Los Angeles Times)

Fans go wild as confetti drops during Tame Impala’s headlining performance at Coachella 2019.

(Mariah Tauger / Los Angeles Times)

2022

After the coronavirus pandemic canceled Coachella in 2020 and 2021, fans were excited to be back at the polo grounds in 2022. L.A. native Billie Eilish rose to headliner status, along with Harry Styles. Kanye West was supposed to headline Sunday night but canceled two weeks before the fest and was replaced by The Weeknd and Swedish House Mafia.

Billie Eilish’s 2022 Coachella headlining turn included a guest spot from Damon Albarn to join her for “Getting Older” and “Feel Good Inc.”

(Dania Maxwell / Los Angeles Times)

Wearing the signature blue wigs of Karol G, music fans cheered the star as she arrived on the main stage at Coachella 2022.

(Gina Ferazzi / Los Angeles Times)

Swedish House Mafia x The Weeknd became a last-minute headliner replacement for Kanye West at Coachella 2022.

(Christina House / Los Angeles Times)

One of the largest art installations at Coachella 2022 was Cristopher Cichocki’s “Circular Dimensions x Microscape,” which was made with more than 25,000 feet of PVC tubes and was five stories tall. At night, images were projected on the piece.

(Christina House / Los Angeles Times)

2023

Bad Bunny and Blackpink headlined both weekends of the 2023 festival. Frank Ocean gave a divisive performance Weekend 1 before dropping off the Weekend 2 lineup. A reunited Blink-182 was initially a surprise addition to the festival’s bill and played in the Sahara Tent Weekend 1 before moving to the main stage to help fill the gap left by Ocean Weekend 2. The festival also added a combo of Skrillex, Fred Again.. and Four Tet to replace the absent headliner.

Bad Bunny performs at Coachella Weekend 1 in 2023.

(Christina House / Los Angeles Times)

People walk by Güvenç Özel’s sculpture “Holoflux” at Coachella 2023.

(Christina House / Los Angeles Times)

Doechii performs at Coachella 2023.

(Dania Maxwell / Los Angeles Times)

A reunited Blink-182 joined the Coachella 2023 lineup days before the festival. The band played in the Sahara Tent during Weekend 1 before moving to the main stage Weekend 2 to help fill the gap left by headliner Frank Ocean dropping off the bill.

(Dania Maxwell / Los Angeles Times)

2024

Lana del Rey, Tyler, the Creator and Doja Cat headlined the festival in 2024, but one of the big draws was the reunion of No Doubt, who brought out Olivia Rodrigo. Sabrina Carpenter, who is headlining the 2026 festival, also performed on the main stage during the day. The big changes in 2024 were that the main festival grounds expanded with a larger Sahara Tent on the southern end of the site and the addition of the Quasar Stage.

Tyler, the Creator’s headlining set at Coachella 2024 featured the rapper dressed as a park ranger and an elaborate national park-like stage set.

(Dania Maxwell / Los Angeles Times)

Gwen Stefani of No Doubt performs at Coachella 2024. The band reunited for the festival and brought out Olivia Rodrigo as a guest.

(Christina House / Los Angeles Times)

Doja Cat was the Sunday night headliner at Coachella 2024 and her performance included dancers dressed like yetis.

(Dania Maxwell / Los Angeles Times)

Chappell Roan was one of the breakout stars at Coachella 2024.

(Dania Maxwell / Los Angeles Times)

2025

Lady Gaga, Green Day and Post Malone headlined the festival, but other memorable moments included Benson Boone and his acrobatics, Gustavo Dudamel conducting the L.A. Phil and a surprise appearance by Sen. Bernie Sanders.

Billie Joe Armstrong of Green Day performs on the main stage at Coachella 2025.

(Allen J. Schaben / Los Angeles Times)

Benson Boone leaps over Queen guitarist Brian May at Coachella 2025.

(Allen J. Schaben / Los Angeles Times)

Emma Liu poses for pictures at sunset at Coachella 2025.

