#and artists with 1M monthly listeners | Explore Tumblr posts and blogs

struggle-but-its-all-ocean-floor · 1 year ago

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https://www.tumblr.com/struggle-but-its-all-ocean-floor/753211634402623488/hybe-has-always-been-greedy-they-know-how-to-do?source=share

I read your reply few days back but didn't get the time to reply so doing it now.

"it's not just a fan song though it's a fan song from hybe's 2nd biggest artists after BTS" and the fan song has been treated the same way as BTS's fan song and not just a solo fan song. "Hybe should have done better job with jungkook" i don't have anything to say to that.

I wasn't talking about the tweets made by music apps and what kind of engagement jk fans are giving it but i was talking about tweets made by official BH accts which were 3 overall for CTT.

As said above it's a fan song for festa and it was treated like one even if it was a solo fan song for festa.

I have seen the same tweets from jjks about jk having more monthly US listeners and i have also seen other side saying that's because of the western artists' name (for all the collabs jk had) who's had those monthly listeners. and for the cities too they said it only shows some 33 US countries or smtg like that. been some days since i read that so i don't remember the exact words from other side aka pjms but it was something like that. I'm sure the qts of those tweets from jjks must have pjms saying/explaining something in retaliation but i don't have twitter atm so i can't check it now. so yeah that's what i remember for those two things. now as for streaming farms hmm isn't this whole "streaming" thing itself is "streaming farms" ?? like creating 20-50 mails then streaming from those many accts it itself is a streaming farm cause no human is listening to same songs playing from 20-30 devices at the same time. i also do remember armys getting hit tweets regularly calling Lisa's streams from Thailand as streaming farms cause she was getting alot of her streams from Thailand and since Thailand doens't even have 1M active listeners yet but the songs getting those many streams so they used to drag her then. and now jungkook is the artist who's got the highest streams(1.2M smtg) from Thailand for all his songs which is way more than lisa but i see no one saying anything about that so i expect ppl(in general) to really shut their mouth about jm getting 600k from a country who's got 100M active listeners on Spotify. jm doing better than his 2nd week during LC release is nothing weird given the songs that grow on ppl increases their streams gradually. the recent example being Sabrina. Plus jm has always been the most popular in US which many has problem accepting hence accusing his fans of using vpns when the song be playing casually in any shops, malls etc i there..he has a big fanbase there. The increase in streams can also be because some ppl might have chosen that going solo path leaving their army era behind so working extra hard. US doens't allow vpns is what i know. There's many US jm solos on twitter if one wanna check.

For the last para i only mentioned CTT cause it's also a solo fan song so the comaparion is fair enough as you were comparing jk's fan song with new jeans's and lee Sara's digital single or album TTH songs. and i was genuinely shocked that NLG didn't debut on US give seven had 2M which is highest for a member. from 2M to no debut one does get shocked. I'll be shocked too if jm's next songs don't debut their given how well he is doing with LC and CTT was also debuted. of course the ppl not loving songs as much could become reasons too for both jm and jk.

i saw s/o other anon replying to ur this post too which wasn't me. I'm off Tumblr now so it's the last reply nd yeah that's what i wanted to say. there ain't any hate or dislike towards jk but i see difference of treatment btw him and other members or more specially jm because they seems to be have decided to not give jm even the simple things others are getting without pjms having to tag them. The difference is there Which i see, many others do see it too but there's also many who don't which is fine too ig.

Okay.

#ask #text

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summergirl2408 · 1 year ago

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Cause I'm curious and wouldn't mind finding some new not super well known music:

*as in you have multiple of their songs in your regular rotation

#tumblr polls #polls #music #for me it's technically Wildlife with 31k monthly listeners cause I have 2 songs of them in my main playlist #but idk I wouldn't really say I properly listen to them a lot cause it's really just those 2 songs #so I'd probably say it's Truslow with 160k #Cemetary Sun is up there too with 179k #if were going with any artist even if it's just 1 song I regularly listen too then it would be The Relay Company with 28k

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blue-yoshi1280 · 2 years ago

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I was tagged in to do this AWHILE ago but kept putting it off as I wanted to use this as an opportunity to list songs by small indie artists that I enjoy and, quite frankly, feel deserve more recognition. So after some consideration, here are 5 songs I listen to by small indie artists going from smallest to largest :3

DEAD-END RAIL - skyfish66 (2K Monthly Listeners on Spotify)

Thought of You - Saturday's Call, Jeweleana (11K Monthly listeners on Spotify)

