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All photos courtesy of Coachella

The 2025 Coachella Valley Music and Arts Festival (Weekend Two) concluded Sunday. As always, the trailblazing annual Indio event – the unofficial kickoff to the U.S. concert season - provided a wealth of top-notch sonic choices, dazzling art installations, product activations, immersive experiences, the best food and drink choices Southern California has to offer and more.

Approximately 100,000 attendees witnessed over 150 international music artists and DJs on multiple stages over the course of three days. This year’s edition featured the welcome return of a rock music headliner to the mix after several years’ absence with Green Day (making its Coachella debut), as well as Lady Gaga, Post Malone and Travis Scott.

The rest of the stacked lineup ran the gamut of styles: EDM, Latin, K-pop, dance, pop, R&B, soul, rap, hip-hop, alternative rock and beyond.

There is always so much to experience around the Empire Polo Field that it’s hard to check everything off the “must see” list. But I usually come close. That entails spending nearly 12 on the polo field and taking few extended breaks.

People watching is a fun activity in itself during Coachella. People wear all sorts of inventive and outlandish attire (or sometimes little at all). Lady Gaga’s devoted fans were especially creative. Entire families could be found walking around with children in strollers and grandparents in tow (especially during Ed Sheeran’s set).

The rundown below includes much of what I witnessed during Coachella ’25.

Maribou State brought a chill, totally enticing vibe to the Gobi Tent mid-Friday afternoon. The English electronic music duo of Liam Ivory and Chris Davids, who recently released their third full-length album Hallucinating Love (a top 10 charter in the U.K.), were joined by vocalist Talulah Ruby on several tunes. With a soothing vocal style akin to Dido, she danced around and was completely tuned into the music. The clear standout was “All I Need,” which featured sumptuous organ, steel drum sounds and a repeated male vocal sample.

Inside the enclosed Sonora Tent, TOPS provided a welcome brief respite from the heavy Day 1 winds. The Montreal foursome, which started in 2011, enchanted a sizeable crowd with its exquisite indie pop/rock sound. Combined with frontwoman Jane Penny’s helium vocals, the result often felt like the equivalent of aural cotton candy. The fun and brawnier title track to 2020’s I Feel Alive evoked Rilo Kiley.

Thee Sacred Souls’ brand of retro soul went down easily Friday at the main Coachella Stage. The San Diego retro soul trio performed songs from their 2024 Daptone Records album Got a Story to Tell and 2022 eponymous debut long player, which were produced by Bosco Mann (Gabe Roth) of Sharon Jones and the Dap Kings in Riverside. Singer Josh Lane’s silky-smooth delivery, augmented by female backing vocalists and other musicians in a live setting, made songs such as “Lucid Girl,” “Will I See You Again” and “Easier Said Than Done” reminiscent of The Delfonics and Marvin Gaye.

If Queen’s Brian May and Roger Taylor ever decide to tour again and Adam Lambert declines joining them, Benson Boone would be a worthy replacement. The young Washington state pop/rock singer – whose “Beautiful Things” reached No. 2 on Billboard’s Hot 100 and was the world’s most streamed song of 2024 – exudes charisma and showmanship, plus an amazing falsetto. All were on full display last Friday evening at the Coachella Stage.

Although May didn’t reprise his guest spot as on Weekend 1 for Boone’s spot-on cover on “Bohemian Rhapsody,” the rock classic, complete with choir and Boone’s brief piano work, was still a high point among the set (And Boone jokingly carted around a cardboard cutout of May). The stage design encompassed staircases and ramps, which Boone constantly traversed and even did a few of his trademarks flips from.

Everything started with the pure adrenaline rush of recent single “Sorry I’m Here for Someone Else.” A theatrical “Cry” saw Boone do some vocal gymnastics, while the piano driven “There She Goes” bore shades of Robbie Williams. Soaring ballad “Forever and a Day” was preceded by Boone eliciting some “Day-O” audience call and response action – just like the late Freddie Mercury of Queen used to do. Elsewhere, the singer provided background on some songs. The winsome Broadway-styled pop of “Mystical Magical” and ebullient title track to Boone’s upcoming American Heart album (out June 20) gave fans a much-anticipated preview. Finally, the poignant “Beautiful Things” prompted a loud crowd singalong.

