Coachella Valley Music and Arts Festival //
Empire Polo Club – Indio, CA
April 12th-14th & April 19th-21st, 2024 //
With sunshine once again showering the Golden State this week, it’s hard to believe that we are only days away from Coachella’s 23rd installment.
Yep, it’s already that time of the year again, and with ticket sales for the famed California music festival not quite the same as in previous years (Weekend 2 hasn’t sold out yet), we find ourselves pondering if Goldenvoice curated a lineup that leaves something to be desired.
One thing we can’t say is it’s low on star power, though. Of course there’s Lana Del Rey, Tyler, The Creator and Doja Cat making their headlining debuts as well as No Doubt reuniting for the first time since 2015, but after surprising us with guest appearances by Arcade Fire in 2022 and blink-182 in 2023, Paul Tollett and his team have pulled another rabbit out of their collective hat while unlike last year, remaining right on schedule.
Vampire Weekend 1 pic.twitter.com/UMOEMKTQLf
— Coachella (@coachella) April 9, 2024
Now the latest trick up Tollett’s sleeve is another surprise guest appearing on this year’s set times, and if you just happen to be a fan of Vampire Weekend, then you are in luck. The indie-rock group made up of Ezra Koenig (lead vocals, guitar, piano), Chris Baio (bass, backing vocals, occasional piano) and Chris Tomson (drums, percussion, occasional guitar, backing vocals) put out their fifth studio album Only God Was Above Us last week and played their first show since 2022 last night under a total eclipse at a sold-out Moody Amphitheatre in Austin, Texas. With their next one not coming until the end of this month at the New Orleans Jazz & Heritage Festival, why not make a stop in the desert first before heading down to the bayou? For those of you here in California, they will be back not long after in June for headline dates at Cal Coast Credit Union Open Air Theatre in San Diego, the iconic Hollywood Bowl and Greek Theatre Berkeley (two nights) as part of a 2024 tour extending through December with more than 50 gigs already booked in North America, Europe and the UK.
While their tour schedule could allow for it, we will have to wait and see if Vampire Weekend will be joining the festivities for Weekend 2 (stay tuned here to find out next week). But if you want to catch them during Weekend 1, make sure to arrive at the Outdoor Theatre before 5 p.m. on Saturday when Koenig and company have been scheduled to perform. And for those of you who won’t be making the trek out to Indio, let’s hope their 45-minute set as well as No Doubt’s that evening at 9:25 p.m. on the Coachella Stage will be available to watch on the fest’s livestream. As we know from years past, that’s not always the case unfortunately. After all, who could forget what happened with Frank Ocean only a year ago.
Heading out to the Empire Polo Club? If so, don’t forget your sunscreen and water bottle … we also want to hear it straight from you: what’s your biggest conflict, and who are you most excited for?
WEEKEND 1 SET TIMES
WEEKEND 2 SET TIMES
The schedule for Weekend 2 has been released, and Goldenvoice has one more surprise in store for Coachella’s 2024 edition. It won’t be Vampire Weekend rocking the Outdoor Theatre again, but more hip-hop is heading to the Sahara Stage instead as two-time Grammy winner Kid Cudi joins the party Sunday at 5:10 p.m. We are also wondering what happened to AP Dhillon, the Indo-Canadian singer and rapper who had the same slot during Weekend 1 but is nowhere to be found when you check out the set times for Weekend 2 above. There are also some differences early in the day on Saturday and Sunday, but nothing earth-shattering,
MAP
This year’s map is out, and there aren’t a whole lot of changes in the past 12 months. The direct path from the Sahara Tent to the Sonora, Gobi and Mojave Tents is still there as you stroll by the Do LaB’s stage and food area, but with the Yuma Tent well-established now as Coachella’s quasi nightclub (pro tip: there’s some terrific air conditioning inside when you get hot out there), the debut of Quasar has to be one of the most intriguing additions to the polo fields.
The festival’s new electronic music-focused stage, as previously reported, will boast extended three-hour sets from several high-profile artists, including a trio of All-Star DJs as Jamie xx, Floating Points and Caribou leader Dan Snaith’s side project Daphni garner the spotlight during Weekend 1. RÜFÜS DU SOL, meanwhile, will have the honor of performing their own DJ set at Weekend 2 on Friday plus collaborations by Eric Prydz and Anyma as well as Diplo and Mau P over the final two days.
If you are still thinking about going, you can hop on the waitlist for Weekend 1 here or purchase tickets for Weekend 2 (GA and VIP) here along with whatever parking and shuttle passes are left.
Happy Coachella!