El Amor de tu Vida Tiene Derecho a Encontrar el Amor de su Vida - Novio (20K Monthly Listeners on Spotify)

Radio Silent - by jomm, readyaimfire27 (51K Monthly listeners on Spotify)

Castaway - The Vanished People (335K Monthly Listeners on Spotify)

For the most part, I listen to small indie artists but if you're interested in music by bigger artists, here are 5 songs by artists I listen to that have over 1M monthly Listeners. Once again from smallest to largest >:3

Laplace's Angel (Hurt People? Hurt People!) - Will Wood (1M Monthly listeners on Spotify)

It's Golden Hour Somewhere - Lovejoy (2M Monthly listeners on Spotify)

Dugout - Back Seat Lovers (4M Monthly listeners on Spotify)

Frown - Mxmtoon (5M Monthly listeners on Spotify)

What I Want - The Living Tombstone (7M Monthly listeners on Spotify)

If you read all this, thanks for taking the time out of your day to read a long shit post of me geeking out about music. Special thanks to @know-it-all-and-all for tagging me in the original post, and sorry it took me so long to get around to doing it <3

If anyone wants to talk about music feel free to DM, I swear I'm friendly! I'm just really shy and anxiety-riddled💀🫶🏼

✨️when u get this u have to put 5 songs u actually listen to, publish. Then, send this ask to 10 of your favorite followers (non-negotiable, positivity is cool)🎶✨️

1. “World of Your Own” Wonka 2023

2. “Drama” by Aespa

3. “Permission to Dance” by BTS

4. “Feather” by Sabrina Carpenter

5. “Super Shy” by NewJeans

What about you? @beautifulfigment

No pressure tags:

@wallwriterstuff @gh0stsp1d34r @thebearer @little-miss-dilf-lover @bunniesbearsandhobbitadventures @sunflowersteves @mrsmaeharrington

#personal

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nichebands · 2 years ago

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Hey I don't think this reflects on you but for the next round of niche bands, would you consider adding a limit to spotify monthly listeners or something? Now that they're in its fine and I don't expect you to change it, or to have vetted each individual submission, but the Orion Experience is very well known, there was a period where they appeared on virtually every fandom playlist and they have songs with 1m+, 10m+ views on YT, which I think is not very niche lol! I love that you're hosting this tournament at all and I hope you find it rewarding, it's a great chance for people to find new music anyway! I'm just getting war flashbacks to when swifties tried to pretend taylor was an underground indie artist 😐

Thank you for letting me know! I had heard of them, I just wasn't sure where. I checked youtube, and they have 76.9 thousand subscribers, which is not exactly niche. What's the general thought on that? I don't want to disappoint whoever submitted them, but they don't really fit the criteria. If they're out, I know what band I'm replacing them with, but I'm not sure what to do.

#asks #tournament help

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jentlemahae · 3 years ago

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Let’s Get Physical – K-pop Fans and The Physical Album Phenomenon (Article)

Data based on this survey.

Here’s a little fun trivia for you – what do physical albums, Blockbuster and dinosaurs have in common? Answer – they are all extinct. With the emergence of MP3 players, smartphones and online streaming services, tangible versions of music have sunk into oblivion by now, becoming but a nostalgic memory for those over 20. But despite that overall decline, physical sales of Korean music have been skyrocketing for quite a while… but why is that? Why are K-pop fans still buying physical albums? Let’s find out!

I’m gonna go out on a limb and say that you probably know what physical albums are, but if anyone is unsure, let me quickly put your mind at ease. Physicals are the material format of an album – they are sold by a retailer to a consumer, who then becomes the sole owner. In short, they are what you would commonly call CDs.

I know what you must be thinking – ‘Grandma alert! No one uses CDs anymore!’. And yes, that is indeed true! With the advent of the digital era and the takeover of streaming services, the vast majority of people have switched to listening to music in online formats, rather than with CDs. After all, why would you spend €15+ to buy only one album, when for a much smaller monthly fee you can have access to millions of records? And that’s not even touching upon the influence of piracy (where you can have all that music for free), or how CDs have become so obsolete, tech companies no longer include space for them in laptops… Simply put, by now physical albums have become a thing of the past.

But while that is true, we have seen a strange turn of events in the past decade with K-pop albums. Whereas the sales of physical Western titles have been plummeting globally at an annualized rate of over 10% since 2010, K-pop physical sales have been on the rise since 2013, when boy group EXO managed to sell 1M units. Afterwards, K-pop physical sales began steadily increasing, both in South Korea and on a global scale. So much so that it is now almost a given that a K-pop artist will become a million seller sooner or later.

