Temples in Thailand gathered for the annual ‘Look Noo’ rocket festival, an ancient Mon tradition. Once used in funeral rites for senior monks, the ritual has evolved into a competitive event, keeping the centuries-old practice alive.
Published On 5 May 20265 May 2026
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A FREE-to-visit wine festival is set to return to the UK this summer.
Battersea Power Station in London has confirmed The Wine Circuit will return from June 12 to 14 with everything from a markets to street food and bar pop ups.
Wine Merchant Stalls at the festival will be open from 11am to 8pm on June 13 and between 11am and 6pm on June 14 and include popular brands such as Vagabond Wines.
There’s also an Artisan Market on June 12 and 13 between 10am and 8pm and again on June 14 between 11am and 6pm where you can shop handmade wine glass and wine-themed gifts.
Alternatively, you could buy a ticket to one of the panel talks at the festival, or The Wine Cup, where you can try different tasters of wine.
The Wine Cup allows visitors to enjoy up to 10 wines from around the world and then vote for the ‘Best in Show’, as well as ‘Highly Commended’.
Read more on travel inspo
Tickets are split into the different types of wine including red, white, rose and sparkling and range from £37.90 to £41.10 per person – and even includes a tote bag and cup.
Events already confirmed for this year include Drag Wine Tasting on June 13 between 7pm and 9pm.
While little details have been released about the wine festival this year, last year the festival hosted sessions about wine making, drinking trends and insider tips from experts.
There were also live music, talks on topics such as natural wine and alcohol-free wine, and for pub quiz lovers, even a wine quiz with blind tastings
As for the wine market, stalls sold wine-related gifts such as bottle stoppers and decanters while food pop-ups included Ashes BBQ and Masa Tacos.
The Power Station already has a number of wine destinations for visitors to explore including Vagabond Wines and Searcys Champagne Bar.
“I WAS a bit of a Duracell bunny,” confesses Iron Maiden’s irrepressible Bruce Dickinson.
“To some extent, I still am — much to the dismay of people around me! They’re like, ‘Don’t you EVER stop?’”
Dickinson is reflecting on the manic energy he brought to the heavy metal titans after replacing original singer Paul Di’Anno.
In 1981, he was a 22-year-old member of hard-rocking fellow travellers Samson when Maiden’s manager Rod Smallwood came calling.
Unlike many of his peers, including his predecessor, Dickinson didn’t have to rely on drugs and booze to fuel his high-octane performances.
He continues: “I discovered that having these amazing, ecstatic, endorphin-filled moments — being in front of people and singing with a group in total sync — was way more uplifting than any drugs on offer.”
One of the great spectacles in rock is a sweat-soaked Dickinson running and jumping around on stage with audiences in the palms of his outstretched hands.
Match his physical presence to a rich operatic tenor and an iconic catchphrase, “Scream for me!”, and you have a powerful combination.
The songs that stretch his vocal cords aren’t too shabby either — many filled with intriguing historical references.
Run To The Hills deals with European colonisation of Native American territory, The Trooper visits the Crimean War’s Charge Of The Light Brigade and Aces High is a pilot’s eye-view of the Battle Of Britain — not your average metalhead subject matter.
What about the 14-minute Rime Of The Ancient Mariner, based on Samuel Taylor Coleridge’s poem and written by Maiden founder and leader Steve Harris?
“It’s just epic,” says Dickinson of the closing track on the band’s fifth album Powerslave, released in 1984.
“It’s one of my favourites to perform.
“I love the storytelling aspect and we’ve got huge screens now to tell the whole story.”
Let’s also not forget the enduring core band which today comprises bassist and chief lyricist Harris, three virtuoso guitarists in Dave Murray, Adrian Smith and Jannick Gers, mighty drummer Nicko McBrain (now retired from touring after a stroke in 2023) — and, of course, Dickinson.
The singer remembers Maiden’s gruelling, breathless climb to metal’s summit in the Eighties, when he was “run ragged but young enough to handle it”.
Now 67, he accepts that his unfettered antics have taken their toll on his body, but insists: “Damaging it and knackering it by doing things on stage is a relatively easy fix — drugs take away your soul.”
I’m speaking to Dickinson to mark the arrival in cinemas next Thursday of Iron Maiden: Burning Ambition, a riveting film documenting their 50-year rollercoaster ride with insightful interviews, live footage and unguarded offstage moments.
Through the prism of band members past and present, and superfans including Metallica’s Lars Ulrich, Public Enemy rapper Chuck D and actor Javier Bardem, it is 106 minutes of pedal to the metal.
The movie is the first milestone in a momentous year for the band formed in Leyton, East London, by Harris in 1975.
In late May, Maiden continue the Run For Your Lives world tour, including a monster outdoor event, Eddfest (named after their shape-shifting undead mascot Eddie), at Knebworth on July 10 and 11.
Then, in November, they join Oasis, Phil Collins and Billy Idol, among others, in being inducted into the Rock & Roll Hall Of Fame in the US.
Dickinson says: “We’re about to do the biggest tour of our lives, playing to 2.5million people in six months.
“People might say, ‘How the hell did that happen?’ to which I answer, ‘Have a look at the film — that is how’.
“We’ve had lots of tidal waves and earthquakes in our career.”
Crucial to the upward trajectory has been the sense of community around Maiden and their fans, which Dickinson believes is only rivalled by “a very different kind of band, the Grateful Dead and their Deadheads”.
He says: “We’ve never compromised and have grown on our own terms, creating our own universe.
IN 2014, Bruce Dickinson faced one of the biggest challenges – and it had a profound effect.
“I discovered I had a three-and-a-half centimetre tumour at the base of my tongue,” he says. “And another one in my lymph node.”
He recalls how he felt at the time of his devastating throat cancer diagnosis: “You’ve had scans, you’ve had biopsies and you’re sitting there at home, going, ‘I’m not dreaming, this is real’.
“You start wondering what it feels like to die and you have to own up to these thoughts.”
Dickinson adopted a positive approach. “I decided to take proactive measures and to make the assumption I could beat this.
“I fattened myself up, eating like a pig over Christmas. By the time I went into treatment, I was 75 kilos and just under 67 when I came out. Some people lose a lot more, so I got off lightly.
“I had 33 radiation sessions over five weeks and nine weeks of chemo, which knocks the hell out of you. But in May 2015, I got the all clear. All gone. No surgery. Nothing.”
Dickinson reserves huge praise for the medical professionals. “I had a great oncologist and a great team – and I wish that everybody was able to have that.”
And how does he look back on that time? “When I was asked afterwards what effect cancer had on me, I tried to make light of it.
“But recently I realised that it affected me quite profoundly. I’ve always been one to grab life by both hands – now, doing that is more important to me than ever.”
“You reach those millions one person at a time,” he adds. “Look them in the eyes — although that is a lot easier in a pub than in a 50,000-seat arena!”
Though the upcoming tour will send Maiden through Europe, then on to North, Central and South America, Australia and Japan, Dickinson spares a thought for the places they can’t visit “because of the chaos in the world”.
“There are huge pockets of fans in Iran,” he affirms.
“And in Israel, Ukraine and Russia — all these wonderful people who just want to love everybody else who loves Iron Maiden. It’s tragic.”
This is cue for him to trawl through the mists of time to the early days again and it’s clear that, above all, it is Steve Harris’s band.
Referred to as “the boss”, he formed Maiden just before punk upended the music scene.
Dickinson says: “Steve felt very strongly about punk because many in the media decided it was the ‘acceptable face of heavy metal’ — and that enraged him.
“Frankly, the first LP wasn’t that well produced so it actually sounded like a crap punk album.
“Steve has always said, ‘My God, I wish I could have remade it with Martin Birch [who produced their next eight records].”
In the Burning Ambition film, we see the struggles of original singer, the late Paul Di’Anno, who embraced rock and roll excesses to the full, prompting Harris and Smallwood to search for a replacement.
“Paul was very charismatic with a characterful voice,” says his successor. “He was a bit of a pirate . . . like Adam Ant or a member of band I loved, Johnny Kidd & The Pirates.
“His look was different to the rest of the metal world — and that was cool.”
With a rueful expression, Dickinson remembers being described as a “human air-raid siren” after his first gig with Maiden.
He says: “They were obviously big fans of Paul who came to see me at the [now defunct] Rainbow and one of them sent a letter to a music magazine, Melody Maker maybe.
“It said what a terrible disaster the show was, like ‘hearing my favourite songs being sung from inside a cement mixer by an air-raid siren’.
“Even though someone was trying to be insulting, Rod Smallwood took the attitude, ‘When life throws lemons, make lemonade’.
“He nicked the idea and turned the whole thing on its head, which actually made me laugh.”
MENACING mascot Eddie is an Iron Maiden icon.
Illustrated in numerous guises by Derek Riggs, the shape-shifting creature has appeared on every album cover and in every outlandish stage set.
He inspired the name of the band’s outdoor shindig Eddfest at Knebworth in July and features in new animated sequences for the Burning Ambition movie.
Bruce Dickinson calls Eddie the “Clint Eastwood of zombies” and says: “He has a Dirty Harry type of morality about him.
“You think he’s evil but he’s ambivalent, so you don’t know exactly where you stand with him,” he explains.
“If you’re basically a good person, you’re probably going to be OK – but he’ll blow you away if you’re not!”
Dickinson believes Eddie has a future beyond Maiden. “One day, inevitably, we’ll stop playing live.
“The great thing about Eddie is that he’s eternal. He can have a whole career on his own. We could even write albums for him.
“In fact, there’s so much you could do with him, whether it’s movies, animation, or an Eddie avatar show. All these things are up for grabs.”
To Dickinson, sharing the stage with Eddie is a rite of passage.
“He’s an extension of our world but you just can’t pin him down.”
A fascinating aspect of Maiden has been Dickinson’s relationship with Harris, not always plain sailing but one that created undeniable chemistry.
And surely Harris accepts that the flamboyant singer helped propel his band to stadium-slaying proportions.
“When I was in Samson, people were calling Steve ‘the Ayatollah’,” says Dickinson. “He had a reputation for being uncompromising and rigid.
“But, as we’ve got older, he’s been much more amenable to ideas that might broaden the vision.”
However, Dickinson had to set one thing straight from the start.
“When I first did shows with Maiden, I was thinking, ‘Why am I standing on one side of the stage? I’m the singer’.
“The answer was because Steve would go running down front and centre playing the bass. Suddenly I would have this big old lump of wood thrust in my ear. I nearly lost a couple of teeth because of it!”
Dickinson insisted that, as lead singer, he was going to “stand at the front, in the middle — and I wasn’t going to back down”.
Iron Maiden’s third album, The Number Of The Beast (1982), was Dickinson’s first and its songs including the title track, Run To The Hills and Hallowed Be Thy Name took the band to the next level.
For the new recruit, making the album was the calm before the storm.
He says: “It was like 1939 when Britain was at war but everybody was still out sunbathing and reading the papers because nothing bad had happened.
“Then we hit the road and, wow, we had a No1 album, the single was going crazy and we were doing seven, eight, nine shows in a row. Even our day off was travelling.”
Despite the overwhelming demands, Maiden enjoyed a rocket-fuelled rise to the crest of the New Wave Of British Heavy Metal (NWOBHM), a movement that included Def Leppard, Saxon and Motörhead.
Dickinson says: “The albums we were producing in the Eighties were phenomenal. We created a style with The Number Of The Beast and it continued with Piece Of Mind and Powerslave. The trajectory was fantastic.”
As the Burning Ambition movie attests, the band began building a devoted following in all corners of the globe.