(Allen J. Schaben / Los Angeles Times)

Gustavo Dudamel conducts the L.A. Phil at Coachella 2025.

(Allen J. Schaben / Los Angeles Times)

Tzruya “Suki” Lahav, a violinist and poet who played with Bruce Springsteen and the E Street Band in the mid 1970’s on some of the band’s most beloved LPs, has died. She was 74.

Yonatan Albalak, her son, posted on Facebook April 2 that his mother had been “gathered into infinity after a short and hard battle with the cursed disease” of cancer.

“She wrote songs that touched people’s hearts,” he wrote, describing her as “a special woman, smart, pure in heart and loving life. She was the best mom I could ever ask for.”

Lahav’s tenure with the group lasted only between 1974 and 1975, yet she contributed several standout moments to Springsteen’s catalog. She performed on “The Wild, the Innocent and the E Street Shuffle” and its follow-up, the smash “Born to Run.” She played the famed violin intro to the classic single “Jungleland,” and performed the multi-tracked choir on “4th Of July, Asbury Park (Sandy)” after a church vocal group failed to turn up for the session. She also played on a fan-favorite, widely-bootlegged cover of Bob Dylan’s “I Want You.”

She entered Springsteen’s camp after her husband, Louis Lahav, engineered on Springsteen’s 1972 debut album, “Greetings From Asbury Park.” Lahav told the Jerusalem Post in 2007 that she joined the group as “a young girl in a flowing white dress from Kibbutz Ayelet Hashahar in the Upper Galilee, barely out of the army, barely married … I went from kibbutz harvest music to rocking with Bruce.”

She remained a major artist in Israel for decades after her tenure with Springsteen. She recorded with the Israeli rock band Tamuz, and wrote songs for prominent Israeli artists like Rita, including “Yemei Hatom” and “Shara Barkhovot.” She won the ACUM Lifetime Achievement Award and the Arik Einstein Prize there. In 1990, “Shara Barkhovot” was Israel’s submission to the Eurovision Song Contest.

Legendary street artist and activist Shepard Fairey was omnipresent at the High Desert Art Fair, which unfolded in and around Pioneertown over two unseasonably hot days last weekend. Founded more than seven years ago by art dealer Nicholas Fahey and artist manager Candice Lawler, the event has morphed from a few dozen people in Lawler’s living room to a few thousand roaming the dusty, sunny environs of the kitschy Old West town, with ancillary events in Twentynine Palms and Joshua Tree.

Fairey, who bought a home in the area during the COVID-19 pandemic, DJ’d a spirited opening night party at the Red Dog Saloon — spinning punk, post-punk and new wave hits by Joy Division, Fugazi and Black Flag to a packed house of art fans wearing paint-splattered DIY couture — and he spoke during the weekend’s most anticipated panel alongside Devo frontman and gallery owner Mark Mothersbaugh in a conversation moderated by singer-songwriter Harper Simon, son of folk icon Paul Simon.

Artist Shepard Fairey DJ’d the opening night party of High Desert Art Fair at the Red Dog Saloon in Pioneertown. The set was heavy of punk, post-punk and new wave.

(Jessica Gelt / Los Angeles Times)

Fairey was forthcoming about his opinions on art, politics and technology, drawing applause at one point for saying that using AI in art is not something to be afraid of. His assessment came after he lamented the fact that social media algorithms punish “decency” and reward “flamboyant narcissism and controversy.” He then joked that the “algorithm’s gonna love this. S— is gonna go nuts,” before talking about his recent collaboration with the digital artist known as Beeple who’s notorious in the art world for selling an NFT of his art in 2021 for $69.3 million.

The Red Dog Saloon was packed with art and music fans during the Friday night opening party of the High Desert Art Fair, which drew thousands of people to Pioneertown during the last weekend in March.