Albeit being an impressive achievement, I think it can’t help but make you wonder why. I mean, it’s not like K-pop fans don’t listen to music mainly on streaming services just like everybody else these days, so why are they buying physical albums?

After racking my brain trying to figure it out, I finally got an epiphany last week – why don’t I simply ask them? That is, why don’t I directly ask K-pop fans why or why not they choose to purchase physical albums? And that’s exactly what I did.

I launched a survey on social media within an online community of K-pop fans, and quickly received a few hundred responses. Very few participants owned no albums at all, as most of the respondents had between 20 and 40 units, and many even surpassed the 100 mark! Some of the results I got were to be expected, while some were rather surprising to me. But I now have a better understanding as to why so many people buy albums, and why so many others do not.

But before we dive into the survey’s findings, let’s talk about what exactly makes K-pop albums so special…

K-pop albums – more than just music

The K-pop industry is best known for many things – complex choreographies, fun and uplifting beats, and charismatic variety content, just to name a few. But what truly makes the industry stand out from its music peers is the constant impeccable attention for visuals.

Between fashionable and avant-garde-esque styling, and music videos and live performances that could put blockbusters to shame, the visual aspect is placed on the same level of importance as music in K-pop. Thus, it should come as no surprise that even the way the music is packaged and distributed is meticulously cared for.

Whereas physical albums by western artists usually consist of just a CD in a jewel case and (maybe) a lyric booklet, K-pop acts take the traditional conceptualization of physicals and move it on the next level (pun intended). CDs and lyric booklets are still there, but they are accompanied by photobooks (containing all photos used for the album’s concept and promotions), random photocards (i.e., a hard card with a picture of an idol on the front), stickers, posters, and even innovative goodies sometimes.

Moreover, K-pop albums can come in many different shapes and forms, foregoing the old jewel case format. They can vary from intricate classics like f(x)’s mockup design of a VHS tape for Pink Tape, or EXO’s comic book-inspired The War: The Power Of Music, to more minimalistic designs like BTS’s Love Yourself trilogy (which even received a Grammy nomination for Best Recording Package in 2019).

Not only does this help the artist stand out more from the masses, it also ensures fans actually enjoy themselves while unboxing their favorite albums. Opening a K-pop album is not just an act – it’s an experience. Fans get to have fun during the unboxing, discovering all the details and hidden features in the packaging, and finding out which random photocard they received. It’s even become a trend for fans to film themselves while unboxing, and then upload their reaction on YouTube, where the videos can even receive millions of views.

K-pop albums are where creativity meets commerciality – they are the product of a tug-of-war between being art and being a commodity. They have to be fun and creative, but must also be usable and trendy enough for fans to think they are worth the money. And most of all, they have to be so visually appealing they can transcend the music they accompany. The power of a K-pop album lies in the fact that it can make people want to possess it without listening to (or even liking) the music it contains.

In fact, buying an album and actually using it are two separate activities for K-pop fans, and generally they are not consequential. In my survey, only 40% of respondents indicated they actually use the CDs after buying them, with many specifying they use them only when listening on online streaming platforms is not a viable option (e.g., if their car does not have an auxiliary port).

But then, why do K-pop fans purchase physical albums? And why do they not?

Pretty and expensive

Unsurprisingly, the main reason behind the purchase of K-pop physicals as indicated by respondents (80%) was “I think the content inside (photobooks, photocards, posters, etc) is pretty / visually appealing”. Why is this not surprising? Well, as we covered in the last section, K-pop physicals are pretty darn nice to look at – so, it doesn’t come as a shock that people want to have them for the aesthetics of it all!

What did actually surprise me was how many people indicated they buy K-pop physicals for collection purposes, be it photocards or the albums themselves – either option was selected by 35% of respondents. Even though I already knew there were plenty of collectors out there, the statistics still caught me slightly off guard, since K-pop albums are not exactly cheap… actually, they are quite the spendy thing!

Simpler (= Western) physical albums can already round up to €15+ a piece, but when you factor in the added expenditure of photobooks, photocards, posters, stickers, and so on… you can imagine that K-pop physicals will cost you a bit more. With an average between €25 and €55, they definitely fall on the more expensive end of the spectrum. And on top of that, there are also harsh shipping fees, which are usually pretty steep for those outside South Korea (more often than not, they are as much as the album…).

