He’s known for a gimmick - he always wears a black leather mask with long fringe to obscure his face. Orville Peck, by comparison, had a packed Gobi tent for his late afternoon set. Songs such as “Dancing Away the Tears” and “Break the Bough” landed with a ton of emotion thanks to her powerful voice, as was her finale, “Stand for Myself,” the title track of her new album. Yola played first and was done no favors by early afternoon set time, which with the higher temperatures Sunday left her with barely 200 fans on hand to see her deliver a stellar set of original soul and R&B songs. Yola is an English soul singer and Orville Peck’s a Canadian country crooner and they share something in common: They are this year’s desert music festival Triple Crown winners, booked for both weekends of Coachella and Stagecoach, too.Īnd on Sunday at the Coachella Valley Music and Arts Festival, they were both highlights of the afternoon musical performances. From there he shifted into better-known hits, such as “Can’t Feel My Face” and “Blinding Lights,” both of which sounded great.īy then, though, a stream of fans were headed for the exits, skipping out on songs such as “The Hills” and “Party Monster” that followed, the finale, “Moth to a Flame,” with Swedish House Mafia once more. The Swedes also only left him with 25 minutes to perform before the midnight curfew thanks to the length of their set and the time spent getting things started.įor his first two songs, live debuts of “Sacrifice” and “How Do I Make You Love Me?” were both done with Swedish House Mafia. The Weeknd’s arrival injected more personality into the show, though he’s also a bit of a remote figure as a performer. To be fair, it went down swimmingly, or dancingly, with the vast majority. I’ll admit I’m a minority view on how enjoyable their 40 minutes was - not particularly, in my opinion. And that’s not a problem for the tens of thousands of fans on the field who erupted in joy as each track built to a peak before the bass dropped and released all that musical tension. Swedish House Mafia, the Swedish supergroup of DJs Axwell, Sebastian Ingrosso, and Steve Angello, played first, the trio standing in the shadows atop a platform behind a table and their gear.ĮDM performers often aren’t the focus of their shows, the DJs letting the abstract videos on the screens around them carry the visual interest. but didn’t actually begin until 10:55 p.m. The Weeknd was enlisted to fill the Ye-sized hole in the lineup.ĭetails of what was supposed to happen were scant, though we knew it was scheduled to start at 10:20 p.m. We all had the realization of: ‘Wait, is this now work?’ The band started to feel like an office job.Swedish House Mafia has always been scheduled to play the festival, but as a late-night electronic dance music set after Harry Styles headlined Friday night. The way that Swedish House Mafia was going though, it had to be much more controlled to feed the animal it had become. “We’ve always made music that feeds off excitement and energies. “Things did not happen overnight for us, but towards the end we felt like it was hard to feed the monster that was Swedish House Mafia,” Axwell said of the time in a 2021 interview with NME. Swedish House Mafia reigned above the electronic music world at the time, but at the height of their peak, they split up in 2013 to focus on their solo projects.
Patrick/Redferns via Getty Images) Redferns via Getty ImagesĮDM’s peak in the late 2000s and early 2010s marked a turning point for music as a whole, as more mainstream pop singers began incorporating dance-heavy production or collaborating with electronic artists themselves. (L-R) Axwell, Steve Angello and Sebastian Ingrosso from Swedish House Mafia perform | David Wolff.
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