(Jessica Gelt / Los Angeles Times)

“He’s either the vanguard of a new way of working, and a maverick, a trailblazer, or he’s the worst thing that’s happened to art ever, or in between, or both, or neither,” Fairey said as the crowd laughed. “That’s totally my opinion.”

During a late-March event held in Fairey’s hometown of Charleston, S.C., Beeple Studios presented “Shepard Fairey: Obey and Resist,” which leveraged AI to help guests create their own Fairey-inspired paintings. During the panel, Fairey called the results “almost idiot-proof.”

He then elaborated on his feelings about AI’s encroachment on the art world, saying that if he were part of the “traditional art world thinking” he wouldn’t dare “go over to the dark side of digital art and AI, because that’s cheating.”

“All those same people a few hundred years ago when Da Vinci was using the camera obscura were like, ‘Get your proportions right, just by eye. Don’t use a cheating tool,’” Fairey said before taking the analogy to cave paintings and noting that those same types of naysayers would’ve been unhappy when it was discovered that horse hairs at the end of a stick were useful for distributing pigment and might have said, “That’s not keeping it real, bro. Use bloody elbow like everyone else.”

Fairey called that type of thinking “idiotic.”

“A tool in service of someone with a genuine vision that bends the tool to their will, rather than having themselves bent to the tool — that’s what creativity is about,” Fairey said.

The conversation about AI art started when Mothersbaugh, who was headlining a music set at Pappy & Harriet’s later that night, admitted that he was “fooling around with AI” and “just making myself laugh, like mutating old Devo photos and videos. It cracks me up. … I don’t know what is ever going to happen with it. Maybe they’ll just always live on my phone and eventually get thrown away or lost or something.”

The stage is set for an experimental music show by the General, featuring the stylings of Devo frontman Mark Mothersbaugh.

(Jessica Gelt / Los Angeles Times)

It’s a rock ‘n’ roll art fair

The idea that AI won’t cannibalize artists and their work on a massive scale is refreshingly utopian, but in many ways so was the fair itself. It takes magical thinking to grow anything in the harsh desert environment, which is why artists have been making the trek for decades. There was a youthful, rock ‘n’ roll vibe to the proceedings that was punk in quality but earnest in its quest to be seen.

Mothersbaugh’s gallery, MutMuz, occupied one of 20 rooms reconfigured as show spaces at the Pioneertown Motel, as did Gross!, a Chinatown gallery founded by former Liars drummer Julian Gross and populated with the work of musicians such as Karen O, O’s costume designer Christian Joy and TV on the Radio’s Tunde Adebimpe.

A work of painted fabric by Karen O‘s costume designer Christian Joy hangs in Gross! Gallery at the Pioneertown Motel during High Desert Art Fair. The gallery is owned by former Liars drummer Julian Gross who features plenty of work by fellow artists.

(Jessica Gelt / Los Angeles Times)

Desert pioneers are key to the spirit of the place

The fair featured tours of a number of the most interesting attractions in the area, including the Noah Purifoy Desert Art Museum of Assemblage Art in Joshua Tree and artist Andrea Zittel’s arts outpost and residency program, High Desert Test Sites.

Old computers are stacked at the center of an installation titled “Carousel” (1996) by Noah Purifoy at the Noah Purifoy Desert Art Museum of Assemblage Art in Joshua Tree.

(Jessica Gelt / Los Angeles Times)

Purifoy’s fantastical assemblages made of found objects and unloved detritus provided the most fitting example of the creative desert mindset. Outsider art in every sense of the word, and laden with scathing political and social commentary, Purifoy’s installations morph and change in the elements. A nonprofit exists to preserve them, but tour guide Teri Rommelmann said preservation efforts aren’t meant to alter the course of nature and time, but rather to save the work from sinking into the sand.

Noah Purifoy’s 2001 installation “White/Colored” is the most frequently vandalized piece in the outdoor Joshua Tree museum dedicated to his work.