In August 1984, Iron Maiden ventured behind the Iron Curtain to play five shows in Poland, much to delight of fans starved of music from the West.
In January the following year, the band went nuclear in South America by playing Rock In Rio to a 300,000-plus crowd.
ANYONE who follows the life less ordinary of Bruce Dickinson will know there’s a lot more to him than just being the singer in Iron Maiden.
At school, he took up boxing but he “wasn’t very big” and people “would beat the crap out of me”.
So he took up fencing instead, inspired by a metalwork teacher who brought in a “full-on, two-handed sword like Excalibur”.
Not one to do things by halves, he became a champion – so good that he reached the UK top ten, trained with the Olympic squad and is still a member of fencing clubs in London, Paris and LA.
Dickinson harboured other dreams, too. “I was really into aviation and wanted to be an astronaut or a pilot,” he says.
This helps explain how he qualified as an airline pilot and ended up flying Iron Maiden on three world tours, firstly in a Boeing 757 dubbed Ed Force One and then, in 2016 for the Book Of Souls tour, a jumbo jet.
He says: “My love of flying came from my great uncle who was in No. 200 Squadron RAF in the Second World War. When I was five, he’d tell me all these stories.
“But I was rubbish at maths in school and you need to be a rocket scientist to be a pilot so I became a rock star instead.
“Then, in the Nineties, I took a trial flying lesson in Florida for 30 bucks, just to see. It was a road to Damascus moment.”
The next step for Dickinson was training with British Airways, flying a 757. Picking up the story, he says: “From 2000 to 2011, I was a pilot for UK company Astraeus, flying people around the world on holiday. I had to take unpaid leave to go on tour with Iron Maiden.
“You would probably have had no idea I was your captain because no one listens to captain’s announcements!”
During this time, Dickinson hatched the idea to extend his flying exploits to his other job as a member of Iron Maiden.
“I thought, ‘Wouldn’t it be cool if we put all the equipment, the band and the crew on one airplane?’ To my surprise, our manager Rod thought it was a great idea. Normally, I get told to p*** off!
“So we did three world tours. It was brilliant calling it Ed Force One – I think that was an invention by the fans.”
Dickinson remembers his initial horror when American secret servicemen boarded the plane in Chicago. “I went, ‘Oh s**t! What have we done wrong?’ Turned out Obama was coming in the next day on Air Force One and the men just wanted to have a look at Ed Force One.
“I’ve still got Air Force One-branded M&Ms, matches and a bottle opener somewhere.
“So, I’m thinking, ‘What’s going on in the President’s plane?’ They’re cracking open beer bottles, smoking themselves to death and taking all the red Smarties.”
As the Eighties progressed and the Nineties dawned, the pace rarely slackened and, as we witness in unvarnished detail in Burning Ambition, “the wheels eventually fell off”.
Guitarist Smith quit in 1990 over “creative differences” and an exhausted Dickinson dropped a second bombshell by leaving in 1993 to pursue his solo career, much to the consternation of his bandmates, notably McBrain.
“It was a sudden burst of artistic integrity of my own invention,” confesses Dickinson.
“I knew Maiden were great, but they didn’t allow me to do anything a bit out there.
“I was still in my thirties and the thought of leaving momentarily terrified me. But then I read Henry Miller’s quote, ‘All growth is a leap in the dark, a spontaneous unpremeditated act without the benefit of experience’.
“It hit me like a ton of bricks. I thought to myself, ‘If you don’t jump, you’ll never find out’.”
As for the reaction to his departure in the Maiden camp, Dickinson says: “The only person I told was the manager, Rod. I don’t know what got said between him and the guys but Nicko got upset about it. And fair enough.”
He sees what became a five-year absence as part of “a real story of real people”.
He adds: “We’re a bunch of bizarre brothers who got stuck together. In the end, we had to make it work.”
So it was in 1999, after Wolfsbane singer Blaze Bayley had gamely attempted to hold the fort, that guitarist Smith and singer Dickinson returned to the fold — for good.
“To use a football analogy, Blaze had been passed a ball which was a ticking timebomb,” says Dickinson, before recalling his bizarre meeting with Harris and Smallwood to discuss his return.
They convened in secret at a yacht club in Brighton, entered by a special code — an occasion Dickinson likens to a scene from a John Le Carré novel.
“Part of me was thinking, ‘This is ridiculous’. It felt like going through Checkpoint Charlie in The Spy Who Came In From The Cold,” he says.
“But I looked at Steve and realised he’d been through the ringer with all kinds of things. I decided that if he’s up for it, then we should get on with it.
“I told him, ‘I am the one guy on the planet you can trust. When I say we’ll make a great new album together, we will’. And we did [Brave New World].
“Steve and I are very different individuals — but that’s our strength.
“I’ve certainly grown to respect him. Has he grown to respect me? I don’t want to put words into his mouth.”
Dickinson signs off with a heartfelt statement: “The music is the thread that holds us in Maiden together. Whatever we started, we started well — and when eventually we finish, we will finish well.”
Bob Olinger rode off into retirement with victory in the Champion Stayers Hurdle on day three of the Punchestown Festival.
Ridden by Darragh O’Keefe, the Henry de Bromhead-trained 11-year-old (4-1) saw off Willie Mullins’ Jimmy Du Seuil (9-1) and pre-race favourite Teahupoo (5-4) who was seeking a third consecutive triumph in the race.
It capped a remarkable 11-win career that produced three at Cheltenham, as he rolled back the years to go out on a high.
Teahupoo led as they headed down the final stretch of the three-mile circuit, but Bob Olinger had closed the gap by the final fence and had more in the tank to open a gap.
While Jimmy Du Seuil applied late pressure, it just was not enough as Bob Olinger had three-quarters of a length to spare.
The Novice Chase went the way of Salvator Mundi (13-2) who took advantage of a fall from favourite Kopek Des Bordes.
With Mullins’ new retained jockey Harry Cobden onboard, it was a case of taking advantage of his stablemate’s misfortune two fences from home to claim the win.
Kopek Des Bordes seemed to be in full control before the fall with Salvator Mundi, who was on his coattails, galloping to a 12-length win from second place Irish Panther (15-2) and Jacob’s Ladder (18-1) in third.
Gaelic Warrior raced clear to claim the Punchestown Gold Cup on Wednesday.
With Paul Townend on board, the 5-6 favourite powered home ahead of stablemates Fact To File (13-8) and Grangeclare West (28-1). All three are trained by Willie Mullins.
It was eight-year-old Gaelic Warrior who got the better of his rival this time after Fact To File’s win in the Irish Gold Cup came following defeat in the John Durkan.
It was another excellent race with Gaelic Warrior making his move in the penultimate jump and storming home with 26 lengths to spare.
“It was a huge performance,” Mullins told RTE Sport.
“My heart was in my mouth when Paul joined him (Fact To File) between the fourth-last and the third-last. I was thinking ‘would they knock one another’ or what would they do? They were going some lick.
“Both jockeys just let fly. Over that trip Gaelic Warrior seemed to have the measure of Fact To File. Over a shorter trip it might be different. It was a hell of a horse race.”
With Nolimit (14-1) came through to win the Grade One Punchestown Champion I.N.H. Flat Race.
Trained by Gordon Elliott and ridden by Josh Halford, the five-year-old got the better of pre-race favourite The Mourne Rambler (11-8) with Boycetown (5-1) third.
In the Novice Hurdle, Le Frimeur (18-1) maintained his unbeaten record to see off Zanoosh (11-4f) and I Started A Joke (11-1).
SYDNEY Sweeney left very little to the imagination as she almost fell out of a blue corset dress at Stagecoach.
Stunning Sydney, 28, made a surprising appearance on stage at Diplo’s Honkytonk during the 2026 Stagecoach Festival.
The Euphoria star looked sensational as she handed out knickers while on stage.
Sydney’s baby blue corset dress looked as though it was held up by luck alone as she appeared on stage.
Fans were so shocked by Sydney’s appearance at the festival, with many overjoyed to see her on stage.
After handing out panties from her SYRN lingerie line, she and Diplo took part in a fun karaoke session
A video of Sweeney and Diplo was posted via the underwear brand’s Instagram stories on Saturday evening, with the caption: “@diplo Thanks for stopping by!!!”.
Fans rushed to the comments of the main post shared on SYRN’s Instagram reels, which showcased all of the famous guests who stopped by.
One fan said: “This whole look, I am in love.”
While another added: “The people’s princess.”
And a third wrote: “She’s too hot, it’s almost uncomfortable.”
Meanwhile, since the footage of Sydney made its way onto X, one person on the platform penned: “Love it. Love how she doesn’t give 2 sh*t’s about her haters and living her absolute best life with no apologies needed!!!”
“I love her so much,” said a second.
“She owns the damn place. She can do whatever the F she wants,” wrote a third.
“She looks stunning and she also looks happy and free. Haters gonna hate,” chimed a fourth.
While a fifth said: “Sydney is an ALL AMERICAN BADDIE!!”
“I love sydneys outfit,” swooned a sixth.
And a seventh gushed: “Sydney Sweeney is literally perfect.”
This comes as Sydney continues to enrage fans with her portrayal of Cassie in Euphoria.
Sydney plays the role of Cassie Howard in one of TV’s steamiest shows, with fans left angered by the level of raciness in its third season.
Cassie’s controversial new career choice as an OnlyFans model with a montage of raunchy photoshoots.
In one compromising position, Cassie licks a melting ice cream cone as it drips down her entire naked body – including on her bare chest.
Another shot showed Cassie, butt naked in nothing but a backwards baseball hat on her head and her hand covering her modesty.
These have not been the only controversial scenes in Euphoria season three thus far.
Sydney is dressed as a baby with a pacifier in her mouth in episode one.
Posing in a suggestive way with her legs open, fans were left fuming over the NSFW display.
We went back for a second day of Stagecoach and spent most of the day holding on to our hats. Before strong winds resulted in the short-lived nighttime postponement and evacuation of the festival, Day 2 had plenty of gusto that carried us through the afternoon and evening, including sets from Bush and Teddy Swims along with some high-octane cooking with Guy Fieri. When crowds were called back after the wind-related fiasco that pushed everything back for headliner Lainey Wilson and caused Journey and Riley Green to cancel their performances, fans who returned still got to witness Wilson triumph over the elements and get down and dirty with Pitbull at Diplo’s Honky Tonk. Luckily the unexpected havoc didn’t blow away all the good vibes. Here are the best, worst and windiest from Day 2.
Guy Fieri features his latest smokehouse dish during the Stagecoach Country Music Festival.
(Evan Schaben / For The Times)
Stagecoach is known for strange bedfellows (see: Emo Nite with Ashlee Simpson Friday) but Guy Fieri with Wynonna Judd, Billy Bob Thornton, Gavin Rossdale and Gavin Adcock is so odd it seems like an AI hallucination. I promise you it happened Saturday afternoon.
“Everybody loves food. That’s the common denominator,” Fieri told the crowd, which included a woman who impressively dressed up as Fieri, fake mustache/goatee and a flame-covered bowling shirt.
“Flavortownnnnn!” Judd said as she walked onto the demonstration stage at Guy’s Stagecoach Smokehouse.
“Just so you know, we could do our own cooking show,” Fieri said as he introduced her.
Each of the stars was paired with a chef, which included Eric Greenspan, Mark Murphy, Aaron May and Hunter Fieri.
Thornton made salmon and fried okra with spicy hummus with Hunter Fieri. The “Landman” star said the key for good fried okra is to use cornmeal. He also shared his favorite chili, which isn’t hot for the sake of being hot.
“Calabrian chili has a flavor,” Thornton said.