Despite a Mojave Tent slot that overlapped with an extremely popular The Marias on the Outdoor Theatre, Miike Snow still managed to draw a decent-sized audience. The Swedish/American alternative dance trio impressed with the 1990s Manchester rave inspired “Paddling Out.”

New York City bred frontman/co-songwriter Andrew Wyatt - an Oscar, Grammy and Golden Globe winner for co-writing Lady Gaga’s “Shallow,” who has also worked with numerous modern rock and pop artists ranging from Miley Cyrus to Liam Gallagher was an engaging and gracious presence during the striking 2015 modern rock radio hit “Genghis Khan” and a moodier “Silvia.” All the while, a shiny visage of Miike Snow’s jackalope mascot (a jackrabbit with antlers) spun around on the screens. Veteran sax legend Tom Scott guested on latest single “I Was a Sailor,” which features a creepy children’s chorus.

Parcels brought some sleek, danceable electropop to the Outdoor Theatre on Friday night. The handsome and appealing Berlin-based, Australia-bred band opened with a high energy “Overnight,” its ‘17 Chic-styled dance collaboration with Daft Punk. Equally infectious “Lighten Up” boasted a flute-accented, funky groove that just wouldn’t quit. Guitarist Jules Crommelin provided a comforting vocal (think: The Alan Parsons Project’s Eric Woolfson) on latest single “Safe and Sound” and the other four guys added cascading harmonies. Their sublime Beach Boys-styled vocals also blended splendidly while huddled atop a stage riser for the orchestral-tinged “Shadow.” Then the group slowly split apart to begin playing the gleaming “Games of Luck.” Bonus points go to the lighting director. Can’t wait for the band’s upcoming album and tour.

When a recorded introduction by Lady Gaga explained the meaning behind her four act show  and production credits on the big Coachella Stage screens included award-winning concert and theater stage designer Es Devlin (U2, Pet Shop Boys, Adele), it was obvious something really elaborate was in store for Coachella concertgoers. And Lady Gaga didn’t disappoint. New album Mayhem, one of the best in the musician’s career and a contender for 2025 albums of the year, debuted at No. 1 in 23 countries including America.

One of the most lavish Coachella main stage productions that I have witnessed after reviewing the festival for 22 years, Lady Gaga’s two-hour 20-song spectacle featured several male and female dancers doing elaborate choreography, frequent costume changes and a rocking band (a mad scientist-looking keyboardist among them) within the confines of the gothic opera house stage design. One production number even had dancers wearing items on their heads like something out of the “Star Wars” franchise.

A lion’s share of the Mayhem tracks were performed. All sounded stellar in a live context, with a sparkling, Yazoo-influenced “How Bad Do You Want Me,” Bowie-esque “Killah” and the scary herky jerky rhythm of “Abracadabra” being highlights. On the latter, which interpolates Siouxsie and the Banshees, Gaga encountered a brief microphone malfunction and quipped, “At least you know I’m singing live.” Indeed, there were a few extended pauses between songs where you could see her catching her breath.

Older hits such as “Poker Face” (the dancers dramatically went at it on a checkerboard square) and “Paparazzi,” were equally impressive. Gaga played a brief “Die With a Smile” alone on piano. I half expected recorded duet partner Bruno Mars to appear; but he didn’t materialize. One for the Coachella performance history books.

Ed Sheeran packed the Mojave Tent on Saturday afternoon and delivered an exciting set. As people were jostling for position, I overhead a young well-dressed guy say to a young gal, “Is this still Coachella or another sub venue?” The British pop superstar was a late addition to the festival and this performance was a rare underplay for someone who often sells out stadiums. Sheeran stood atop a platform with an acoustic guitar, keyboards, and sonic looping station. The set allowed him to occasionally venture down toward the audience.