(Jessica Gelt / Los Angeles Times)

Another aspect of the preservation work is erasing vandalism, which happened most during the pandemic, and was quite telling in its main target: An installation featuring a water fountain marked “White” next to a toilet affixed with a water fountain mouthpiece and labeled “Colored.”

Noah Purifoy’s sculpture “Ode to Frank Gehry” (2000) stands in the sand as part of the Noah Purifoy Desert Art Museum of Assemblage Art. The piece was once featured in a show at the Los Angeles County Museum of Art, and transporting it can be quite tricky.

(Jessica Gelt / Los Angeles Times)

At High Desert Test Sites, Zittel’s famous A-Z West escape pods are no longer used for camping after the city said the nonprofit would have to attain a commercial camping permit to continue. Nonetheless, the organization’s 80 acres are home to a variety of artist residencies, which use the windswept isolation of the desert to activate dormant ideas. It was just announced that environmental artist Lita Albuquerque will have a residency at the site.

Andrea Zittel’s famous A-Z West escape pods at High Desert Test Sites can no longer be used for camping, but they still dot the nonprofit’s 80 acres of land as an example of the creativity that the desert environment unleashes.

(Jessica Gelt / Los Angeles Times)

The tiled kitchen that artist Andrea Zittel designed for the main residence at High Desert Test Sites, which she lived in for nearly 20 years and can now be rented by artists in residence.

(Jessica Gelt / Los Angeles Times)

Art is everywhere in the desert — and growing

The success of this year’s High Desert Art Fair bodes well for the future of the area as a cultural destination.

Next year will see the return of Desert X, which for the first time will keep its large-scale, site-specific installations up for six months, timed to coincide with other SoCal cultural happenings including the Coachella Valley Music & Arts Festival and Frieze. There are also semi-permanent art installations everywhere in the area, including along driveways and the roadside. This includes a hair salon and museum in Joshua Tree, and the recently opened Reset Hotel in Twentynine Palms features dozens of rooms in retrofitted shipping containers, some with outdoor bathtubs and firepits. The hotel has also carved desert trails in its backyard, with plans to build an art park filled with installations.

The shipping container rooms at the new Reset Hotel in Twentynine Palms feature outdoor living spaces with firepits and bathtubs. Some overlook trails that will lead to a planned art park on the property.

(Jessica Gelt / Los Angeles Times)

An influx of artists, collectors and art fans will surely have an impact on an area that is already wary of gentrification and the rising cost of living that accompanies it. But there will be no stopping progress, only a utopian, Fairey-like hope that those who come will be inspired to keep and nurture the magical qualities of the place.

On March 29, Taix as we know it closes forever. The iconic French restaurant originally opened downtown in 1927 and relocated to its current chalet on Sunset Boulevard in 1962. It’s a grim reminder of L.A.’s insatiable appetite to destroy its own heritage and especially devastating to a certain milieu of writers and artists, myself very much included. Since it announced its closure, I’ve been visiting as often as I can to say farewell, not only to the charmingly shabby faux-1920s interiors, but to the many lives I’ve lived at its tables. First as a young guitarist when a bandmate worked the bar’s soundboard, next with the Chinatown artist scene, then with Semiotext(e)’s avant-garde lit circle, later through firecracker romances and heartbreaks during the art party Social Club, recently floating through the louche carnival of Gay Guy Night and now with the circus of beatniks from my reading series Casual Encountersz.

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It’s difficult to explain why this cavernous and windowless restaurant means so much, so I’ve tried to list everything I love about Taix.

I love that they don’t play music. I love the 1960s bathrooms. I love the bottomless tureens of soup. I love the complimentary crudité from the pre-pandemic era. I love the cold pats of butter. I love that you can always get a table, no matter how many people roll in. I love the free refills on Diet Cokes. I love the 80-year-old couples on dates. I love how the dim lighting makes everyone seem chic. I love the frayed carpeting. I love the fake votive candles. I love the icy martinis. I love the corner booth beside the fireplace. I love the smoked mirrors and tin-plate ceilings in the elegant back dining rooms. I love the small fortune I’ve spent there picking up the check for many strippers, poets and bohemians. I love its rundown glamour, which miraculously evokes Old Hollywood, Belle Époque and trashy Americana all at once. I unironically love the food, which isn’t spectacular, but is very comforting. I love how a waitress once ran off with a friend of mine and slept on my couch for a week. I love how my wife generally hates eating at restaurants but loves eating at Taix. I love how every L.A. artist I know has their own singular version of this list.