He also told the crowd of a new delicacy he discovered: white grapes dipped in spicy Dijon mustard.
“It blew my mind,” Thornton said.
Adcock, meanwhile made a giant prime rib sandwich and beer-battered onion rings.
“I’m a big beef guy,” Adcock said.
Meanwhile, Bush frontman Rossdale was doing what Fieri said was a first for Stagecoach — he made an Asian dish of smoked chicken dredged and flash-fried and shared with two sauces: one a Japanese rice wine and the other a sweet sauce.
“This guy is a real foodie,” Fieri said about Rossdale, who has his own cooking show. “I’m gonna put a chef with him, but he doesn’t need it.”
Speaking of strange things, here’s my pitch for an “Odd Couple” reboot: Rossdale and Adcock with Fieri as the wacky neighbor. Someone point me to the Paramount+ tent so I can pitch it. (Vanessa Franko)
Teddy Swims performs Saturday on the Mane Stage during the second day of Stagecoach in Indio.
(Allen J. Schaben / Los Angeles Times)
Has anyone checked on Teddy Swims’ house in whatever city he lives in besides Indio? The tattooed soul-rock singer played Stagecoach on Saturday night after doing both weekends of Coachella, and once again he brought out David Lee Roth to sing Van Halen’s “Jump” — an indelible ‘80s staple these guys are double-handedly willing into a Gen Z anthem. (Mikael Wood)
Diplo introduces Sydney Sweeney, who gave out her Syrn lingerie to the crowd at Diplo’s Honkey Tonk on the second day of Stagecoach.
(Evan Schaben / For The Times)
If the first Stagecoach fever dream of Saturday was the unlikely cast of Billy Bob Thornton, Wynonna Judd, Gavin Rossdale and Gavin Adcock cooking and chopping it up with Guy Fieri at the Stagecoach Smokehouse, a close second was Diplo’s early evening set in the Honky Tonk.
Already billed as Diplo with podcaster-comedian-Ella Langley duet partner Theo Von and Barstool Sports media personality Caleb Pressley, it also attracted some special guests. Actor Sydney Sweeney showed up to toss panties from her Syrn lingerie brand into the crowd. (She has a pop-up Syrn saloon on the festival grounds).
The “Euphoria” star wasn’t the only surprise during the set — “A Bar Song (Tipsy)” hitmaker Shaboozey also made an appearance. Even though they played some of his songs, he didn’t perform. Like Sweeney, Shaboozey also has a pop-up saloon at the festival, his promoting upcoming record “The Outlaw Cherie Lee & Other Western Tales.”
And when you think things couldn’t get any weirder, Von went crowd-surfing. Stay weird, Stagecoach. (VF)
Singer and guitarist Gavin Rossdale and drummer Nik Hughes of Bush perform on the Mustang Stage at sunset as extreme weather begins to move in during the second day of Stagecoach.
(Allen J. Schaben / Los Angeles Times)
Just before we were told to evacuate Friday night, I was about to write about Bush’s Stagecoach debut on the Mustang Stage.
Even as the weather turned colder and the winds turned gnarlier, Gavin Rossdale seemed to be having a great time as the band ripped through a 50-minute set packed with hits including opener “Machinehead,” “Everything Zen,” “Swallowed,” “Glycerine” and set-closing sing-along “Comedown.”
Stagecoach festivalgoers evacuate the Mane Stage after announcements were broadcasted to evacuate the area due to extreme high wind gusts during the second day of Stagecoach.
(Allen J. Schaben / Los Angeles Times)
Due to high winds, Stagecoach promoter Goldenvoice postponed the festival Saturday night until further notice and crowds were evacuated. An “emergency evacuation” message showed up on screens on the festival’s Mane Stage saying “the festival has been postponed until further notice. Please move quickly and calmly to the nearest exit.”
At 8:42 p.m., the festival advised via its mobile app that Stagecoach would resume momentarily. “We are working to open doors and prep the site for your safety,” the alert said. Just before 9 p.m. the gates were reopened. Stagecoach updated its schedule for Saturday night after a temporary evacuation due to high winds. Journey, which had been scheduled to play the Mustang Stage, did not perform; Riley Green, set to play the Mane Stage, also didn’t perform. Lainey Wilson, who was set to headline the Mane Stage, played an hour later than originally scheduled at 10:30 p.m. (VF/MW)
Lainey Wilson performs on the Mane Stage during the second day of Stagecoach.
(Evan Schaben / For The Times)
Lainey Wilson takes the stage after the wind
After an hourlong delay due to high winds, Lainey Wilson kicked off her headlining set at Stagecoach on Saturday night with a one-two punch of “Can’t Sit Still” and “Wildflowers and Wild Horses” — each a solid example of the riff-heavy country-rock that’s made Wilson one of the biggest stars to come out of Nashville in the last 10 years.
“Y’all ready to sing it loud tonight?” she asked the crowd, which was maybe a bit thinner than it might’ve been thanks to fans who left before the festival announced it was reopening. Those who stuck around seemed plenty willing to bellow along. (MW)
Pitbull hit the Mustang Stage an hour later than expected Saturday night after gusty winds forced Stagecoach to evacuate attendees for more than an hour, but Mr. Worldwide didn’t let a delay stop the fun.
“We came here to do one thing and one thing only,” he said from the stage early in the set.
The one thing? Party.
After an intro featuring his DJ and full band that included Metallica’s “Enter Sandman” and Beastie Boys’ “(You Gotta) Fight for Your Right (To Party!),” Mr. Worldwide appeared, flanked by a half dozen dancers in revealing costumes, to open the raucous set with “Don’t Stop the Party.”
After the song he thanked everyone at Stagecoach for staying and also name-checked some Goldenvoice employees, including Stagecoach booker Stacy Vee, as well as Lainey Wilson, who had just wrapped her headlining set on the Mane Stage.
He followed up the moment of gratitude with “Hey Baby (Drop It to the Floor)” and “Hotel Room Service.”
Later on in the set, Lil Jon joined Pitbull for “Jumpin” before being showered with more gratitude from Pitbull and the crowd. Then the pair performed “Damn I Love Miami.”
I’d like to start a petition for Stagecoach to book Pitbull every year — and bring him to Coachella too! (VF)
As the 2026 Stagecoach Country Music Festival rides off into the sunset, enjoy the last day of the performances from the comfort of your home. The festival will be livestreaming most of the performances, so you’ll be able to watch Post Malone and Warren Zeiders from the couch. You can also take a trip down memory lane with Hootie & the Blowfish, Brooks & Dunn and Third Eye Blind. Close out the festival by watching Loud Luxury, DJ Pauly D and Ludacris onstage.
The festival will be livestreamed on Amazon Music, Prime Video and Twitch. On Sirius XM’s The Highway (Channel 56), you can listen in to exclusive interviews and live performances. Their station Y’Allternative will also be covering the festival on Sunday.
Here are updated set times for the Stagecoach livestream Sunday performances (times presented in PDT):
3:05 p.m. Jake Worthington; 3:25 p.m. Ink; 4 p.m. Bayker Blankenship; 4:25 p.m. Hudson Westbrook; 5 p.m. Kameron Marlowe; 5:55 p.m. Brett Young; 6:50 p.m. Brett Young; 6:50 p.m. Brooks & Dunn; 8:50 p.m. Hootie & the Blowfish; 10 p.m. Post Malone; 11:30 p.m. Ludacris
3:05 p.m. Adam Sanders; 3:25 p.m. Amos Lee; 4 p.m. Cameron Whitcomb; 4:40 p.m. Zach John King; 5:15 p.m. Max McNown; 6 p.m. The Wallflowers; 6:55 p.m. Eli Young Band; 7:25 p.m. Ty Myers; 8:25 p.m. Third Eye Blind; 9:25 p.m. Wyatt Flores; 10:30 p.m. Loud Luxury; 11:20 p.m. DJ Pauly D
3:05 p.m. Hudson Westbrook; 4 p.m. Kameron Marlowe; 5:15 p.m. Brett Young; 6:30 p.m. Warren Zeiders; 7:50 p.m. Brooks & Dunn; 9:30 p.m. Post Malone
7 a.m. Larkin Poe; 9 a.m. S.G. Goodman; 11 a.m. Ole 60; 1 p.m. Sam Barber; 3 p.m. Red Clay Strays; 4 p.m. Marcus King Band; 6 p.m. Treaty Oak Revival; 7 p.m. Charles Wesley Godwin; 9 p.m. Wyatt Flores
[Update: At of 8:42 p.m., the festival advised via its mobile app that Stagecoach will resume momentarily. “We are working to open doors and prep the site for your safety,” the alert said. Just before 9p.m. the gates were reopened.
Stagecoach updated its schedule for Saturday night after a temporary evacuation due to high winds. Journey, which had been scheduled to play the Mustang Stage, will no longer perform; Riley Green, set to play the Mane Stage will also not perform. Lainey Wilson, who was set to headline the Mane stage, will play an hour later than originally scheduled at 10:30 p.m.]
Due to high winds at Stagecoach, the festival promoter Goldenvoice postponed the festival Saturday night until further notice and crowds are currently being evacuated.
An “Emergency Evacuation” message showed up on screens on the festival’s Mane Stage saying “the festival is been postponed until further notice. Please move quickly and calmly to the nearest exit.”
The city of Indio where the fest is located is under a strong wind advisory until 11 a.m. Sunday morning. The advisory issued by the National Weather Service was in effect at 2 p.m. but the gusts didn’t pick up until Teddy swims’ Mane Stage set just after 5 p.m.
Thousands of people poured out of the festival. Despite there being messaging on the screen to evacuate, some emergency exits were still closed by security staff between the main stage and the main entrance. In addition to messaging on screens, the Stagecoach app sent an alert for people to evacuate.
Fans at the festival reported that the winds earlier were much stronger than the evening gusts that resulted in the spontaneous postponement.
“The show was pretty windy when we got there but we went into a saloon to see one of our friends do karaoke,” said Krystine Malins, 58. “When we came out palm trees were like bending in half.”
Malins, who has attended the festival since the first installment in 2007, said an evacuation was “the best call.”
“I just feel bad for these girls walking around half-naked in this wind,” she said.
Two Stagecoach festival attendees, Ellie, 27, and Angelique, 22, sat at tables farther back from the stage watching people filing out of the festival.
“We were trying to see Pitbull at the end of the night, so that’s kind of like our whole night, I don’t know, ruined I guess,” Angelique said. “We were kind of hoping for a refund.” Asked about whether the wind felt seriousness enough to stop the show, the pair were cautiously optimistic. “Honestly I would say yeah [it’s bad], but I feel like there could still be potential for it to go down, but it felt worse earlier,” Angelique said.
Despite the evacuation, the general atmosphere among many festival goers was calm as crowds were walking back to their cars.
“I didn’t even know what was going on until I saw the screen [at the Mane Stage] and then I started hearing “Hey they’re evacuating, get out,” one festival goer told the Times. “But then we had to sit it out because there was a clog at the exit. It’s not that bad.”
After a brief reprieve following the end of Coachella, we find ourselves in the desert again for Stagecoach — hot, dusty and eager to be amused. The first day of the weekend offered plenty of top-tier country performances including Cody Johnson, Ella Langley, and Bailey Zimmerman along with a dose of nostalgia courtesy of ‘90s stars Counting Crows and Emo Nite featuring Ashlee Simpson. Let’s also not forget that Stagecoach is a place to catch celebrity cameos—we’re looking at you, Sydney Sweeney. Here’s our recap of all the fun we experienced on Day 1 of the festival.
Jessie Erickson, of Anchorage, Alaska, sings “more than my home town” by Morgan Wallen at the SYRN Saloon during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.
