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For nearly a century, radio has been the main driver of music discovery for most people. But online streaming is threatening that supremacy, with its popularity and growth propelled by the listening habits of Generation Z.

Simply put, they are very online. Graham Jonson is proof of that shift. The Portland, Oregon-based musician began uploading his self-produced beats and instrumental songs to SoundCloud as the one-man band quickly, quickly when he was only 13 years old. He hoped to find an audience for his music on the free streaming service that was experiencing something of a cultural moment at the time.

But by the time he was 16, things had changed dramatically. Some of his songs were being heard by millions of listeners, drawn to the music of quickly, quickly not by radio DJs but by word of mouth and the crowdsourced algorithmic power of the Internet. Now in his early twenties, Jonson is following a slightly more traditional path. In this case, it might as well be. But the real standout elements on the album are its meticulous arrangements and the lush production.

Jonson is aware that not long ago, his story would have been virtually impossible. But while the means may have changed, he says the end goal is the same for young musicians; they just want to find an audience. Read excerpts from the interview below or play the audio at the top this page.

How old were you when you first released [your music] onto the Internet? I think I just deleted the track. They are completely gone. But yeah, I think I was about JW: What was the initial reaction? GJ: Initially, there was no reaction whatsoever. It took me probably four or so years to start getting any type of traction online.

JW: By the time you were 16 or 17, your songs were getting millions of listeners. Some of them are up into the tens of millions at this point.

Were you surprised by that? GJ: I was. I still am, to be honest. I think in my mind, ever since I was a kid, I only had one plan and it was to be a musician. Does that screw with your head? It does kind of mess with my head when I realized that a large portion of my initial success was under what I consider to be kind of the novelty genre of lo-fi hip hop. Were you self-conscious at all about recording your voice for this album? GJ: Totally. It took me probably like a couple of years, I want to say two or even three years maybe, to really come to terms with how I can use my voice.

I think I still have a lot of working it out to do. But yeah, it was a huge hurdle. GJ: Thanks, man. And that was definitely one of the first songs that I actually felt happy with my falsetto aside from just singing in the car and really killing it. JW: Does writing for vocals kind of open up what you can do with the song — did it make you think about songwriting in a different way? GJ: It totally did. I started just listening critically to a lot of singer-songwriter stuff to try to pick up on some of these techniques and different ways that they structure songs and it definitely opened an entirely new door.

They continue to flourish due, in part, to a core ideal. To create something truly magical. The passion to create magic manifests itself both in those organizing as well as those attending the events. All Day I Dream also continually forges it's own unique ambience through a combination of the musical journeys taken by it's listeners as well as noteworthy venue choices.

Each location transformed with the event's bespoke production design. Structural art, hanging gardens, colourful fabrics, fairy lights and lanterns. All melded together to fashion an unparalleled, irresitable atmosphere. Your current browser isn't compatible with SoundCloud. Please download one of our supported browsers.