The only thing I don’t love about Taix is that its owners are tearing it down to erect soulless condos. I know the city needs housing, but not like this. I hope we’ll all find a new place to call home again soon.

Taix shaped me as a writer and artist, along with so many others, which is why before the new owners demolish this cultural institution, I asked other creatives what the Echo Park landmark means to them.

Chris Kraus.

(Ariana Drehsler / For The Times)

Chris Kraus, writer, artist and co-editor of the independent press Semiotext(e): When I moved to L.A. in 1995, Taix was the go-to place, with its deep banquettes, cuisine bonne-femme and its nightly prix-fixe specials. Mostly it was police officers and their wives who went there. Sylvère Lotringer and I went often, for him it was a little reprieve from the non-Frenchness of L.A. He could order in French and exchange pleasantries with an elderly French waiter who seemed to live there. Years later, when Sylvère moved to Ensenada and was less active with Semiotext(e), Taix was the site of our “Annual General Meetings” — Hedi El Kholti, Sylvère and I would have dinner together and Hedi would catch Sylvère up on all the forthcoming publications and projects. Taix was a place to run into people unexpectedly. About a decade ago, when the bar was refreshed, it changed again and I kind of lost track of it.

Rachel Kushner, novelist: I dined at Taix probably once per week for 23 years. It hurts so much that it is closing. I simply stopped going, so that I could begin to grieve, and also to avoid every last random tourist standing by the host station, on their phone, and the glum possibility of being seated in the second dining room, a.k.a “the Morgue” as my friend Benjamin Weissman put it. I want to protect my memories of the special occasions I enjoyed in this perennial special occasion establishment … I want to remember Bernard, a cheerful Basque from Biarritz who worked there 60 years, got progressively trashed over the course of his shift, went to Bakersfield on Sundays to party with his sheep-herding countrymen, came back Wednesdays sunburned and happy. The old valets who were let go during the pandemic. I used to give them a Christmas bonus every year, as a thanks for letting me park my classic out front. Look, I was born in Taix. I mean, in a way. I nursed my newborn in Taix. He grew up there. People who criticize the food are losers, and will never understand. The steak frites are great. The panna cotta, discontinued after the pandemic, was my favorite. The Louis Martini Cabernet was reliable. (Bernard told me the wine cellar downstairs took up the entire footprint of the main restaurant. Don’t know if that’s true.) Meanwhile, I can’t put my arm around a memory. All the smart girls know why. It doesn’t mean I didn’t try.

Cord Jefferson, writer and director: When I started going to Taix, in 2004, you could still gamble at the bar. They sold keno slips and lottery tickets, and whenever Powerball got over $100 million, I’d buy a ticket with my pint. Where else can you do all that while simultaneously watching a game and eating a tourte de volaille? Taix was where I watched the heroic Zinedine Zidane headbutt the gutless Marco Materazzi in the saddest World Cup final ever. When France lost that afternoon, my favorite server, Phillipe, cried. Phillipe’s teeth were often as wine-stained as his customers’. He’d bum me cigarettes in the parking lot and speak abusively about the ways the neighborhood was changing. I’m happy Phillipe is not around to see the digital renderings of what they plan to erect once they demolish the Taix chateau: another condo building with all the charm of a college dorm. It’s a damn shame what’s happening to Taix. I wish I had more money so I could buy it and keep it around, but I never won the Powerball.