(Allen J. Schaben/Los Angeles Times)
En route to the press tent this sunny Friday, I saw a spot with saloon doors boasting karaoke. It didn’t click that the air-conditioned pop-up was a bar connected to Sydney Sweeney’s Syrn brand until I was inside and saw the lingerie hanging from the bar.
It was early in the day, so not much karaoke was happening, but you could scan a QR code and sign up via a Karafun link. I contemplated doing “A Long December” from the Counting Crows since they’re playing the Mustang Stage this evening, but thought it would No.1 bring down the mood and No.2, not really fit in with the Coyote Ugly vibes.
However, I saw dartboards on the wall and a sign to ask the “brand ambassador” about darts and I immediately thought — the hard drinkin’ Stagecoach crowd should probably not have sharp objects. They don’t. I found a “brand ambassador” and he showed off the darts, which were magnetic. It still might not be the best idea to let people throw projectiles as the night goes on, though. (Vanessa Franko)
Emo nite featuring Ashlee Simpson performs at Diplo’s Honkytonk during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.
(Allen J. Schaben/Los Angeles Times)
I said that it felt like I went to Warped Tour two weeks ago when I saw ska/punk band Less Than Jake perform at Coachella’s Heineken House and this weekend I found the Stagecoach version of Warped Tour on Day 1!
How is the giant country festival channeling the SoCal-born traveling punk festival, you ask? The popular Emo Nite DJ set was booked at Diplo’s Honky Tonk. (Emo Nite is no stranger to the Goldenvoice desert fests, by the way. They played the Sahara Tent at Coachella a few years back, too.)
Emo Nite’s Morgan Reed and T.J. Petracca opened up with Fall Out Boy’s “Sugar We’re Goin Down” to set the sing-a-long tone before blistering through a set of remixes to songs by beloved emo and pop-punk artists such as Panic! At the Disco, Paramore, All-American Rejects and My Chemical Romance. They also played some emo-adjacent and not-so-emo-adjacent tracks, such as the Killers’ “Mr. Brightside,” System of a Down’s “Chop Suey” and Justin Bieber’s “Baby.” (Bieberchella lives even at Stagecoach!)
Actress Sydney Sweeney takes photos with fans during the Stagecoach.
(Evan Schaben/For The Times)
Actress Sydney Sweeney snapped photos with fans during BigXThaPlug’s set at the Mustang Stage Friday at Stagecoach. Sweeney also has a pop-up bar promoting her lingerie line Syrn at the festival. (Evan Schaben)
Ella Langley performs on the Mane Stage during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.
(Evan Schaben/For The Times)
“I’m gonna go ahead and burst your bubble,” Ella Langley said about halfway through her main-stage set Friday night. She’d just teed up her brand-new single, “I Can’t Love You Anymore,” a shimmering roots-soul duet with country’s biggest star, Morgan Wallen. “Morgan is not here,” she continued. “He’s on dad duty this weekend. Can’t blame a man for being a good dad.”
And you can’t blame Langley for managing expectations. But she didn’t need Wallen (or anybody else) to show why she’s the biggest thing in country music right now: This was an effortlessly cool performance by a deeply vibey singer and songwriter who’s absorbed more than Stevie Nicks’ predilection for lightweight shawls. (“Broken” was extremely Fleetwood Mac-coded.)
Langley did bring out a special guest: the podcaster Theo Von, who did Riley Green’s part in “You Look Like You Love Me” for some reason. (Big podcaster energy is what I’ll say.) She played “Choosin’ Texas” — her dreamy pop-country smash that’s currently at No. 1 on Billboard’s Hot 100 — not last but next to last, leaving “Weren’t for the Wind” as her closer. Baller move. (Mikael Wood)
Counting Crows will perform on Sept. 3 at the Rady Shell at Jacobs Park.
(Courtesy of the San Diego Symphony)
I am very into the ‘90s alt acts playing Stagecoach 2026 (I see you, Third Eye Blind) and Counting Crows got things off to a sublime start as the sun set Friday.
While the band played its breakout hit, “Mr. Jones,” early in the set, singer Adam Duritz let the crowd take the lead and almost did some spoken word in the second verse.
“How was your first day at country Coachella? They only call it Stagecoach because Count-chella doesn’t sound good,” the singer asked the crowd before the band launched into the “Shrek 2” ditty “Accidentally in Love.”
The hits kept coming, including “Round Here” and “Rain King.”
But the perfect moment under cotton candy skies happened during the band’s penultimate song, “A Long December” off 1996’s “Recovering the Satellites.” With the crowd singing along, the sun setting behind the mountains and good feelings all around, it was nothing if not a vibe. (VF)
Bailey Zimmerman performs on the Mane Stage during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.
(Evan Schaben/For The Times)
Bailey Zimmerman brought his puppy-ish energy — and an encouraging self-help message — to Stagecoach’s main stage Friday night ahead of Cody Johnson’s headlining set. “I grew up with nothing, and I worked my ass off to be where I am,” he bellowed before ripping off his shirt to punctuate the point. (MW)
Cody Johnson performs on the Mane Stage during the Stagecoach Country Music Festival at Empire Polo Club, in Indio, CA on April 24, 2026.
(Allen J. Schaben/Los Angeles Times)
Cody Johnson opened his headlining set Friday night by promising to “bring a little Texas to California if that’s all right with y’all.” Yet the most surprising moment of his 90-minute show actually brought a bit of Philadelphia to Stagecoach when Boyz II Men dropped in to join Johnson for a rendition of the veteran R&B crew’s “On Bended Knee.”
If we’re being honest, the vocal mix was … not the evening’s finest. But the selection was appealingly unexpected from a down-the-middle country star like Johnson, who spent much of the rest of his set recounting his long music-industry come-up and urging folks to see past their differences in the name of unity.
He also lamented the three months he had to take off the road after busting his eardrum last year — “I was depressed about it,” he said — before acknowledging that the unanticipated break meant he got to be home for the birth of his youngest child. (MW)
Ready to sing along from your couch? The Amazon Music Stagecoach Saturday livestream has you covered. For a heartfelt ballad, you’ll be able to tune in as Teddy Swims and Lainey Wilson take the Stagecoach stage. Take a trip back in time to watch Bush perform, then end the night tuning into Mr. Worldwide taking over the desert as Pitbull closes out the Saturday performances.
The festival will be livestreamed on Amazon Music, Prime Video and Twitch. On Sirius XM’s the Highway (channel 56), you can listen to exclusive interviews and live performances. Their station Y’allternative will also be covering the festival on Saturday.
Note that if you wanted to catch Journey or Diplo with Theo Von and Caleb Pressley, they are not currently scheduled to be on the stream, but you can follow along with our team posting live updates in the field.
Here are updated set times for the Stagecoach livestream Saturday performances (times presented in PDT):
3:10 p.m. Kevin Smiley; 3:30 p.m. Braxton Keith; 4:05 p.m. Redferrin; 4:40 p.m. Corey Kent; 5:35 p.m. Teddy Swims; 6:20 p.m. Treaty Oak Revival; 7:20 p.m. Little Big Town; 8:20 p.m. Riley Green; 9:30 p.m. Lainey Wilson; 11 p.m. Pitbull
3:10 p.m. S.G. Goodman; 3:30 p.m. Lane Pittman; 4:05 p.m. Benjamin Tod; 4:40 p.m. Michael Marcagi; 5:20 p.m. Willow Avalon; 5:55 p.m. Billy Bob Thornton & the Boxmasters; 6:40 p.m. Chase Matthew; 7:20 p.m. Charles Wesley Godwin; 8:10 p.m. Bush; 9:10 p.m. Gavin Adcock; 10:20 p.m. Two Friends
4 p.m. Corey Kent; 6:30 p.m. Little Big Town; 7:50 p.m. Riley Green; 9 p.m. Lainey Wilson
9 a.m. the Red Clay Strays; 11 a.m. Larkin Poe; 12 p.m. Ole 60; 1 p.m. Sam Barber; 2 p.m. the Marcus King Band; 6 p.m. S.G. Goodman; 8 p.m. Treaty Oak Revival
Trade the flower crowns and sneakers for a cowboy hat and some boots, because Coachella has moved out of the Empire Polo Club in Indio and the Stagecoach Festival is moving in, April 24 to 26.
Post Malone, who headlined Coachella in 2025 and played a set of country covers at Stagecoach in 2024, is back to headline the country music fest along with Lainey Wilson and Cody Johnson.
From what to know about the festival to how you can watch from home, here’s your guide to Stagecoach.
Stagecoach 2026 runs April 24 to 26 at the Empire Polo Club at 81-800 Ave. 51 in Indio.
This year’s main stage headliners are Cody Johnson, Lainey Wilson and Post Malone.
You can also expect big sets from Brooks & Dunn, Bailey Zimmerman and more rock-centric acts like Journey, Counting Crows, Third Eye Blind and Bush. Then there’s Ludacris, Pitbull and Diplo, who is bringing back his HonkyTonk dance area as well as performing.
Fun fact: Mane Stage performer Teddy Swims played the main stage at Coachella the last two weekends, but we haven’t heard if he’s bringing out David Lee Roth again. And Diplo was also at Coachella with Major Lazer.
The big thing is the new Mustang Stage. Back in the early years of Stagecoach, there was a tent with the same name that featured a lot of cowboy poets and bluegrass. It was much smaller than what we’re expecting of this new one, which is set up where the massive Sahara Tent is during Coachella.
Anyone who has tried to see one of the big artists over at the Palomino Stage during Stagecoach in recent years knows how it can easily overflow, so this should ease some of that congestion for artists like Journey, Hootie & the Blowfish and the Red Clay Strays.
It’s also taking over the late-night sets with Diplo, Pitbull and Ludacris that had previously been done at the Palomino.
Yes, there are still passes available for Stagecoach 2026. A general admission three-day pass is $619. (There’s also a deal if you buy a six-pack of GA passes that comes out to $569 per pass.) You can get a GA combo pass that includes shuttle transportation starting at $699. There’s also a GA pass that gets you access to the Rhinestone Saloon adjacent to the Mane Stage and the Rose Garden Saloon next to the Palomino Stage for $974.
If you want to get close to the Mane Stage, a Corral Standing Pit pass is $1,899. Corral reserved seating runs from $1,199 to $2,299. The chairs are folding camping chairs, and the highest tier option has drink holders. If you purchase any of the seating options, you can take the chair home as a souvenir Sunday night. Corral passes (standing or seated) come with access to the more exclusive Corral Saloon as well as the Rhinestone and Rose Garden Saloons.
You can buy tickets at stagecoach.com/passes.
Stagecoach is different from Coachella in that if you want to be close to the largest stage, you will need to pay for a Corral pass. Those in the Corral Standing Pit will be the closest.
If you have a GA pass, be prepared to just see the biggest acts on a screen. For Stagecoach, there are multiple screens set up in the field for the general admission areas — and usually a feed with a screen over by the Beer Barn, too.
GA passholders who are willing to stand typically have access to an area closer to the Mane Stage than those with blankets or low-backed lawn chairs.
That being said, GA passholders have traditionally been able to get up close at all of the other stages.
Stagecoach set times are already posted. Similar to Coachella’s surprises, the festival recently announced that Dan + Shay are on the bill for Friday on the Palomino Stage.
The parking lots open at noon daily and the gates open at 1. Everything ends at midnight or earlier.
As the venue opened, country music fans made a run across the field to secure good concert-viewing positions on the first day of Stagecoach in 2022.
(Allen J. Schaben / Los Angeles Times)
Who says you can’t get anything for free anymore? Day parking is free at Stagecoach.