Bolstered by creative screen animation effects that initially transformed Sheeran into a cartoon, the fast, captivating “Castle on the Hill” kicked everything off. The haunting strains in “Shivers,” immediately drew fan squeals and hand claps. Before playing poignant early career single “The A Team,” Sheeran recounted how its popularity slowly built up internationally, from playing it to uninterested small pub patrons as an unknown musician to entering the U.K. and U.S. charts. Wiping his face and joking how often gingers sweat, Sheeran added, “If you don’t know the words, you’re at the wrong concert” and then launched into the set standout “Thinking Out Loud” on electric guitar. The crowd’s singing briefly dwarfed his own. “Perfect,” another romantic ballad highlight, prompted everyone to sway along. “Bloodstream” saw Sheeran pounding his acoustic guitar for percussive effect. Persian-influenced new single “Azizam,” making its official concert debut, also proved intriguing.

Jimmy Eat World delivered a potent dose of alternative rock immediately after Sheeran (and required me to make a quick sprint). The Arizona band’s set took many attendees right back to their high school or college years during the early-to-mid 2000s when emo was at peak popularity - and the group landed a platinum album with the ‘01 modern rock classic Bleed American.

Lead singer/guitarist Jim Adkins and guitarist/singer Tom Linton (neither ever seem to age), bassist Rick Burch and drummer Zach Lind all sounded strong as ever on songs like “Pain,” “Sweetness,” the crunchy rocker “All the Way (Stay) and exciting “A Praise Chorus,” with its canny nods to hits of the past. Other standouts included the propulsive “Big Casino,” the careening, guitar-led “Bleed American” and signature modern rock radio hit which crossed over to the pop charts bigtime, “The Middle,” where everyone seemed to perk up to dance and singalong.

Earnest BRIT and Ivor Novello Award-winner Sam Fender plays arenas such as London’s 02 back home, so it was a treat to see the English rock singer/guitarist inside the Mojave Tent early Saturday evening. Fender is a songwriting storyteller whose recent panoramic-sounding music makes judicious use of horns and glockenspiel (unsurprisingly, Springsteen is frequently covered in concert and “Born to Run” was played before showtime). Sporting a Clash t-shirt, he was accompanied by seven strong musicians onstage (two revved up the crowd for their mild-mannered leader).

The soaring title track to excellent new album People Watching and a strident “Arm’s Length” were exhilarating. The War on Drugs’ Adam Granduciel, a producer/collaborator on the record, was a guest for half the set. His added electric guitar work helped fuel the fiery upcoming Neil Young & Crazy Horse-styled single “Tyrant” (Fender said, “That was brave” at the end), as well as hits “Seventeen Going Under” and closer “Hypersonic Missiles.”

Right around dusk at the Outdoor Theater, the LA Philharmonic with conductor Gustavo Dudamel, brought some high-brow culture to Coachella denizens mixed with a bevy of guest stars; some were different than Weekend 1. The orchestra played classical music standards like Wagner’s “Ride of the Valkyries” and Beethoven’s “Symphony No. 5, Movement 1” and Strauss’ “Also Sprach Zarathustra, Op. 30.” Hearing John Williams’ “Imperial March” (Darth Vader’s Theme from “The Empire Strikes Back”), was goosebumps-inducing and a thrill to witness in another Empire - Polo Field - setting.

At one point, Dudamel said, “This may be the best two weeks of our lives…your energy in this cultural environment” has been inspiring.” Following Natasha Bedingfield’s pop tune “Unwritten,” and a pair of tunes by Ca7riel & Paco Amoroso, Foo Fighters leader Dave Grohl brought the rock – and his electric guitar for orchestral enhanced versions of The Foos’ “The Sky is a Neighborhood” and “Everlong.” Some people who had been lounging on blankets near me suddenly sprung to attention and the crowd energy was electric. “Neighborhood” was a wise choice since it actually features cello, violin and viola on the studio version. A choir added heft to it. But “Everlong” was more amazing to hear as the LA Phil string section followed the original guitar melody. To close, Cynthia Erivo appeared and really excited an obviously LGBTQ+ contingent nearby as she sang “Brick by Brick” and one of the best covers of Prince’s “Purple Rain” that I’ve ever heard.