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The focus on larger themes of mortality and spirituality in Modern Vampires of the City have catapulted this indie group from angst-ridden collegians to mainstream players — and in the process Ezra Koenig and company crafted an American classic. Compulsively listenable, this record matured with age in 2013, just like the artistic path Vampire Weekend seem to be on. The album continuously waxes poetically about death and higher powers, and “Unbelievers” sums it up best: “Girl you and I will die unbelievers, bound to the tracks of the train.” The ambiguousness is biting, as it is tough to tell if the statement is earnest atheism or harsh criticism of Godless existence. In “Step”, we’re told, “Wisdom’s a gift but you’ll trade it for youth, age is an honor it’s still not the truth…we know the true death, the true way of all flesh. Everyone’s dying, but girl – you’re not old yet.” Even “Dianne Young” is a double entendre for ‘dying young’. Every track is filled with high-level substance lyrically, but sonically it’s multi-faceted as well, melding baroque sensibilities and African grooves at a wonderfully variant pace throughout. Ultimately, it’s a supremely empowering coming of age album from Vampire Weekend, one that stares mortality in the face while celebrating time’s finite quality. 
Early in Run The Jewels, Killer Mike announces, “Producer gave me a beat, said it’s the ‘beat of the year’, I said ‘El-P didn’t do it, so get the fuck outa here.’ El-P, the sole producer of rap music’s most dynamic duo, bases his production in captivating weirdness, micro-sampling everything from classic organ to nintendo glitch sounds to electric guitar, building epic beats for Killer Mike & El-P to deliver clever rhymes, based both in reality and playful hyperbole. One of Run The Jewels’ greatest successes is that it can be both funny and deadly serious within the same song, and often within in the same flow or line at times. So motherfuckin’ grimy, “Job Well Done” highlights how successfully dolphin sounds can contrast with aggressive lyricism, for example. Killer Mike broaches serious topics, bringing up the “elephant in the room” whenever possible, and EL-P is hyperactive and light-hearted as he spits his ‘future shit’. Put these two together and you have the best hip hop album in years. 
The beauty is in the build with FOALS, and that is the case with Holy Fire more than prior album as the UK-based festival-headliners-in-the-making have largely abandoned their post-dance punk sound aesthetic for a more ballad-based approach. Sure, “My Number” and “Providence” continue the upbeat, math rock-dance-freak-outs, but overall FOALS have centered their 2013 record around patient song development in order to establish more memorable, ecstatic moments. “Milk & Black Spiders” does just that, taking a full three minutes and forty five seconds to reach it’s blissful summit. “Late Night” is a harrowing slow burner, repeating the line, “Calling out your name,” asking for the subject of the song to “Stay with me.” Lead singer Yannis Philippakis’ impassioned vocals, paired with the band’s guitar interplay and non-standard rhythms make FOALS a unique force in the world of modern rock.
Matt Berninger has a way with words — who else could make the phrase “full of punks and cannonballers” sound eloquent and measured in the track “I Need My Girl”? The National thrives on non-literal lyricism, but the instrumental elements from The National in Trouble Will Find Me prop the singing up on a pedestal better than prior records. Void of any filler, this contemplative record easily allows the listener to take their own meaning from any given track, applying it internally. The first half impresses quickly with “I Should Live In Salt” through “Sea Of Love”, but it is the second half that solidifies the effort as The National’s best work to date. An album that also gets more addictive with subsequent listens, Trouble Will Find Me works well as both a “pick me up” record and one to embrace life’s good times, an odd duality indeed.
Who needs Bon Iver when Justin Vernon is making music like he has with The Shouting Matches and Volcano Choir in 2013? Vernon, the creative centerpiece behind Bon Iver, announced while promoting Repave that Volcano Choir is his new band. Arguably, this is a genius move, as Vernon is exhibiting a higher level of confidence and innovation with this possibly permanent collaboration with members of Collections of Colonies of Bees. Repave traverses a path that balances grandiose and minimalism, choosing off-beat, unexpectedly contrasting moments to ‘drop the sound hammer’ in both “Comrade” and “Byegone”. “Drop the sound hammer” refers to the mesmerizing technique Volcano choir uses to quickly transition from falsetto-based minimalist intros into hard-hitting Philip Glass-like synth blasts and authoritative drums. I’m fine with Vernon considering himself a legend, as long as he continues creating music with cryptic, poetic lyrics and the progressive intermingling of intense and soothing sounds. 
It’s all changed so quickly, hasn’t it? Communication abilities, access to content & opinions, the structure of web-based writing itself and a pervasive social media mentality have all collided and intermingled magnificently since Steve Jobs introduced the iPhone in 2007. Consequently a massive smartphone market has flourished, and a large majority of us have gotten a bit more ADHD.
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