Like I recommended for Coachella, drop a pin in your phone as soon as you park so you can find your car at the end of the night.
There is a rideshare lot. You can also purchase a shuttle pass for $130. There’s also preferred parking for $299.
Stagecoach doesn’t have as many people as Coachella, so the traffic usually isn’t as bad, but Monday can get congested as people head home from the desert.
If you want to avoid traffic or you’re looking for some off-site adventures during Stagecoach, check out these 14 fun desert side quests.
Stagecoach still has medium-sized lockers available to rent. They are $84 for the weekend and you can reserve them in advance. Small charging lockers for devices are $74 for the weekend.
Backpacks 18” x 13” x 8.5” or smaller are allowed inside the venue.
Beyond the charging lockers, there are places around the grounds where you can charge your own devices. Bring your own cable/plug.
A man drinks a beer from a woman’s boot while watching Willie Nelson & Family perform on the Mane Stage on the second day of Stagecoach 2024.
(Allen J. Schaben / Los Angeles Times)
It’s looking like we’ll hit a high of 90 degrees on Friday, 81 on Saturday and 78 on Sunday, according to Accuweather. The lows will dip into the 50s, though, so you might want to throw in a long-sleeved flannel shirt or hoodie for when the sun goes down and Brooks & Dunn sing about dancing under a neon moon. Since blankets and towels (50” x 70” max) are also allowed, you could also roll yourself up into a Stagecoach burrito, I suppose.
You can also bring in handheld fans (paper or battery-powered).
Plastic personal-sized water misters are allowed in, too, but they have to be empty when you get there.
The wind doesn’t look too bad right now, but it will inevitably kick up. Don’t bring a cough home as a souvenir. Bring a face covering like a bandanna or a PPE mask.
I know lots of people enjoy the beer at Stagecoach, but it’s not the same as water. My mantra in April is dehydration is serious business. And if you’re drinking beer, you definitely want to keep drinking water.
The good news is that there are multiple refill stations around the grounds, and if you need to buy a bottle of water, it’s only $2.
Like Coachella, you can bring in an empty refillable container, but it needs to be plastic (no metal or glass) and 64 ounces or less. Empty hydration backpacks are allowed, too.
For a free boost of electrolytes, the Electrolit booth is back with free samples between the Mane Stage and Diplo’s HonkyTonk. (Pro tip: I stopped there every day on my way in during Coachella. Hydrate early, hydrate often.)
If you like barbecue, you’re in the right place. There’s a whole lot of it at Stagecoach. Flavortown also comes to Stagecoach with cooking demos throughout the weekend courtesy of Guy Fieri and friends.
There are a fair number of vendors that were also at Coachella, including Prince St. Pizza, Irv’s Burgers, Love Hour and Oh My Burger, the latter two of which impressed Danielle Dorsey, one of our food editors, at Coachella this year.
If you’re buying food on site, plan on $20 and up for most entrees, with a few deals to be had.
If you’re looking for freebies, the Electrolit and Coca-Cola installations are still there from Coachella and Monster Energy also has a space where it’s giving out samples. (Monster Energy also has a meet and greet with Redferrin after his performance on Saturday and a surprise DJ set on Sunday.) As for free food, sometimes they pass out samples to the crowd after the Guy Fieri demonstrations.
I’m glad you asked. Earlier this month, we put together a collection of side quests around the desert. Some, like snapping a photo of the Forever Marilyn statue in Palm Springs or seeing the former Coachella festival art installation “Sarbalé Ke,” are easy to do before entering Stagecoach for the day. Others are more involved and can be a great way to miss that traffic coming back on Monday.
If you’re looking for more options, we’ve got a Gen Z guide to eating, drinking and shopping in Palm Springs and restaurant critic Bill Addison recently updated his dining guide to Palm Springs.
In recent years, Stagecoach has been streamed on Prime Video, Amazon Music and Twitch.
The streams start each day at 3 p.m. Pacific. There are two channels set up.
A specific schedule hasn’t yet been announced, but a press release from Amazon says the stream will include sets from Cody Johnson, Lainey Wilson, Post Malone, Third Eye Blind, Avery Anna, Ludacris, Michael Marcagi, Pitbull, the Red Clay Strays, Wynonna Judd and Diplo.
The “Coachella of books” has arrived. The biggest literary event in the country, the L.A. Times Festival of Books, kicked off at USC this weekend. The 31st annual event features more than 500 authors, including Lionel Richie, Tina Knowles, Larry David, Pat Benatar, Amy Tan, Anne Lamott and more. Several of these talented individuals stopped by the L.A. Times photo studio to have their portraits taken between spirited panel discussions and book signings.
Here are some portrait highlights from the 2026 Festival of Books:
Lisa Rinna author of “You Better Believe I’m Gonna Talk About It.”
Morgan Hutchinson and Brett Hutchinson.
Daniel Humme and Roda Ahmed.
Rachel Renee Russell, Presli Noelle James, Kim James, Nikki Russell and Cori James.
Chet’la Sebree 2026 finalist for the LA Times Book Prize in Poetry for her collection “Blue Opening.”
Chanda Prescod-Weinstein.
Tens of thousands of readers of all ages, from toddlers clutching picture books to longtime fans carrying armfuls of paperbacks, fanned out across the USC campus Saturday for the opening day of the 31st Los Angeles Times Festival of Books, packing panels and lining up to see favorite authors and celebrity guests.
It was too early to know how many people attended the first day of the event, billed as the country’s largest literary festival, though organizers said they expect between 150,000 and 155,000 attendees over the weekend. By late morning, the campus was already bustling, with strong turnout expected for appearances by author T.C. Boyle and actors Sarah Jessica Parker and David Duchovny, among others.
Founded in 1996 and spread across eight outdoor stages and 12 indoor venues, the festival has become a fixture on Los Angeles’ cultural calendar, bringing together more than 550 storytellers for panels, author interviews, book signings, performances and screenings spanning a wide range of genres, from children’s story times to cooking demonstrations.
This year’s lineup features a broad mix of writers, performers and public figures, including comedian Larry David, musician Lionel Richie, multihyphenate businesswoman (and Beyoncé’s mother) Tina Knowles, author and social critic Roxane Gay and scholar Reza Aslan.
Under sunny skies, actor and reality TV personality Lisa Rinna brought humor and a bit of bite to a 10:30 a.m. conversation on the festival’s main stage. The “Real Housewives of Beverly Hills” alum released her second memoir, “You Better Believe I’m Gonna Talk About It,” in February, chronicling her time on the show and her recent turn on Season 4 of Peacock’s reality competition series “The Traitors.”
Reflecting on her approach to “Traitors,” Rinna said she wanted to strip away the conflict-driven persona she had cultivated on “Real Housewives” and present a more unfiltered version of herself. “I was like, ‘Self, listen. You’re gonna go in there and just be you. No housewife s—, none of that reactionary stuff.’ ”
In conversation with Times senior television writer Yvonne Villarreal, Rinna also spoke candidly about the loss of her mother, Lois Rinna, in 2021 and how her grief manifested in a feeling of rage while she was filming Season 12 of “Real Housewives.”
“It really took me by surprise,” she said. “And you have to give space for it because you can’t make it go away. … They always say time heals, but time makes everything just a little less intense.”
At a noon panel titled “Fire Escape: Wildfires and the Changing Geography of Southern California,” moderated by Times climate and energy reporter Blanca Begert, author and former wildland firefighter Jordan Thomas said the scale and frequency of California wildfires have shifted dramatically in recent decades.
“The vast majority of the largest wildfires in California’s recorded history have happened just in the past 20 years,” said Thomas, author of last year’s National Book Award finalist “When It All Burns: Fighting Fire in a Transformed World.” “While I was a hotshot, there were three of those fires burning simultaneously, including a million-acre fire — more than used to burn across the entire American West over the course of a decade.”
In the early afternoon, former Georgia Rep. Stacey Abrams spoke with moderator Leigh Haber about artificial intelligence and voter suppression in front of an enthusiastic, packed crowd at USC’s Bovard Auditorium.
Abrams’ latest Avery Keene novel, “Coded Justice,” came out last year and explores the role of artificial intelligence in the healthcare industry. AI has already become enmeshed in everyday life, she said, asking audience members to raise their hands if they had used TSA PreCheck or a streaming service.
“AI is a tool … but it is created by someone, it is programmed by someone, it is controlled by someone,” she said. “Regulation is not about slowing down progress. It is about asking questions and saying that in the absence of answers, we’re going to put on reasonable restraints that we can revisit.”
Abrams also revealed that her next book, the fourth in her Avery Keene thriller series, will focus on prediction markets.
“I write Avery Keene novels to tell stories about social justice, but I put it in a form that’s accessible to people who don’t think that they are social justice people,” Abrams said. “I want to meet people where they are, not where I want them to be.”
She also encouraged audience members to push back against voter suppression and defend democracy by volunteering at polling places — even in reliably blue districts — warning that she believes masked paramilitary groups will be allowed to patrol voting locations and target people of color in the upcoming midterm elections.
The festival kicked off Friday evening with the 46th Los Angeles Times Book Prizes ceremony at Bovard Auditorium, emceed by Times columnist LZ Granderson, recognizing both emerging voices and established writers.
Winners were announced in 13 categories for works published last year. Find a full list of winners here.
Oakland-born novelist Amy Tan, whose work often explores identity and the Chinese American immigrant experience, received the Robert Kirsch Award for lifetime achievement, and the literary nonprofit We Need Diverse Books received the Innovator’s Award for its work promoting diversity in publishing.
Accepting her award, Tan, author of the 1989 bestseller “The Joy Luck Club,” said that as a birthright citizen, she had never questioned her place in the country until recent debates over citizenship and belonging led her to reconsider whether she is, in fact, a “political writer.”
“My birthright and that of millions of others is now being argued before the Supreme Court, and no matter what the outcome is, it’s been a kick in the gut to know that those in the highest echelons of government and those who support them believe that we don’t belong.”
Tan said that as an author, “I imagine the lives of the people I write about,” and that act of compassion “reflects our politics and our beliefs. And so yes, I am a political writer.”
Addressing the attendees, Times Executive Editor Terry Tang pointed to the breadth of the weekend’s programming as an opportunity for connection and discovery. “If you take in just a fraction of these events, it will expand your mind,” she said. “This weekend gives all of us a chance to celebrate a sense of unity, purpose and support.”
The festival runs through Sunday. More information, including a schedule of events, can be found on the festival’s website.
This year’s festival will take place Saturday and Sunday at the USC campus, and it’s packed with a mind-boggling array of great participants and exhibitors. You can peruse the complete schedule, download the book festival app, and book your parking and panel reservations here.
I have warm fuzzy feelings about the festival, attending as a budding writer in the early aughts. As someone who aspired to “go long” but had no clue how to go about doing it, the event was an inspiration: all these hot-shot authors talking about their craft, and free admission no less.
Of course the event wasn’t the sprawling, magnificent behemoth it is now, with cooking demonstrations from the world’s greatest chefs, and bestselling children’s authors reading to tiny budding bibliophiles. The first festival in 1996 drew 75,000 book fans; last year, more than twice as many people showed up.
As the festival grew, so did the excitement. In 2007, I waited in line along with hundreds of other fans for the privilege of hearing Gore Vidal talk about his craft in UCLA’s Royce Hall. Gay Talese, one of my journalism heroes and a veteran of some of the very first festivals in the late ’90s, was always a pleasure. His stories about breaking into the New York Times conjured up a lost world that seems positively antediluvian now. “If you show up in a three-piece suit and a hat, and you look like you might have taken a bath recently, they don’t kick you out as fast,” Talese told a packed crowd in 2008.