John Tottenham, novelist and poet: It’s a shame that Taix is closing, not only because other plans will now have to be made for my funeral reception, but because it was the last civilized watering hole in the neighborhood. There isn’t anywhere else that one can walk into and immediately satisfy the social instinct among a convivial and refreshingly diverse clientele in what is becoming an increasingly homogenized locality. It has been the nexus of my social life for over 20 years, and is simply irreplaceable.

Jade Chang.

(Ariana Drehsler / For The Times)

Jade Chang, novelist: I’d only known Taix as a raucous bardo of a French restaurant, then there was a memorial service for Alex Maslansky, my beloved friend Max’s brother, owner of Echo Park’s best bookstore, Stories. Alex was a beautiful and beleaguered soul, born worried, born romantic, difficult and hopeful and apparently a shockingly good poker player. The room was packed with music people and book people, sober friends and poker friends, packed with the gorgeous girls who’d always loved him, our collective sorrow potent and sweet enough to pull the walls in around us tight as we said goodbye and goodbye.

Alexis Okeowo, New Yorker staff writer: I was a late discoverer of Taix, stumbling upon it when I moved to a bungalow just above Sunset during the pandemic from New York. I seemed to only see writer friends there. I met up with a journalist for drinks and then ran into a new writer friend at the bar. I later had a big, spontaneous dinner with TV writer friends and then a birthday celebration in the dining rooms that ended in two friends escorting me home, sick and happy off a mostly-martini meal and the selfies I took in the bathroom with the iconic pink and gold wallpaper. Every time, there was talk about ideas and gossip and so, so much laughter.

Alberto Cuadros, writer/curator and co-founder of the Social Club: About 10 years ago, Max Martin and I started Social Club as a weekly social salon at Taix. We thought of it as a kind of Beuysian social sculpture, it was a weekly ritual, and over time it became something of an institution in the L.A. art world. Everyone knew where to go in L.A. on a Wednesday if they wanted to meet interesting people or find friends. I even met my wife there who was visiting from Montreal.

Siena Foster-Soltis, playwright: Taix felt like one of the few remnants of the L.A. I grew up in and love so dearly.

Ruby Zuckerman.

(Ariana Drehsler/For The Times)

Ruby Zuckerman, writer and co-founder of the reading series This Friday: Taix is the only restaurant in L.A. that doesn’t lose its mind if new friends drop in halfway through dinner or if you stay at your table for hours after you stopped ordering. That kind of flexibility leads to spontaneous nights where what started off as an intimate hang expands into an all-out party. As a writer, that flexibility has allowed me to meet editors, collaborators and readers, drawn together by pure fun rather than networking. One of my favorite nights involved getting in a physical altercation with novelist John Tottenham after he stole my phone to send prank texts to my boyfriend. I’ll miss taking selfies in the bathroom.

Blaine O’Neill, DJ and events organizer: I always say Taix is the “People’s Country Club.” It is exceptional because of the staff who understand the importance of hospitality, and the scale of the space is humane. You’re able to evade feeling pinched by the noose of transactional cosmopolitanism.

Tif Sigfrids, gallerist and publisher Umm…: Taix was a cultural nexus. A space with broad range. It went from being the dark bar I read books and day-drank at in my 20s to the place where I rented a private room to host my son’s first birthday party. It’s where I watched Barack Obama get elected twice, the Lakers win back-to-back championships, and where I indulged in countless night caps and an unreasonable amount of all-you-can-eat split pea soup. You never knew what kind of hot jock, wasted poet or other type of intrigue you might run into there. You can’t make a place like Taix up. It’s a place that just miraculously happens.

Kate Wolf, writer and editor: Though I have been going to Taix for nearly 20 years, embarrassingly, it was only in the last year that I realized the building wasn’t from the 1920s. Those smoke-stained mirrors, that tin ceiling, the drapery and light fixtures are in fact set-dressed — ersatz! Which of course only makes me love the place more. Taix’s history, and its spot in the city’s cultural firmament, cannot be denied. But what really makes it so special are the people who work there and the clientele, not its past. This point is perhaps my only hope in losing what is my favorite restaurant in Los Angeles. That by some divine grace, we will all find each other again in another spot, designed to a different decade than the horror-filled present, and fill it with the same warmth, the same bottomless soup bowl, the same cheer.

