With its marketplace clout, promoter AEG Live, which now runs Bumbershoot, can negotiate for not just up-and-comers but acts shining brightly now — think Halsey, Fetty Wap, G-Eazy and Kygo.

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Like the TV show “Law & Order,” which promised plots “ripped from the headlines,” Bumbershoot under concert promoter AEG Live — which took over the festival last year — offers music programming “ripped from the Billboard charts.”

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This makes the festival more commercially viable and attractive to young people — who buy, stream (or steal) the high-profile hip-hop, pop and electronic music on those charts.

When it was produced by the nonprofit One Reel, Bumbershoot relied on canny booking — snagging up-and-coming acts cheap, early in the year, banking they would have a breakout hit by fall — or relying on catalog artists with proven followings but less luster at the moment.

AEG works the same strategies, of course, But with its marketplace clout it also can negotiate for acts shining brightly now, which is what gives the new Bumbershoot the feeling of a rock festival like Sasquatch.

Friday (Sept. 2), you can see the fearless and full-voiced young vocal sensation Halsey, for example, currently featured on The Chainsmokers’ Top 10 hit, “Closer,” and, earlier this year on the Billboard cover.

Silky-smooth New Jersey rapper Fetty Wap, also playing Friday, dominated the Hot 100 last summer with the single “Trap Queen,” and had the No. 1 album in the country last fall. Rapper Bryson Tiller hit No. 13 with his single, “Don’t,” in January, from his No. 8 album, “Trapsoul.” Norwegian producer Kygo had the No. 11 album in June, with “Cloud Nine,” and Father John Misty was No. 17 last year with “I Love You Honeybear.”

Chart action is a lot of what this festival is about now, with top-selling artists like double-whammy rap duo Run the Jewels (El-P and Killer Mike); orchestral electro-acoustic-psychedelic Pretty Lights; Oakland rapper G-Eazy; moody pop band Tame Impala; atmospheric electro-world composer Zhu; and electronic music producer Porter Robinson.

Of course, the two most anticipated headliners this year — Macklemore and Death Cab For Cutie — don’t fit that mold. Macklemore’s second, aptly titled album, “This Unruly Mess I’ve Made,” deservedly sank like a stone after debuting at No. 4 on the album chart, and DCFC’s smart but underappreciated “Kintsugi,” too, disappeared soon after a No. 8 debut.

The fact that they are both local acts with huge international followings is a nice touch and probably reflects AEG’s desire for local affirmation and goodwill.

In that spirit, AEG has also booked lots of strong local acts. Some you may want to catch Friday are hip-hop/neo-soul band Cosmos (winners of this year’s EMP Museum Sound Off! competition), Seattle all-stars STAG, Iska Dhaaf, Chastity Belt, Fly Moon Royalty and DoNormaal; on Saturday, Rabbit Wilde, Pony Time, Lemolo and Dude York; and on Sunday, So Pitted, The Pink Slips, Lisa Prank, Thunderpussy, Erik Blood and Deep Sea Diver.

Though the festival lacks the signature baby-boomer act it often used to feature (unless you count Billy Idol, but he’s no Elvis Costello or Emmylou Harris), some strong acts outside the pop mainstream should appeal to boomers: gospel veterans The Blind Boys of Alabama, jazz tenor saxophonist Kamasi Washington, singer-violinist Andrew Bird and dazzling new country star Maren Morris.

It’s also nice to see Norwegian electronic-music producer Cashmere Cat on the schedule Sunday. He has provided sonic magic behind everyone from Ariana Grande to Kanye West. Also welcome are Los Angeles producer and Odd Future founder Tyler, The Creator (Friday); soulful new singer Donna Missal (Saturday); promising popster Zella Day (Friday); and stalwart soul man Black Joe Lewis (Saturday).