By that time, much to my astonishment, I knew Talese personally. In 2004, I was working on a book about the New Journalism movement that he spearheaded. That year, he asked me to join him at the book festival as a guest. It was my first time in the “green room,” the backstage area where authors socialize over food and drinks. After ogling all the A-list talent in the room, I was asked by Talese to join him for lunch at a table along with novelists Jane Smiley and John Kaye, historian Doug Brinkley and social critic Naomi Wolf, all of whom were appearing at the festival. Reader, my mind was suitably blown. I just kept my mouth shut and listened.
I will be moderating a panel Sunday at 1:30 p.m. at the Ray Stark Family Theatre (plug) and I can’t wait. There is nothing like this festival; it is The Times’ annual gift to the Southland, and we should all be grateful we get to enjoy it.
Here are some of this weekend‘s festival highlights. All panels are an hour in duration.
An exclusive look at what we’re reading, book club events and our latest author interviews.
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Drawn to Life: A Conversation on Graphic Novels
Graphic novelists Henry Barajas, Eagle Valiant Brosi, Anders Brekhus Nilsen, Mimi Pond and Angie Wang discuss their latest graphic novels, each of which is based on true events or popular myths.
Where: Albert and Dana Broccoli Theatre
When: 10:30 a.m.
Robert Kirsch Award Winner Amy Tan in Conversation with Thomas Curwen
Acclaimed author Amy Tan is the recipient of the 2025 Robert Kirsch Award for lifetime achievement, which recognizes a writer with a substantial connection to the American West. Tan’s expansive body of work, including essays, memoirs and bestselling novels “The Joy Luck Club,” “The Kitchen God’s Wife” and “The Bonesetter’s Daughter,” is widely celebrated for its profound exploration of the immigrant experience, family bonds and the quest for individual identity. Join us for a conversation with Amy Tan and award-winning former Los Angeles Times writer Thomas Curwen.
Where: Bovard Auditorium
When: 10:30 am
Modern Family: Humor, Chaos, and the Absurdity of Contemporary Life in Fiction
Novelists Jade Chang, Kevin Wilson and Sarah Levin discuss their new novels, which are fresh examinations of family in contemporary life: the ones we’re born with, the ones we make, and the ways we reach out for connection in an increasingly isolated, chaotic, and lonely world.
Where: Hoffman Hall, Edison Auditorium
When: 11 a.m.
The Mirror Effect: When The Writer Becomes The Story
Lana Lin, Melissa Febos, Susan Orlean and Amanda Uhle have produced literary and artistic work that has shaped conversations, influenced culture and established them as leaders in their fields. Now, they turn the pen inward and become the story. Exploring their careers, relationships, sexuality and more, these writers offer a rare and intimate look at the vulnerability, creativity and humanity behind their work
Where: Town and Gown
When: 1:30 p.m.
Democracy, Fascism and America Today
Join California Atty. Gen. Rob Bonta, Steven J. Ross, Omer Aziz, Erwin Chemerinsky and Los Angeles Times reporter Seema Mehta for a conversation about the state of our freedoms today and what our current political atmosphere could mean for the future of our democracy.
Where: Hancock Foundation, Newman Recital Hall
When: 1:30 p.m.
Raising Gen Alpha: Parenting Today
How do we raise children in an age of rapid technological change, political polarization and global uncertainty? Drawing from their new books and their experience as parents, Reza Aslan and Jessica Jackley will explore how to have honest, age-appropriate conversations with kids about complex and challenging topics, while psychologist Darby Saxbe shares groundbreaking research on the science of fatherhood.
Where: Wallis Annenberg Hall
When: 10:30 a.m.
The Mosaic of Us: Individual Memoirs and the Collective Truth of Black Life in America
Join Austin Channing Brown, Tre Johnson, Tamika D. Mallory and Carvell Wallace as they reflect on the moments that shaped their lives, work and perspectives. Through individual stories of resilience, love, purpose and self-discovery, their experiences weave together like a mosaic to form a deeper collective portrait of Black life and identity in America today.
Where: Hancock Foundation, Newman Recital Hall
When: 10:30 a.m.
Panelists Matthew Cuban Hernandez, Karla Cordero, Sonia Guiñansaca and Yesika Salgado will dive into what it means to be autonomous, to be your own supreme authority, to belong to yourself, the land(s) and people you choose.
Where: De Los Stage
When: 12:50 p.m.
Lionel Ritchie in conversation with Mikel Wood
The legendary performer will discuss his new book “Truly” with the Times’ pop music critic.
Where: Bovard Auditorium
When: 2:30 p.m.
Looking Deeper: The Asian American Experience in Historical Fiction
Christine Bollow, Karen Tei Yamashita and Naomi Hirahara dive deep into the myriad Asian American experiences at turning points in American history, shedding light on untold stories and essential characters in our shared history.
Where: Hoffman Hall, Edison Auditorium
When: 3:30 p.m.
Commenters who never have been — and never will go — complain about the cost, the influencers, the hype. Purists wax poetic about the days when they disappeared into three days of music and the field wasn’t overtaken by brands like Barbie and e.l.f. cosmetics. Defenders claim they can camp their way to an affordable weekend, and others spend the whole time posting. A select few even talk about great performances they saw — it’s still a music festival.
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But one thing everybody can agree on: Coachella has changed. I should know. I’ve been covering it as a journalist since 2007.
Rapid advancements in technology and mass adoption of social media have brought out the best and worst of the festival — not just on screens thousands of miles away, but to those of us trying not to trip over the makeshift photoshoot you might have seen on Instagram.
Some of Coachella’s most iconic moments happened before smartphones: The Flaming Lips in a human hamster ball in 2004; Daft Punk’s 2006 pyramid set; Rage Against the Machine reuniting and calling for the George W. Bush administration to be tried for war crimes in 2007. If you even had a cellphone when Coachella started in 1999 it was probably a Nokia brick or a flip phone with an antenna that had limited talk and text options.
In the early years, there were no brand activations on the field; nobody knew what an influencer was and the only corporate sign you saw was for Heineken in the beer gardens. (There was no Heineken House with its own stage, just signs advertising the beer.)
The grounds were also considerably smaller, making it easier to explore the different stages and discover new music. You didn’t have fancy food options, but a slice of Spicy Pie was less than $10. (Coachella upgraded its food options from festival staples to weekend outposts of L.A. restaurants in 2014.)
The music was the draw. The festival’s track record includes artists like the Killers, the Black Keys, Childish Gambino and Kendrick Lamar climbing up from small type to headliner on the lineup poster.
The vibes started to shift in 2010 as smartphones grew in popularity, although the service on the field was spotty. It was the first year Coachella offered a livestream — available via Facebook and MySpace. The next year, the stream moved to YouTube, where it remains and draws millions of viewers.
As Coachella expanded to twin weekends due to popular demand on the ground in 2012, it also had the first viral moment fans could enjoy from thousands of miles away: Dr. Dre and Snoop Dogg brought 2Pac back to life via a hologram.
Celebrities were always at Coachella (I spotted Ryan Seacrest, Corbin Bernsen, David Hasselhoff and Danny DeVito in my early years), but the rise of social media made celebrity culture a key part of the event. By 2011, TMZ was posting about stars like Lindsay Lohan. Clips from Coachella went viral and ended up on shows like “Tosh.0” and referenced in “Community.”
The art, which was always part of the festival, became bigger and more iconic. On the growing photo app Instagram, larger-than-life sculptures of astronauts started appearing in selfies.
Brands saw an opportunity. American Express, H&M and Samsung launched activations on-site in 2015. The party scene outside the festival, with non-affiliated events that were timed because everyone was in town for Coachella, became marketing vehicles. Brands are still cashing in more than a decade later.
The next watershed moment was Beyoncé in 2018. Today, most headlining sets at the fest feel as if they are designed for the viewing experience on the livestream rather than the fans on the field (ahem, Justin Bieber and his laptop). But Beyoncé’s spectacle was just as mind-blowing on-site as it was at home. A year later, the “Homecoming” special debuted on Netflix, widening the reach.
Coachella became a key part of the pop culture landscape, and then it became a cornerstone of the influencer economy.
I inadvertently photobombed approximately 500 people just trying to go to and from the press tent last weekend and my inbox is overflowing with requests for coverage of off-site events with brands, celebs and TikTok influencers, including social media clips.
But at the end of the day, Coachella is still a music festival, and a really good one at that. The Strokes, David Byrne, Jack White, Iggy Pop, Turnstile, Wet Leg, Fujii Kaze and even Less Than Jake in the Heineken House were some of the best performances I had seen in years.
Coachella is what you make of it. And besides, everyone knows there are fewer influencers on Weekend 2.
A health worker administers a measles test on Fernando Tarin, of Seagraves, Texas, at a mobile testing site outside Seminole Hospital District on Feb. 21, 2025.
(Julio Cortez / Associated Press)
Reporter Deborah Vankin gets a massage by an “Aescape” robot at Pause Wellness Studio.
(Christina House / Los Angeles Times)
Laura says, “I left California during the pandemic. Part of the push factor for me was politics, but not blue politics. I had been living in OC since 2018 and was surprised it was so Conservative (and conservative). That became a bigger source of discomfort for me as the vaccine question demonstrated how our neighbors’ decisions can impact us directly. Rather than moving elsewhere in California, which would have sorted out the political discomfort nicely, I moved to a much more affordable state where I had family.”
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Kendrick Lamar performs at Coachella Music & Arts Festival at the Empire Polo Club on April 16, 2017.
(Amy Harris / Invision / AP)
On April 16, 2018, Compton’s own Kendrick Lamar became the first hip-hop artist to win the Pulitzer Prize for music.
He won for his album “Damn.,” which the Times’ Mikael Wood heralded as Lamar’s graduation to pop superstardom.
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Coachella’s 25th anniversary was more than just a milestone in the festival’s history. It’s a year that showcased its vitality and vision for the future — and yes, it’s still a great place to take a selfie. While the amount of great music we absorbed as a staff left us a little delirious, it ensured we’d have plenty of moments to recall for a highlight reel of Weekend 1. From Radiohead’s immersive bunker experience, to Sabrina Carpenter’s triumphant return, Justin Bieber’s YouTube karaoke set and Karol G becoming the first Latina to headline the fest on Sunday night, here’s our list of the 21 most memorable moments we caught during Weekend 1.
FRIDAY
(Mark Potts / Los Angeles Times)
Finally! Coachella has its own version of the Enchanted Tiki Room attraction from Disneyland — and it comes from the most unlikely of artists: British alt rockers Radiohead.
Here’s what I mean by that.
Say you’re in search of an air-conditioned place to rest your weary feet while a visual and musical spectacle plays out before you. Where do you go? If you’re a parent taking your kid to the happiest place on Earth, you go to the Enchanted Tiki Room. If you’re a desert festivalgoer in Indio, you go to the Bunker.
Tip: The ushers appeared to be letting festivalgoers into the experience throughout the runtime of the movie, so there’s a possibility you’ll be able to get in even if you didn’t land one of the scarce time slots. And seeing as how the experience was only about a quarter of the way full by the time it ended, you might be in luck. (David Viramontes)
Devo performs at the Mojave Tent during Coachella.
(Christina House / Los Angeles Times)
Look, it’s a very different Coachella than when we last saw Devo here in 2010. The Mojave Tent should have been more packed for these legends.
However, those of us who hightailed it here were treated to a set of the band’s best. Early on in the performance, the band played “Girl U Want” into “Whip It,” and during the latter, Mark Mothersbaugh tossed a handful of red “energy domes” — you know them as the Devo flowerpot hats — into the crowd.