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Hedi El Kholti, the co-editor of Semiotext(e).   (Ariana Drehsler/For The Times)

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Writers Lily Lady and Siena Soltis-Foster.  (Ariana Drehsler/For The Times)

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Poet Meat Stevens (Steven Lesser).   (Ariana Drehsler/For The Times)

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Sammy Loren, writer and curator of Casual Encountersz.  (Ariana Drehsler/For The Times)

Hedi El Kholti, artist and co-editor Semiotext(e): Taix is where we would end up after every reading since 2004 when I started working at Semiotext(e). I have memories of being there with Kevin Killian, Dodie Bellamy, Gary Indiana, Michael Silverblatt, Colm Tóibín, Rachel Kushner and Constance Debré among others … Taix has that particular anachronistic vibe that made L.A. so charming when I moved here in 1992, one of these places that time forgot. It was odd when it became really hip in the last 10 years. It made me think of what Warhol wrote about Schrafft’s restaurant when it had been redesigned to keep up with the fashion of the moment and had consequently lost its appeal. “If they could have kept their same look and style, and held on through the lean years when they weren’t in style, today they’d be the best thing around.”

Loren is the founding editor of the art and literary conceptual “tabloid” On the Rag and curator of the reading series Casual Encountersz.

Argentina’s spunkiest duo Ca7riel & Paco Amoroso have checked themselves into a wellness center for their latest album, “Free Spirits.”

Out Thursday, the LP pushes the limits of the duo’s experimentation, combining unpredictable blends of trap, rock and pop while still maintaining their raunchy sense of humor and musicianship. The 12-track project features collaborations with British musicians Sting and Fred Again, as well as California’s very own Anderson .Paak and Jack Black.

It’s been a busy year for the avant-garde pair, who won their first Grammy in February for their nine-track EP, “Papota.”

At the ceremony, they hinted at a rebrand for the upcoming album; both appearing on the red carpet wearing matching tan robes — a look far less flashy than the custom Versace outfits they wore at the Latin Grammys in November.

“We are trying to heal that velocity that we had in the past year. If you go so fast, you’re going to crash,” Paco Amoroso told Billboard in February. “We are healing ourselves now.”

Following their Tiny Desk performance in Oct. 2024 — which has reached over 27 million views to date — the Buenos Aires singers have etched an unpredictable, kooky path in the crazed music industry, often by criticizing it.

First, their 2025 EP “Papota” humorized their rapid ascent to stardom and poked fun at how artists must dilute their image to fit the mainstream.

Now through their LP “Free Spirits,” they continue to comment on the trope of the burned-out, exhausted artist who through a soul-stripping retreat can find renewal once again.

That purported healing is taking place at “Free Spirits Wellness Center,” a mock-up clinic led by Sting dedicated to advance physiological and cognitive expansion for people working under intense pressure.

In a music video released Wednesday, Ca7riel & Paco Amoroso checked themselves in after taking home five gramophone trophies at the 26th Latin Grammys.

Among the 12-step treatments are skin-changing artotherapy, where patients endure a painful micro-needling session combined with a non-goal-oriented painting session; cryo cerebral rebirth, where the brain regresses to its early developmental stages; and temperature contrast celibation, where they receive an ice bath combined with sexual arousal restrain.

None of these treatments make clear sense — mainly because they aren’t real — but that’s exactly Ca7riel & Paco Amoroso’s point: Fame is all make-believe pandemonium and there is no real recovery from it.

Back in the early 2010s, the music industry was at a low point.

Piracy was rampant. Compact disc sales were on a steady decline. And the then-new audio streaming services, like Spotify, were taking hits from creators for paying low royalty rates.

