Coachella locks down Rage Against the Machine, Travis Scott & Frank Ocean to headline in 2020

Coachella - 2020 lineup

Coachella Valley Music and Arts Festival //
Empire Polo Club – Indio, CA
April 10th-12th & April 17th-19th, 2020 //

Well, if your New Year’s resolution was to see Rage Against the Machine perform at Coachella, it’s time to start packing your bags.

After the legendary rock band posted to Instagram on Halloween that it would be performing in Indio this April and multiple reports surfaced over the last few weeks confirming the news, the California festival made the announcement official with the release of its 2020 lineup.

It marks the third time that RATM have been booked to headline Coachella, with the previous instance dating back to 2007 when Zack de la Rocha (vocals), Tim Commerford (bass, vocals), Tom Morello (guitar) and Brad Wilk (drums) reunited following the group’s unforeseen break-up seven years prior.

Joining Rage at the top of the fest’s famed poster will be Grammy-nominated rapper Travis Scott and enigmatic crooner Frank Ocean, both of whom will be headlining the three-day, two-weekend event for the first time (though they each have played Coachella before).

And in what was nearly an unprecedented move by organizers, 2016 headliner Calvin Harris has retreated to second-line status. It’s just the second time that’s occurred in Coachella’s 21-year history, with the only other artist being Beck when he headlined its inaugural edition in 1999. But the rest of the undercard boasts some highlights like Flume, Lana Del Rey, Run the Jewels (with a de la Rocha cameo as we once witnessed likely), Thom Yorke, Disclosure, Rex Orange County, Daniel Caesar, FKA twigs, Danny Elfman, Louis the Child, BROCKHAMPTON, Fatboy Slim, Caribou, King Gizzard & the Lizard Wizard, Charli XCX, Jai Wolf, Madeon, Yaeji, Chicano Batman, Hot Chip, Mura Masa, Duck Sauce, GRiZ, DJ Koze, Carly Rae Jepsen, Peggy Gou, Duke Dumont, Floating Points, J.I.D, IDLES, BADBADNOTGOOD, Daphni, Weyes Blood, Steve Lacy, (Sandy) Alex G, slowthai, Big Wild, TOKIMONSTA, Noname, Friendly Fires, Altın Gün, Crumb, Cashmere Cat, Sampha the Great and girl in red.

Like in more recent years, many of the acts on the bill lean in the hip-hop, R&B and electronic direction while rock continues to get phased out. Nevertheless, it’s worth mentioning that two of Dan Snaith’s projects are listed in Caribou and Daphni, the latter of which will assuredly be a DJ set in the Yuma Tent.

Coachella’s first weekend is scheduled for April 10th-12th, with its second weekend slated for April 17th-19th. With Weekend 1 passes already sold out, tickets for Weekend 2 will go on sale this Monday, January 6th at 12 p.m. PT here.

UPDATE (March 10th): Due to the global COVID-19 pandemic, Coachella 2020 has been rescheduled for October 9th-11th and October 16th-18th. All passes purchased for the festival’s previous dates in April will be honored in October, with refunds available to those who are unable to attend. Coachella becomes the latest major event to be affected after South by Southwest and Ultra Music Festival were both canceled last week.

UPDATE (June 11th): As coronavirus cases continue to spike in certain parts of the U.S., the sad and unfortunate likelihood of Coachella not occurring in 2020 has now become a reality. Goldenvoice instead has marked some 2021 dates down on the calendar — Weekend 1 will be April 9-11 and Weekend 2 follows April 16-18 with all 2020 passes purchased being honored — though sadly there’s always the possibility that Coachella could be postponed until October again as we near the New Year, when the festival usually reveals its annual lineup.

Ready to take the desert by storm? Look back at our coverage of Coachella over the years here.

Jhené Aiko turns a hometown show at Avalon into her own living room party

Jhené AikoBy Joseph Gray //

Red Bull Sound Select – 30 Days in LA: Jhené Aiko //
Avalon Hollywood – Los Angeles
November 21st, 2016 //

Jhené Aiko really, really, really didn’t want to leave her home.