Not to mention, K-pop physicals face a major scarcity issue. That is, they are hard to get a hold of after the preorder period ends, because the amount of albums in stock is reflective of the preorder numbers. Thus, if you did not preorder, you are not sure to find a copy after the official drop, which forces you to make the purchase in a limited time window. And adding fuel to the fire, there’s the peculiarity of K-pop physicals increasing in monetary value after the official release of the record. Meaning that even if you’re lucky enough to find a copy, the price will probably be inflated. As one respondent put it, “Buying K-pop albums feels like a chase and race”.

That’s why the fact that “I cannot afford it financially” being the #1 chosen response (61%) for respondents who do not buy physicals did not surprise me in the slightest. Not everyone has 70 bucks to drop on a K-pop album, and that is okay!

The usefulness of the useless

Another option which I knew was going to be a popular choice among non-buyers was “I do not have any use for them / I do not care about them”, which was chosen by 50% of the cohort.

Given their price and utility (or lack thereof), K-pop physicals can be categorized as luxury goods purchasable for hedonic consumption, which is not something everyone enjoys. If you are not really sure what that means, worry not – I’ll give you a sparknotes explanation of what that entails. To put it simply, hedonic consumption refers to the usage of products in order to spark emotional arousal in oneself, rather than to fulfill primary needs (which is referred to as utilitarian consumption). Hence, it is something used to describe the purchase of luxury goods (i.e., products that are not essential but are highly desired).

As the utility of K-pop physical albums doesn’t really go beyond making the owner happy, they check all the boxes for luxury items. Thus, they are not worth the money for people who are not willing to spend that much on something with no practical use. As one respondent bluntly put it, “[K-pop physicals] are just an overpriced decoration”.

Pride and parasocial

The second most popular reason (50%) for buying physical copies was “I want to support the artist and increase their sales”, which is yet another unsurprising result.

Parasocial attachments (i.e., one-sided relationships between fans and media personalities) are a widespread phenomenon within K-pop fandoms, and it’s common for fans to feel a sense of pride and/or fulfillment whenever their favorite artists reach commendable achievements. Ergo, it’s not unusual for fans to believe their duties as supporters extend to contributing to the artist’s paycheck by buying anything they put out.

Knowing this, K-pop companies capitalize heavily on these parasocial interactions by maximizing on the amount of content offered and producing different design versions of the same album. The inside (the music) is the same, but the outside is different, and that makes it worth a few more euros in the eyes of fans. And the higher the sales are, the higher the artist will place on music charts, which is the goal to both companies and the idols’ admirers.

Companies want their acts to score a high spot on music charts for obvious reasons (more fame and revenue for themselves), and fans’ reasoning is not that much different… Actually, it is not at all different. Fans want their favorite artists to have more fame and revenue not only because they think the idols deserve it, but also so they can have bragging rights on social media.

Many fans see accomplishments of their favorite celebrities as an extension of their own, and I have long known that this phenomenon is particularly strong within K-pop fandoms. And that’s why it’s a custom among fans of the genre to bulk buy thousands of copies of an album, in order to boost the artist’s final sale numbers.

As one respondent commented, a short-coming on the idol’s part is “embarrassing [for their] fans”. Being a K-pop enthusiast with an active presence on social media, that remark did not faze me at all.

K-pop albums go green

Unfortunately, bulk buying has quite the drawbacks. Not only does it call into question the validity of K-pop acts’ album sales (are those 1M albums going to 1M different people, or just the same 100k?), but it also has strong environmental and social negative impacts (which was indicated as a concern by 30% of respondents).

First of all, the fact that so many units are brought en masse makes you wonder, where do the extra copies go? The answer is both nice and disturbing – they get donated to orphanages.

That seems nice in theory, but many Korean NGOs who work with orphanages have complained about it at length, pointing out how the donations are actually useless to children in those establishments. “What you’re doing is not donating, you’re dumping your garbage on us” said a spokesperson of an organization, and that “These so-called donations [do not] come with good intentions”. Chilling words, if I may add.

Moreover, manufacturing so many albums has quite the sizable ecological footprint, and when you take into account that a large portion of the copies will go to waste, that just seems ridiculous.

Nevertheless, there are some K-pop companies which took this into account, and attempted initiatives to make their sales greener. Several artists have announced their physical albums will be manufactured with recycled materials, and some are even going as far as trying to eliminate them almost altogether, in order to dramatically reduce their carbon footprint.