Similar to Bini earlier, Devo had a costume change from the navy worksuits into their signature yellow Devo suits for a rousing performance of “Uncontrollable Urge.” There was even some choreography. (Vanessa Fanko)
A festivalgoer holds a Coachella sunset cocktail.
(Danielle Dorsey / Los Angeles Times)
One of the best parts of Coachella is catching the sherbet-colored sunset at the end of the day, not just because cooler temps are ahead but because of the Lisa Frank explosion of colors that bleed into the horizon as it shifts to night. That event was made all the sweeter today when I paired the actual sunset with the Coachella sunset cocktail, which layers citrus and a speared kumquat with tequila, served in a branded cup that doubles as a souvenir. (Danielle Dorsey)
The xx performs on the Coachella Stage.
(Kayla Bartkowski / Los Angeles Times)
The xx’s return was among the most buzzed-about sets of the festival this year, a credit to how well their catalog has stood up on its merits. At their debut, they almost singlehandedly inaugurated a shift toward hyper-intimate headphone pop — it’s hard to imagine Billie Eilish sounding quite the same without them.
Yet on Friday, they bolstered that purity with the confidence, swagger and precision of the veteran rock act they’ve become.
Dressed in their typical all-black palette, their faces carrying a little more gravity and composure with age, the set slipped between the ships-in-the-night duets of “Shelter” and “VCR” to the after-hours whomp of Romy’s “Enjoy Your Life.” “On Hold” best married the band’s two worlds, sample-soaked yet rock driven; “Angels” remained a peerless devotional ballad. (August Brown)
Katseye performs on the Sahara Stage.
(Christina House / Los Angeles Times)
Katseye proved no this ain’t their debut at their first Coachella performance, bringing out Ejae, Audrey Nuna and Rei Ami for a kinetic performance of “Golden” from “K-Pop Demon Hunters.” Despite the absence of Manon, the girl group packed the festival field with Eyekons packed shoulder to shoulder as far as the Do Lab. (D.V.)
Turnstile performs at the Outdoor Theatre.
(Kayla Bartkowski / Los Angeles Times)
Turnstile’s set on the Outdoor Theatre on Friday night had some unexpectedly poignant moments from the Baltimore band with hardcore roots.
Before the band took the stage, there was footage of interviews with fans and also a previously recorded message from Bill Yates, the father of Turnstile singer Brendan Yates.
“We love you, Turnstile loves you and enjoy the ride,” he said.
The band played a 55-minute set split between its last two albums, 2025’s “Never Enough” and 2021’s “Glow On,” in a condensed version of the tour they brought through Southern California last fall. Highlights included “Seein’ Stars” off the latest record, where Blood Orange’s Dev Hynes joined the band on the cello before his own late night set in the Mojave Tent, “Mystery” and “Holiday” off “Glow On” and set-closer “Birds,” which won a Grammy earlier this year. (V.F.)
“How you feeling, Sabrinawood?” Sabrina Carpenter asked as she gazed out at the tens of thousands of fans she’d gathered into a makeshift city Friday night. “I can’t believe I’m headlining Coachella.
“I mean, I can a little bit.”
Indeed, when Carpenter made her Coachella debut in 2024, the Disney kid turned pop icon vowed that the next time she played the desert festival, her name would be atop the bill.
She returned as promised this weekend as one of music’s biggest acts, with two No. 1 singles and a pair of Grammy-nominated albums under her belt and a story to tell about her rise to stardom. (Mikael Wood)
SATURDAY
Jack White draws a crowd at the Mojave Tent.
(Christina House / Los Angeles Times)
Jack White kicks off Coachella’s rock-tastic Day 2
I thought Jack White’s opening riffs were a beacon. Then he ended his surprise Mojave Tent set with the White Stripes’ “Seven Nation Army.”
It will not surprise you that the tent, which attracted an overflow crowd once he played the iconic riff, had people singing along and jumping and pumping their arms in the air to the track that has become a sporting event staple (including for my beloved Baltimore Ravens).
What did surprise me was that the crowd was also ridiculously loud for a sing-along to the Raconteurs’ “Steady As She Goes” a few songs before.
White ended the set by telling the crowd that he was planning to catch Geese and the Strokes that day and that music is sacred.
Rock is indeed alive and well at Coachella, especially as the fans kept singing “Seven Nation Army” after White and his band had left the stage and the set was over. (V.F.)
I know my phone says it isn’t as hot as it was Friday but maybe it was rocking out with Jack White that made us all a little more sweaty.
I booked it over to the Sonora Tent to catch a little bit of Ecca Vandal to confirm that the Sonora Tent still has the vibes of a cool rock club in the middle of the festival. I mean cool both figuratively and literally since the AC is always blasting.
The blue-haired singer leaped onto the stage — wearing a short poofy dress and tall boots — accompanied by a drummer and a multi-instrumentalist with a lot of flashing lights.
The beginning of her set was leaning on more of her pop crossover songs than the punk vibes that initially drew me to her, but I did catch her do the rocking “Bleed But Never Die” before I needed to move on to catch another set. (V.F.)
The Goodyear blimp flies over the Coachella Valley Music and Arts Festival on Saturday.
(Kayla Bartkowski / Los Angeles Times)
The ride on the Goodyear Blimp over the Coachella grounds was gentler than I’d anticipated — kind of like a boat ride in a harbor. We took off from a giant dirt field at the Jacqueline Cochran Regional Airport in Thermal, Calif., and tooled around for 30 minutes or so; when we got over Coachella, we could see a few hundred Beliebers camped out as close to the main stage as they could get — nine or 10 hours before Bieber’s performance was scheduled to begin.
They looked so little down there — so small in size, so big in Beliebf. (M.W.)
Giveon performs at Coachella on April 16, 2022.
(Dania Maxwell / Los Angeles Times)
Long Beach’s R&B savant Giveon kept his Coachella stage to a monochrome motif during his sundown set. Black suit, white lights — he didn’t need anything more to bottle the magic hour on Saturday.
An old soul with with a huge, commanding voice, his catalog hovers between the orchestral swoon of pre-rock ballads, the pristine melodies of Anita Baker and the rangy, resilient yearning of his hometown’s soul tradition. Kendrick Lamar and SZA may have formally kicked off the Luther Vandross revival, but Giveon has inherited it, especially on his latest 2025 LP “Beloved.”
Backed by a big, throwback live band, “Lost Me” beautifully papered over a failed relationship with an uncertain young bravado; “Backup Plan” gave his one-of-kind baritone room to roam and plead. He brought out Kehlani for “Folded,” another perfectly regal ballad that revels in a small aperture. But by the time he got to “Heartbreak Anniversary,” his suit was coming off and the mood was positively lusty.
Giveon should be counted among the great SoCal voices, and his Saturday show proved his ambitions for it have no ceiling. (A.B.)
Sombr performs at Coachella on Saturday.
(Kayla Bartkowski / Los Angeles Times)
Sombr’s performance happened on a day when Coachella had a notable number of rockers — Jack White kicked things off in the Mojave Tent in a set announced earlier this week and there was much excitement for the Strokes on the Coachella stage Saturday night before headliner Justin Bieber.
But one of the moments that simultaneously proved that rock never died and that it’s on the rise was when Sombr brought out a special guest, who Boose said was making his first visit to the festival. Billy Corgan of Smashing Pumpkins came out to join in on a cover of his band’s mid-’90s alt-rock hit “1979,” which was more recently trending audio on TikTok and Instagram. (V.F.)
David Byrne performs at the Outdoor Theatre at Coachella.
(Christina House / Los Angeles Times)
More than an hour before Justin Bieber decided to have a YouTube karaoke party to headline Coachella, David Byrne closed out the Outdoor Theatre on Saturday night in stark relief.
Byrne’s set started 25 minutes late and he arrived on stage wearing an orange jumpsuit and holding an acoustic guitar. He was soon followed by a dozen or so instrumentalists and backing singers in matching garb for “Everybody Laughs,” a track off his 2025 album “Who Is the Sky?” (V.F.)
Nine Inch Noize performs at the Sahara Stage.
(Christina House / Los Angeles Times)
Performing in a cutout in the middle of a huge elevated ramp, Reznor, his Nails bandmate Atticus Ross and Boys Noize hovered atop a dense rack of synths and samplers. They built on the ethos of their arena show, stripping the NIN catalog — including “Closer,” “Heresy,” “The Warning” and “Copy of A” — for parts, and then rebuilding the songs for this strobe-licked club setting.
One surprise for Coachella fans driving out was a billboard announcing Nine Inch Noize had a whole album of collaborative material en route, and the segments they played revealed how crucial Boys Noize is to this new setup. His bone-snapping breakdowns and vicious, detuned clangs wouldn’t be possible without Reznor’s ‘90s industrial vision, but here he returned the favor to ensure this combo translated on a dedicated rave stage. (A.B.)
The Strokes perform at the Coachella Stage.
(Kayla Bartkowski / Los Angeles Times)
Ninety minutes or so later, JB was indeed due to take over the space. But while Casablancas and his bandmates had control of it, it was theirs: This was an almost laughably strong showing by a band of rascally garage-rock veterans who somehow might sound better now — tighter, punchier, more effortlessly tuneful — than they did a quarter-century ago.
With an upcoming album to hype, the Strokes did their new single “Going Shopping,” a characteristically droll critique of late-capitalist apathy. (“Solidarity can be difficult when you got cool stuff to lose,” Casablancas sings.) But for the most part they stuck to the indelible hits, each as ingeniously structured — and as bitterly romantic — as the last: “Hard to Explain,” “Someday,” “Last Nite,” “New York City Cops.”
“You guys excited about the draft?” Casablancas asked at one point. “I hope to lead one of the Coachella units — the sexiest unit in our proud military.” (M.W.)
Justin Bieber performs at the Coachella Stage.
(Kevin Mazur / Getty Images)
This is how we found out Justin Bieber is a YouTube Premium subscriber.
The 32-year-old teen-pop survivor headlined Coachella on Saturday night, and for roughly half an hour in the middle of his set, what Bieber did was sit behind a laptop and sing along to his old music videos — often an octave down from where he recorded them — as he searched up the songs on YouTube and played them over the festival’s state-of-the-art sound system.
YouTube Premium, that is, given that he (and we) faced no ads during the performance. (M.W.)
SUNDAY
Clockwise from top left, Los Angeles Times staffers David Viramontes, Kayla Bartkowski, Rebecca Castillo, Danielle Dorsey, Mark Potts, Kailyn Brown and Christina House gather inside the Party in My Living Room activation at Coachella.
(Courtesy of Kailyn Brown)
For most artists, landing a gig at the most prestigious music festival happens at the zenith of their career. For reporter Kailyn Brown, playing Coachella is a side gig. But after seeing her set at the festival, at least one reporter anticipates that, sooner or later, being a Times journalist might become the real side gig.
On Sunday afternoon, Brown, a.k.a. KailynHype, played a DJ set at Party in my Living Room. The activation is a collab with GV Black, “a commitment and opportunity for Black, Indigenous, and People of Color (BIPOC) to be seen at the festival,” according to the Coachella website. “We actively promote diversity to change the narrative of what it means to be at Coachella.” (D.V.)
Wet Leg performs on the Coachella Stage.
(Kayla Bartkowski / Los Angeles Times)
Even without rock headliners at Coachella, the genre is alive and thriving with a new generation. This afternoon’s evidence? A blistering set from British rockers Wet Leg.
Opening with “Catch These Fists,” the set seemed to wake up Coachella’s typically sleepy Sunday with a jolt of rock. Other early highlights included “Wet Dream” and “Liquidize.” (V.F.)