A rare, chilly breeze hawked through LA, but it wasn’t that or the pre-Thanksgiving traffic preventing the alluring Ladera Heights singer-songwriter from avoiding La Brea Ave. or the 101 freeway. Most of the city’s residents would empathize with either headache, but when you’re enjoying an ambiance-filled dwelling with a harp, cello, drums, stylish candles and feathery smoke all while being surrounded by some of your closest friends on a bunch of plush couches and bean bags, it becomes even more understandable.

Lucky for Aiko (and more importantly for us as spectators), Red Bull Sound Select decided to double their duties as a temporary moving company. Ever the gracious host, she was more than agreeable to the modification, welcoming her new hometown friends to a cozy world decorated with special guests and blue party cups of engaging melodies for a living room “jam” that will not be soon forgotten.

While much of Red Bull Sound Select’s annual 30 Days in LA series focuses on providing a platform for up-and-coming artists, Hollywood’s historic and spacious club Avalon offered a whole different feel for the fully formed Aiko. With tie-dyed merchandise of Aiko’s face being sold inside and self-embroidered shirts being hustled outside, the show felt surprisingly big, unforeseen only because Aiko’s music — delicate, sly and often vulnerable — is not what you would imagine ringing throughout the multilevel venue that routinely hosts DJs with frenetic and flashy light shows to entertain raging partygoers. On this night though, it was perfect.

Jhené Aiko

Slipping to the front of her foggy living room a little after 10 p.m. to excited screams, Aiko tucked away any of those doubts into a satiny topcoat while also keeping her footing atop slow-dripping piano keys. Kicking things off with “New Balance”, she patiently explored unexpected love on the fan-favorite opener that she was pushed to release in August by TWENTY88 collaborator and G.O.O.D. Music rapper Big Sean.

It’s been said that it’s not a true house party until the arrival of unexpected guests. There are those you turn the music down for before escorting out and those whom you hand the mic to in order to keep things going, and Aiko opted for the latter in sticking with the theme of the night. Big Sean, the Detroit emcee and second half to her conceptual relationship, joined his rumored real-life beau as the two traded pleasant yearnings, playful remarks, embraces and back-and-forth vibes during their onstage collaboration that was highlighted by “On the Way” from Aiko’s self-titled studio album, which was released earlier this year.

Despite her soothing and beautifully gentle voice, Aiko’s music is not just seeped in ballads of love found or love lost. Sex, infidelity, drugs, encouragement, motherhood and more subjects fuse together to produce a great sense of relatability to her audience, which she played to by having intimate and good-natured conversations with the audience during her hour-long set. The evening was capped off with more fun in the form of R&B singer Omarion’s “Post to Be” featuring Aiko and Grammy winner Chris Brown, who emerged onstage with his signature pizzazz for a slowed-down acoustic version of the platinum smash.

This, like the rest of Aiko’s performance, was backed by a badass band, as each member took turns soloing to keep the good energy flowing all night. Between standout songs “Comfort Inn Ending (Freestlye)”, “The Worst” and “The Vapors” (which Long Beach rapper Vince Staples joined her for) from her Sail Out EP and its LP predecessor Souled Out, her living room party also became a lesson in welcoming the complex rewards and penalties of susceptibility.

Jhené Aiko with Big Sean


Jhené Aiko with Big Sean

“Maybe I have made mistakes and been through my fair share of pain. But all in all, it’s been OK, I’ve lived well,” Aiko sang, flashing a slight smile that matched the evening’s appreciative vibe over “Eternal Sunshine”.

Nevertheless, prior to kicking us out, Aiko wanted to make sure we got home safely.

“I stay up all night for you, I’m a trooper. Call and request, I pick up, pull up quick as Uber,” said Aiko, turning the aggressive line from her recently released and sensual single “Maniac” into a PSA for concertgoers to make sure they find a safe way to get home.

And before we left, Aiko gave out gift bags in the form of song requests from the crowd as she morphed into an old-school lounge singer. Stepping back into the cold air before hopping into an Uber, my driver asked me where I was coming from.

“The coolest house party I’ve been to in a while,” I told him.