For instance, boy group VICTON launched an initiative for their comeback in Jan 2022 called a “platform album”, which offers fans the opportunity to purchase a digital version of the record, where you will only be mailed the photocard and be emailed a download code for the songs. This is a brilliant idea, as photocards usually are the most valued and desired element of the physical contents, and this way the environmental impact won’t be as large. Fans are happy, idols are happy, and the planet is happy – a win for everyone!

The road ahead

So, what is the future of K-pop physical albums? Will people keep buying, or will sales start to plummet?

Well, I think it’s safe to say that sales will not go down anytime soon, at least according to my survey. Despite many respondents stating they have environmental concerns, or criticizing bulk buying and how physicals are used by companies in their ploys to manipulate fans, 75% said they will continue (or will start) purchasing physical copies in the future.

Furthermore, the notion that buying physical albums is part of your “duties” as a fan is still going strong among K-pop aficionados. To quote one respondent, there is a lot of “inner-fandom shaming that goes on whenever you don’t own any albums”. And that’s not helped by companies actively exploiting this form of mob mentality via the release of different physical versions of the same record.

Just as it’s not likely for fans to stop mass buying, odds are K-pop companies will not stop mass producing. After all, we’re talking about giant corporations here – the choice between ethics and money is an easy one for them, and we all know which option they will ultimately pick.

It is a vicious cycle, one which neither companies nor fans are likely to exit in the foreseeable future. It’s just like that song goes – they just made a million and they’re STILL not satisfied. But how many more albums will it take for everyone to be satisfied?

thank u for reading <333

#PLEASE READ TT #i really loved writing this ^^ pls read heheh #and thank u again to everyone who took the survey !!#yes it's long but what u gonna do

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bpdpenguin · 2 years ago

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whenever i find an artist i like who has 1m+ monthly listeners im like ok well y'all knew about this the whole time and been holding back on me wtf...

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bringinbackpod · 3 years ago

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We had the pleasure of interviewing Rachel Grae over Zoom video! Rachel Grae is a forward thinking, rising pop star, invoking the youthful style of Olivia Rodrigo, as well as the wisdom and pure vocal power of singers like Adele. Today, the fresh face in music releases the video for her new track “Right Person Right Time,” following the mental spirals and what-ifs that define being in the midst of gut-wrenching heartbreak. Going back and forth between small details of a past relationship and the present moment of sadness, she reimagines the outcome of this relationship if little moments had been different. Here, Grae wears her heart on her sleeve, expressing frustration and sadness at the thought of a different moment in time when it might have been “right.” This new song comes on the heels of her two previous singles, “Friend Like Me” and “It’ll Be Okay,” invoking sentimental emotions in listeners and showcasing a rare vulnerability in Grae that sets her apart. Through articulate and thoughtful lyrics that feel like they’ve been ripped out of the pages of a personal diary, Grae dives head first into topics that most might shy away from, making her a deeply authentic and inspiring role model to adolescents – or even adults – experiencing the trials and tribulations of vulnerable relationships. Nearing 2 million Spotify monthly listeners despite her career just beginning, Grae has seen great success in a short time, already accumulating more than 14 million likes on Tik Tok and growing both her Instagram followers and Spotify monthly listeners by 800% since May 2022. Grae is signed to FrtyFve, a London-based record label that transforms viral moments into long term music careers. Other artists signed to FrtyFve include Todrick Hall, Megan McKenna and more. Grae is managed by Groundwork Artist and repped by Wasserman Music. The rising artist will continue to release music in the coming months, with more songs to stream and more live shows to be announced. ABOUT RACHEL GRAE New York based pop artist Rachel Grae has emerged as one of the year’s fastest growing talents. Her honest songwriting is the equivalent to a page ripped from her diary and addresses psychological, cerebral, and emotional responses to life’s events, all delivered by her powerhouse vocals. With 1.8M monthly listeners on Spotify and 1M fans across social media, Rachel has delivered 25M streams to date. Rachel has been working with the likes of Rachel Furner (Little Mix, Craig David), Låpsley, Ed Holloway (Lewis Capaldi, James Bay), Nick Atkinson (Lewis Capaldi), Justin Gemmella (Bella Poarch), Geena Fontanella (Lauren Spencer-Smith), Nick Lopez (Em Beihold,Surf Mesa, Demi Lovato) & Adam Boukis (GAYLE, Aluna George), Dave Gibson (Liam Payne, James Arthur, Bruno Mars) and Adam Yaron (Maddie Zahm, Alexander Stewart, Sam MacPherson). We want to hear from you! Please email [email protected] . www.BringinitBackwards.com #podcast #interview #bringinbackpod #RachelGrae #RightPersonRightTime #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

#podcast #new episode #music #interview #bringinbackpod

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taxyonio · 3 years ago

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#caroline rose #Spotify

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alarrytale · 11 months ago

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Genuine question, I'm not European or American and get muddled over Spotify. If Louis carries on losing 1m listeners a year and by 2026 or so only has a few hundred left, will he still be on Spotify as a verified artist? I worry about this because no way can I ever afford to buy his music but I do want to keep on listening to it!!!