Clairo had an interesting way of beginning her performance on the Outdoor Theatre stage. She and her band replicated a cocktail party and sat together chatting and drinking wine as Wendy Rene’s 1964 Stax soul single “After Laughter (Comes Tears)” played. Then they all went to their instruments on the circular stage designed to replicate an old school recording studio. The Georgia-born Clairo and her band opened with the idyllic indie pop of “Second Nature” from 2024’s critically acclaimed Charm. Another fine flute-enhanced cut from that album with a billowy vocal, “Thank You,” brought to mind 1970s soft rock. “Terrapin,” with prominent piano flourishes, was another alluring standout.

Green Day’s 19-song set on the Coachella Stage, clocking in 1 hour, 45 minutes, was phenomenal. Accompanied by fire plumes and loads of pyro that went off every other song, the veteran alt-rock trio delivered a well-rounded set that encompassed much of the albums Dookie and American Idiot (both were performed in their entirety during stadium dates last year). The second of those two titles was reissued in a highly recommended deluxe edition box set, with live tracks, rarities, demos, Blu-ray documentaries and memorabilia.

Singer/guitarist Billie Joe Armstrong gave a master class in rock ‘n’ roll showmanship and how to engage an audience (not to mention bringing fans onstage to sing and play guitar). Queen’s “Bohemian Rhapsody” made another festival appearance – this time as Green Day intro music, along with The Ramones’ “Blitzkrieg Bop.” A costumed drunk bunny bounded around the lip of the stage (side note: I’d personally recommend the group’s Punk Bunny coffee), only to be revealed as Flavor Flav or rap pioneer Public Enemy. Flav introduced the band, which steamrolled through opener “American Idiot” (and the much-discussed lyric change to “I’m not part of a MAGA agenda,” first done several years ago) with abandon.

There were other political references. Before the rollicking “Holiday,” Armstrong noted that it was an “anti-war song.” An extended harmonica-laden “Minority” saw him explain, “This song is about unity. We don’t stand for fascism.” Bolstered by the usual three tour musicians, Green Day’s sound was strong throughout the set.

During “Know Your Enemy” the Armstrong pointed to the VIP section, then over to the rest of the crowd that he anointed the “VIM section – Very Important Maniacs.” The tremolo guitar-laden power ballad “Boulevard of Broken Dreams” was an early standout and Armstrong said, “Look at this moment. This is going to be in your memory forever.” Indeed.

An extended “Hitchin’ a Ride,” saw Armstrong borrow a concertgoers’ Charlie XCX “Brat” hat and put it on. The dramatic “21 Guns” was especially powerful. Elsewhere, Green Day tossed its old favorite cover of Operation Ivy’s “Knowledge” (a change from Weekend 1) and prefaced an emotionally resonant “Wake Me Up When September Ends” with a snippet of John Mellencamp’s “Jack and Diane” (instead of Tom Petty the week prior). A louder than usual cheer erupted when Green Day played the newish “Bobby Sox” and Armstrong rotated between “Do you wanna be my girlfriend/boyfriend/best friend” and he replied, “I love California.”

To close, Armstrong rushed through “Good Riddance (Time of Your Life)” on acoustic guitar, flanked by bassist Mike Dirnt and drummer Tre Cool, because they were brushing up against the time allotment. All told, it was an adrenaline rush from start to finish.

On Sunday, The Beaches - an all-female alternative pop band from Toronto (the name is also a neighborhood in their hometown) that once opened for The Stones in 2019 - were obviously having fun during their Gobi Tent set. Talk about pure joy. A few fans waved Canadian flags toward the front of the stage as the group started with the New Order-ish “Cigarette,” off 2023’s Juno Award-winning album Blame My Ex.

Jordan Miller, clad in a bikini top, sang the first of many sexually charged songs in a breathy yelp. The band previewed some songs from forthcoming third album No Hard Feelings, due in August. Among these, “Takes One to Know One,” the dreamy “Jocelyn” and frenetic gang vocals of “Last Girls at the Party” all sounded vibrant. Closer “The Edge of the Earth” was dedicated to their LGBTQ fans and a brave soul decided to crowd surf.