Setlist:
New Balance
Living Room Flow
Déjà Vu (TWENTY88 cover) (with Big Sean)
On the Way (TWENTY88 cover) (with Big Sean)
Comfort Inn Ending
W.A.Y.S.
Eternal Sunshine
Bed Peace
WTH
Vapors (with Vince Staples)
Drunk Texting / Post to Be / Drunk Texting Breakdown (with Chris Brown)
Maniac
The Worst

Encore:
Space Jam

With dignity and grace, Pusha T stays true to himself

Pusha TBy Joseph Gray //

Red Bull Sound Select – 30 Days in LA: Pusha T with Boogie //
Belasco Theater – Los Angeles
November 16th, 2016 //

“Thinking back on it, it really was all a set up. You were setting me up to be the solo artist I never saw myself as.”

This week, G.O.O.D. Music President and rapper Pusha T (born Terrence LeVarr Thornton) graciously reflected on his life of six years ago, when he was summoned to Hawaii for six months as part of label founder Kanye West’s brain trust of inspiration. The outcome of the famed recording sessions and basketball games became My Beautiful Dark Twisted Fantasy, West’s fifth studio album that brilliantly pits the Grammy winner’s defiant indestructibility against his haunting burdens as he returned from self-imposed deportation stemming from his infamous acceptance-speech interruption at the MTV Video Music Awards.

A powerful declaration set to wide-ranging and rich stadium sounds while not forgetting hip-hop’s basement essentials, West’s album also served as the perfect opportunity for the younger of the Thornton brothers — who together formed the rap duo Clipse — to share his brash, relentless talents with the world.

This opportunity and eventual partnership has not gone forgotten on Pusha T, who, prior to posting an open letter on Instagram to West (now reportedly in the hospital after cutting his latest tour short) on the six-year anniversary of MBDTF, took the stage at the Belasco Theater last Wednesday night as part of Red Bull Sound Select’s 30 Days in LA series with a similar graciousness as the headlining act he’d never imagined he would be.

“It’s always love when I come to LA. LA was always riding with me,” said Thornton, the veteran Virginia Beach-raised lyricist who unconventionally showed up earlier than we expected. Following Compton emcee Boogie’s warm hometown vibes, Pusha — with his signature braids, ad-libbing snarl, sweat pants and panther-embroidered jean jacket — proceeded to get comfortable and get to it.

Pusha T

There were no illuminated, floating stages to hover above a raucous mosh pit like West exhibited on his Saint Pablo tour. No maniacal dances or broads in Atlanta like rapper Desiigner frequently flaunts. No special guests like you’d often find at Big Sean’s shows. Unlike some of his labelmates, Pusha T opted to deliver us a PSA instead of a surprise, sending a reminder that this is what rappers are supposed to look like.

Not in the vein of the get-off-my-lawn emcees who shun everything that sounds different from their era, Pusha has embraced being a rapper’s rapper, refusing to deviate from the ease that he displays in combining vivid storytelling with a cloak of brazen confidence — an attribute new UFC two-division champion Conor McGregor would likely approve of. The performance proved to be a double-edged sword because while the Pusha T fan in me gladly recited witty rhyme after witty rhyme, the casual fan looking for big thrills may have been underwhelmed.

Fortunately, the larger percentage of concertgoers fell in line with the former, scrunching their faces in approval as President Pusha ran through “Crutches, Crosses, Caskets”, “M.P.A.” and more from his sophomore solo LP King Push – Darkest Before Dawn: The Prelude. The show’s early highlights came during “Numbers on the Board” and “Nosetalgia”, the head-nodding, boom-bap standouts from his debut standalone album that showcase Pusha at his very best.

“20-plus years of selling Johnson & Johnson. I started out as a baby-face monster. No wonder there’s diaper rash on my conscience,” rapped Thornton, giving his LA fans the metaphorical opener they had been waiting for. This preceded the all-encompassing highlight when he took time for a brief Clipse homage with the classic “Grindin'” and the Future and Pharrell-assisted “Move That Dope” before turning his attention to the “toast for the douchebags” that changed his life.

While refusing to sing as the recognizable piano keys grew louder, the crowd happily obliged in assuming West’s echoing duties before Pusha joined the party, rapping the standout verse on “Runaway” that he acquired by being as greedy to work as he was thankful. Promising that new albums from him and the rest of label were on the way, Pusha, if anything, made it clear on this night that his appetite for more will not be diminishing anytime soon.