Hi, anon!

Don't worry, his number of listeners doesn’t have anything to do with his verified status or his music's availability on Spotify. There are plenty of label signed artists with much less monthly listeners than that. I also doubt his monthly listeners will dip under 1 mill. I assume he'll have a new studio album out by 2026, but even if he doesn’t, i doubt he'll dip under 1 mill.

#solo louis #Spotify

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icaruswalksnet · 8 years ago

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bornhaters snapchat:

https://open.spotify.com/album/7dBLjyqanIMQ12Ck6I2xr0?si=IDf-texxSMmb40QVVkrjYA

(Pls follow EPIK HIGH on Spotify! If they reach 1M monthly listeners, they might release a previously unreleased English song on their SoundCloud!!!)

Follow them here: https://open.spotify.com/artist/5snNHNlYT2UrtZo5HCJkiw?si=TFr4M_0ZTPqqe0yFsVQ8oA

#epik high #tablo #dj tukutz #mithra jin #wdsw #spotify

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rockrevoltmagazine · 5 years ago

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LATE NIGHT SAVIOR Release Official Music Video for "Monster"

After managing to garner over 7.5 million streams worldwide independently, Utah based hard rock band LATE NIGHT SAVIOR recently signed a deal with NEW LABEL ROCK SHOP RECORDS. Their first single, “MONSTER,” was produced by CRISPIN EARL (THE VEER UNION / ROCK SHOP RECORDS). LATE NIGHT SAVIOR will be kicking off their rock radio campaign in America on July 28 and is also slated to be on tour as a supporting artist on the Rock Shop Records International Tour scheduled for the spring/summer of 2021.

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“The song ‘Monster,’ for me is, more about selfishness than anything. I was told that chasing something I wanted wasn’t what I should be doing and it got in my head like a bad dream. The ones I cared about left me alone and I became a monster in their eyes. But I came to the realization that the healthiest thing for me was to kill that thought and be selfish, do this for me and no one else. I’m okay being the villain in someone else’s story as long as I’m not the villain of mine. Every time I heard someone say i wasn’t following what I should be doing, the “prescription” if you will, it just became my motivation to prove them wrong” – BRANDON JOHNSON – (lead Singer) Late Night Savior

Click HERE to Download / Stream “Monster” Online!

In 2016, LNS released their first album, Among the Forgotten. The second album, Into the Aftermath, was released in 2017 and not only did the group vastly begin building their online presence and catching the eyes of regional promoters. The Band was awarded opening slots for National and International acts such as Drowning Pool, Red, Saliva, Thousand Foot Crutch, Adelitas Way, The Veer Union, Royal Bliss, Flaw, Bobaflex, Cage 9, Shamans Harvest, and so many others!

In 2018, continuing a busy regional touring regiment, LNS was named best rock band of Utah and were chosen as 1 of 5 National Finalists for the Cumulus Media “Next2Rock” Battle, a National Competition in Los Angeles. They flew to Los Angeles to participate in the competition and even though they didn’t place first, the experience was eye opening.

In 2019-2020, LNS has seen their Spotify monthly listeners double to over 55,000 and the track, “Angel” has over 1M spins on Spotify and 1.5M veiws on Youtube. LNS travelled to Vancouver, Canada to hit the studio with Singer/Songwriter/Producer/The Veer Union Frontman, Crispin Earl to record their 3rd album with goals of refining their sound and bringing the band to a National/International level. Shortly after, LNS announced they signed a deal with Rock Shop Records (RSR) and released their first new track, “Monster”.

The band is set to release a new album in the spring of 2021 that will be accompanied by a National Tour.

Connect with LATE NIGHT SAVIOR: Official Facebook | Twitter | Instagram

LATE NIGHT SAVIOR Release Official Music Video for “Monster” was originally published on RockRevolt Mag

#2020 #music #music magazine #rock #rock magazine #Rock Revolt #Rock Revolt Magazine #RockRevolt #RockRevolt Magazine

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