Less Than Jake performs at Coachella’s Heineken House on Sunday.
(Vanessa Franko / Los Angeles Times)
Less Than Jake at the Heineken House was definitely one of the most unexpected moments in my years of covering the festival — especially considering that Sean Paul had the venue, an open-air beer hangout that includes a modest stage without a metal barricade near the Indio Central Market, so overflowing Saturday night that the Coachella app sent an alert to people that it was at capacity.
But for us Xennials and millennials in the crowd who remember the OG Warped Tour, the ska punk band’s set was a fun break from the more traditional Coachella fare.
Singer and guitarist Chris DeMakes made some jokes about how out of place the band was compared to the likes of Saturday night headliner Justin Bieber, but even on a small stage, Less Than Jake brought out its production tricks of toilet paper guns, inflatable dancing wind socks and a gaggle of balloons. (V.F.)
Iggy Pop performs at the Mojave Tent.
(Christina House / Los Angeles Times)
At 78, Iggy Pop still has a lust for life
I was worried that Iggy Pop would have suffered the fate of Devo and David Byrne on Friday and Saturday, respectively, of not having nearly enough fans watching these legends. I shouldn’t have.
On Sunday evening, a respectable crowd showed up in the Mojave Tent to pay their respects to the Godfather of Punk, who first played Coachella in a reunion with the Stooges in 2003.
Not only did Pop have a full band that included the Yeah Yeah Yeahs’ Nick Zinner on guitar, but and also a full horn section.
The set kicked off with “T.V. Eye” before “Raw Power” (a song I never knew could be so enhanced by the aforementioned horn section), but the early highlights also included “Gimme Danger,” “The Passenger” and “Lust for Life” in a 1-2-3 punch of perfect Pop. (V.F.)
Karol G performs on the Coachella Stage.
(Christina House / Los Angeles Times)
Karol G’s historic headlining set was lusty, powerful and overdue
On Sunday night, Karol G became the first Latina to headline Coachella. Along with all her pride in that achievement, she seemed a little angry at that fact too.
“It feels late,” the Colombian superstar said onstage, in a brief English-language address to the audience in a set otherwise fully in Spanish. “ It’s been 27 years of this festival going on. … Before me, there were so many great Latino artists that gave me the opportunity.”
“Latinos have been struggling in this country lately,” she continued. “We stand for them. I’m proud this brings out the best of us — unity, resilience, a strong spirit. We want everyone to feel welcome to our culture, our roots, our music, I want everyone to feel proud of where you come from.”
Karol let those lines here serve as her brief indictment of the present, jackbooted environment around immigration and repression in the United States. Making belated history by headlining Coachella would seem far removed from those concerns.
Yet as this sweeping, heady, spectacularly ambitious and relentlessly lusty set showed over its hour and half, the body is the first site of liberation. If you can’t move like you want, where you want, you’re not free. Karol G finally commanding this stage was living proof it’s possible to kick that door in. (A.B.)
Strong winds disrupted the Coachella Valley Music and Arts Festival on Friday night and the forecast calls for more gusts throughout the weekend.
Windy conditions are not unusual to the festival, which attracts roughly 125,000 attendees to the Empire Polo Club each of its weekends, but it’s rare to see the weather cause performances to be canceled.
On Friday night, EDM artist Anyma canceled his much-anticipated performance set for just before midnight on the festival’s biggest stage due to the weather.
“Due to strong wind conditions affecting Anyma’s stage build, he is unable to perform. Coachella & Anyma have made this decision together with your safety as the priority,” the fest wrote in a message on its app just after midnight on Saturday morning.
On Friday night, there were social media reports that showed that the Do Lab — a stage on the southern side of the festival grounds, which includes shade structures with colorful bolts of fabric — was closed for the night with yellow caution tape around the area and that a speaker may have fallen to the ground.
Festival promoter Goldenvoice and the organizers of the Do Lab stage did not provide comment at the time of publication.
The wind wreaked havoc in the campsite as well, blowing tents and canopies over.
“It was definitely pretty impactful last night. The wind reports in the area saw gusts up to 35 to 40 mph yesterday during late afternoon,” said Isaac Longley, a meteorologist with AccuWeather. “Unfortunately, that was when there were a lot of performers on the main stages, and a pretty impactful situation with the tents at Coachella.”
According to the online forecast for the weekend from the National Oceanic and Atmospheric Administration, temperatures in Indio were expected to reach 86 degrees on Saturday with 5- to 10-mph winds in the afternoon and a low of 56 degrees with the winds increasing to 15 to 20 mph and changing direction after midnight. Gusts were expected to be up to 30 mph later into the evening.
“As we head into Saturday afternoon and evening, we expect pretty similar conditions to [Friday] and for winds to pick up,” Longley said. “I would definitely consider staking my tent down.”
Sunday’s forecast was cooler, with a high of 79 and winds of 10 to 20 mph in the day. The expected low is 53 with winds expected at 15 mph with gusts of up to 30 mph.
There’s also an air quality alert for the windblown dust through 5 a.m. Sunday.
A POPULAR DJ has expressed regret after his Coachella set was cancelled due to high winds.
The Italian-American DJ Anyma — whose given name is Matteo Milliera — apologised to fans after Coachella bosses put a pin in his live show.
The festival issued a statement about the cancellation on its official social media.
“Due to strong winds affecting Anyma’s stage build, he is unable to perform tonight,” it began.
“Coachella and Anyma have made this decision together your safety as the priority.”
In the comments section Anyma added: “I’m sorry everyone. We’ve done everything in our control to build the show I’ve worked an entire year on. Safety always comes first and we’re working on a solution now.”
There was no mention of whether his set will be rescheduled at the music festival but he is also planned to hit the stage on Saturday night.
Anyma was set to perform on the main stage at midnight about 90 minutes after Sabrina Carpenter headlined on Friday night.
His DJ set is described as an immersive 360 digital art and music experience whose performances invite the audience to interact with the art and music.
He has recorded music with some of the world’s biggest artists including BlackPink’s Lisa, Lana Del Rey and Ellie Goulding.
Anyma alos forms one half of electronic music duo Tale of Us and he has 3.5million followers on Instagram.
Justin Bieber, Sabrina Carpenter and Karol G are among the pop stars taking over the stage at the 2026 Coachella Valley Music and Arts Festival.
The anticipated desert party kicked off on April 10, and runs until April 19 at the Empire Polo Club in Indio, California.
Friday performances at Coachella this year were headlined by Sabrina Carpenter and also featured The XX, Teddy Swims, KATSEYE, Devo and Turnstile.
Justin Bieber will headline both Saturdays, April 11 and 18, featuring The Strokes, Addison Rae, Interpol, SWAE Lee and SOMBR.
And finally, Karol G, Young Thug, BIGBANG and FKA Twigs will take over the stage on Sundays, April 12 and 19.
Music lovers can skip the flight and watch the livestream from their sofa via the festival’s official YouTube channel.
Coachella 2026 will stream in its entirety on the streaming platform, with separate channels for each stage.
Organizers canceled the popular Wireless Festival after the United Kingdom denied its headliner, the embattled rapper Ye, a visa into the country.
The U.K. government cited Ye’s history of antisemitic outbursts as a reason for denying him a travel permit.
Prime Minister Sir Keir Starmer said on Tuesday that “Kanye West [Ye’s former name] should never have been invited to headline Wireless.”
“This government stands firmly with the Jewish community,” he continued, “and we will not stop in our fight to confront and defeat the poison of antisemitism. We will always take the action necessary to protect the public and uphold our values.”
As a result, the entire summer festival was scrapped and ticket holders were issued refunds.
“The Home Office has withdrawn YE’s [electronic travel visa] ETA, denying him entry into the United Kingdom. As a result, Wireless Festival is cancelled and refunds will be issued to all ticket holders,” Wireless Festival organizers said in a statement on Tuesday. “As with every Wireless Festival, multiple stakeholders were consulted in advance of booking YE and no concerns were highlighted at the time.”
“Antisemitism in all its forms is abhorrent,” they continued, “and we recognise the real and personal impact these issues have had. As YE said today, he acknowledges that words alone are not enough, and in spite of this still hopes to be given the opportunity to begin a conversation with the Jewish community in the U.K.”
Ye said, in a statement reported by the BBC, that he was “following the conversation around Wireless”, and that “I know words aren’t enough…I’ll have to show change through my actions. If you’re open, I’m here.”
Ye has been mounting a comeback after years of erratic and conspiratorial remarks about Judaism and Jewish people, and openly embraced Nazi symbols in his merchandise. He recently took out an ad in the Wall Street Journal, saying he struggled with a frontal-lobe injury from a car crash and a bipolar type-1 diagnosis. “I gravitated toward the most destructive symbol I could find, the swastika…I lost touch with reality. Things got worse the longer I ignored the problem. I said and did things I deeply regret.”
He recently released a new album “Bully” and headlined SoFi Stadium in Inglewood, performing a hit-heavy set without incident. He did not address his recent behavior.
The Coachella Valley Music and Arts Festival is nearly here and our team is already preparing for a weekend full of sunshine, music and Beliebers.
We’re headed to the 25th edition of the festival, which returns to the Empire Polo Club in Indio on April 10-12 and April 17-19 with Sabrina Carpenter, Justin Bieber, Karol G at the top of the bill.
Our crew heading to the desert has literally decades of experience covering the festival, giving us unique insight into one of the world’s most famous music festivals.
So tell us — what do you want to know about Coachella? And what do you want to see from our live coverage in the field?
Are you heading to Indio or celebrating Couch-ella (and its more affordable beverage options) at home? Do you have tried-and-true tips you tell anyone when Coachella comes up in conversation? We want to know about them.
Use the form below to submit your Coachella questions or tips. Check back for our answers, your tips and live updates from the festival’s first weekend at latimes.com/coachella.
AN ICONIC noughties star looked unrecognisable to many as he took to the stage during this weekend’s Estero Picnic Festival in Columbia.
Over two decades since his initial rise to fame, the now 52-year-old musician looks a far cry from the twenty-something many fans remember.
Do you recognise him?
The singer in question in Travis frontman Fran Healy!
Known for hits such as Why Does It Always Rain On Me? and Sing, Travis dominated the music scene in the late nineties and early noughties.
Lead singer Fran has swapped the bright red hair he rocked a few years ago for a bleached look, donning a sky blue jumper as he joined numerous stars in fronting the Columbian festival this weekend.
Alongside his Travis bandmates, Dougie Payne, Andy Dunlop and Neil Primrose, Fran took to the festival’s Smirnoff stage to perform to the waiting crowds on Sunday.
The three-day festival also saw Sabrina Carpenter, Tyler The Creator, Swedish House Mafia and The Killers perform.
Alongside their own set on Sunday, Travis joined The Killers on stage to perform with them on Saturday.
Born in Stafford, Fran was raised in Glasgow and formed Travis back in 1991 while studying at the Glasgow School of Art.
Still going strong, the band are performing across Chile this month and next, with gigs in Viña del Mar, Frutillar and Santiago.
While the band have taken breaks throughout their lengthy career, they are famous for having never split up.
Their tenth studio album, L.A Times, was released in 2024.
Fran was in a relationship with German photographer Nora Kryst for 23 years before splitting back in 2019.
They share a 20-year-old son named Clay.
Last year, during one of Travis’ US gigs, Fran was rushed off stage and to the hospital after twisting his ankle on stage.
At the time, Fran took to Instagram to explain that he was wheeled out on a gurney and put into an ambulance.
Admitting that he thought he’d broken his ankle, the musician confirmed it was simply a “gnarly sprain”.