Today, Spotify has grown into the world’s most popular audio streaming subscription service and the highest-paying retailer globally — paying the music industry over $11 billion last year. The Swedish company said in a recent post that the payouts aren’t strictly going to ultra-popular artists, but that “roughly half of royalties were generated by independent artists and labels.”

“A decade ago, a lot of the questions were really fair. Spotify had to be able to prove out if it could scale as an economic engine. People didn’t know if streaming would scale as a model,” said Sam Duboff, Spotify’s global head of marketing and policy of music business.

Duboff said Spotify’s payouts aren’t “plateauing — we’re still growing that royalty pool on Spotify more than 10% per year.” He credits the streaming platform’s growth to “incentivizing people to be willing to pay for music again” by providing personalized experiences and global accessibility.

The company, founded in 2006, serves more than 751 million users, including 290 million subscribers, in 184 markets.

“The average Spotify premium subscriber listens to 200 artists every month, and nearly half of those artists are discovered for the first time,” Duboff said. “When you build an experience where people can explore and fall in love with music, it inspires them to upgrade to premium and keep paying.”

The platform offers a wide variety of playlists, curated by editors like the up-and-comer-driven Fresh Finds or rap’s latest, RapCaviar. There are also personal playlists generated for users, such as the weekly round-up Discover Weekly and the daily mix of tunes called the “daylist.”

The streamer considers itself the first step toward “an enduring career” for today’s indie artists. Last year, more than a third of artists making $10,000 on the platform in royalties started by self-releasing their music through independent distributors.

“Streaming, fundamentally, is about opportunity and access. It’s artists from all over the world releasing music the way they want to and reaching a global audience from Day One,” Duboff said. He adds that when fans have a choice, they will discover new genres and music cultures that may have otherwise languished in obscurity.

In 2025, nearly 14,000 artists earned $100,000 from Spotify alone. The streamer’s data also show that last year the 100,000th highest-earning artist made $7,300 in Spotify royalties, whereas in 2015, an artist in that same spot earned around $350.

The company, with a large presence in L.A.’s Arts District, emphasizes that the roster of artists on its platform who earn significantly more money — well into the millions — is no longer limited to the few. A decade ago, Spotify’s top artist made around $10 million in royalties. Today, the platform’s top 80 artists generate over $10 million annually. Some of 2025’s top artists globally were Bad Bunny, Taylor Swift and the Weeknd.

Spotify claims those who aren’t household names can earn six figures, with more than 1,500 artists earning $1 million last year.

For some musicians, the outlook is not as clear

Damon Krukowski, a musician and the legislative director for United Musicians & Allied Workers, argues that Spotify’s money isn’t necessarily going to artists — it’s going to their labels.

Those without labels usually upload music through distributors such as DistroKid and CD Baby. These platforms charge a small fee or commission. For example, DistroKid’s lowest-level subscription is $24.99 a year, and the site states users “keep 100% of all your earnings.”

”There are zero payments going directly to recording artists from Spotify,” Krukowski asserts. “Recording artists deserve direct payment from the streaming platforms for use of our work.”

The advocacy group, which has mobilized more than 70,000 musicians and music workers, recently helped draft the Living Wage for Musicians Act to address the streaming industry. The bill, introduced to the U.S. House of Representatives last fall, calls for a new streaming royalty that would directly pay artists a minimum of one penny per stream.

In the Q&A section of Spotify’s Loud and Clear website, the streamer confirms that it “doesn’t pay artists or songwriters directly. We pay rights holders selected by the artist or songwriter, whether that’s a record label, publisher, independent distributor, performance rights organization, or collecting society.”

Instead of following a penny-per-stream model, Spotify pays based on the artist’s share of total streams, called a “streamshare.”

“Streaming doesn’t work like buying songs. Fans pay for unlimited access, not per track they listen to,” wrote the company online. “So a ‘per stream’ rate isn’t actually how anyone gets paid — not on Spotify, or on any major streaming service.”