10-11-12/04/2026

Coachella Festival 2026 - Weekend 1

Indio, California

by Claudio Lancia

This is a virtual live report, on how it's possible to comfortably follow one of the biggest (and most expensive) music festivals in the world from home. Being physically in Indio, California would obviously be a whole different thing, but the experience is also achievable via "smart working", within your own four walls, thanks to a free app that lets you "live" in real time everything happening on the Festival's stages, through seven dedicated video channels, each of which, starting at 1am (Italian time), first broadcasts live and then the replay - which stays streaming for the following 24 hours - of the scheduled concerts. But that's not all: for the entire duration of the Festival you can buy both official Coachella merchandise and that of the performing artists, again for 24 hours, just as if we were in Indio, but with the chance to save a good deal on the cost of drinks and snacks, which reportedly carry exorbitant prices.

The Festival favored by influencers and by the people "who matter" (I don't know if you saw the hug backstage between The Weeknd and Bad Bunny, who, half in disguise, were waiting for a concert to start) doesn't actually only host a fancy crowd more concerned with Instagrammable photos than with the music. Paying attention to the footage, you can sense how much more heterogeneous the audience really is, and if the fans applaud when Thundercat comes on stage during PinkPantheress's set, you can be sure there are quite a few serious music connoisseurs inside these giant arenas. Looking at the line-up we find artists like Jack White, David Byrne, Ethel Cain, Nine Inch Noize (the new project by Trent Reznor), Turnstile, Black Flag, Iggy Pop, Wednesday, Geese, Die Spitz, Strokes, Interpol, plus plenty of top-tier electro offerings - in short, the sense is that the bill ends up satisfying a truly diverse crowd, leaving room for all sorts of alternative paths through it.

We followed around twenty concerts during the Festival's first weekend, held on Friday April 10, Saturday April 11 and Sunday April 12. The same line-up will be repeated the following week (Jack White's presence is not confirmed): here are a few notes that might guide you through the second installment, in case you missed the first one, or want to widen your view to other artists. We've ranked them according to a purely personal rating, shaped by the emotion of the moment and therefore anything but set in stone, and we've included the setlists. See you in a week to tell you about another little slice of the line-up.

Sabrina Carpenter

A memorable pop moment. Sabrina Carpenter stages the most colorful musical of 2026, conceived as a full-blown film, featuring appearances from major actors (one name will do: Susan Sarandon). According to rumors, rehearsals lasted seven months, and it shows: impossible to spot a single flaw in a lavish, pyrotechnic show that also features a few guitar solos (yes, every now and then the live band pokes through). Sabrina Carpenter is America's new sweetheart, she commands the stage brilliantly, and leaves it at the end of the concert behind the wheel of a vintage car, waving to the ecstatic crowd. The not-quite-stellar quality of some of the songs doesn't spoil an otherwise flawless show. It's easy to predict this will be remembered for years to come. Score: 10

Ethel Cain

One of the most iconic live sets of this edition. Ethel Cain comes out swinging right away with "American Teenager", her most "pop" song, and closes with two memorable tracks, "Gibson Girl" and "Thoroughfare". Behind her she has an extraordinary band that at times veers into doom territory, though without dropped tunings. A magnetic show, huge atmosphere, performed amid a set of thorny branches: it looks like the reconstruction of a crime scene right after the fact. Ethel Cain keeps growing and growing, and who knows how far she could go. Leaving aside the super mainstream names with their bottomless budgets, this year at Coachella she was the clear winner. Score: 9

Rezz

The Ukrainian-Canadian DJ/producer establishes herself as the star of one of the best electro sets of this Coachella, if not the very best among those seen so far. Unbeatable visuals, hypnotic and psychedelic: impossible to look away. We'll be writing to ask her where to find glasses like hers, an integral part of an immersive stage design. Highly recommended. Score: 8.5

Karol G

An explosion of color, a feast for the eyes, never a dull moment — for many Italians she's a new name, but in the Hispanic world she's an institution, with sixteen Latin Grammy nominations and two Grammy Awards nominations to her name so far. Karol G, from Medellín, Colombia, born in 1991, delivers as many facets of Latin music as possible, from salsa to reggaeton, a mariachi band and a cover of Gloria Estefan's "Mi Tierra" underlining a people's pride. If you were looking for the female version of Bad Bunny, well, now you've found her. Score: 8.5

Jack White

Announced only a few days before the Festival as a stunning last-minute addition (exactly what any festival-goer dreams of), Jack White proves once again to be a sure bet, showing everyone how to play the filthiest possible rock'n'roll and blues in the new millennium. Energy to spare and outstanding qualities, both vocal and on guitar. Alongside his solo material, there's naturally no shortage of White Stripes songs (as stunning as ever, especially "Ball And Biscuit"), and Raconteurs tracks ("Steady, As She Goes"). Score: 8

Geese

One of the not-to-be-missed rock acts of this edition, courtesy of a band of technically superior calibre. They start off a little low-key, but gradually build momentum and close in dissonant fashion with "Trinidad". In the middle of "2122" there's even room for a nod to Justin Bieber's "Baby", one of this year's headliners. Are they having a bit of fun at his expense?

Score: 8

David Byrne

His mere presence elevates the lineup. In the midst of a triumphant tour, David Byrne delivers above all a celebration of the Talking Heads catalogue (a full nine songs out of the thirteen played), leaning heavily — as usual — on the visual side of things. He and the band often line up facing the crowd, then move around tracing out spellbinding patterns. Nothing he hasn't done before, but all of it still incredibly beautiful. A legend. Score: 8

Blondshell

What a joy Blondshell's show was under the sun, with her looking like she was having the time of her life! Great songs, drawn mainly from her penultimate self-titled album, a spot-on band with two guitarists who know exactly what they're doing. In a perfect world she'd deserve a much bigger success than what she's had so far. If she keeps this up... Score: 8

Nine Inch Noize

Highly anticipated, extremely dark new project led by Trent Reznor, also featuring longtime collaborator Atticus Ross and German producer Boys Noize — a project that couldn't have asked for a better platform than a Coachella performance. This was the absolute world premiere, essentially built around more or less alternative versions drawn from the Nine Inch Nails catalogue, some reworked in “remix” mode, plus a couple of covers of How To Destroy Angels and Soft Cell. Some vocal parts were handled by Mariqueen Maandig, not just Reznor's wife but already his artistic partner in the How To Destroy Angels project. The show won everyone over: fans are eagerly awaiting the album (out April 17) and the tour dates. Score: 8

Blood Orange

Anyone who has never been too impressed by his records might change their mind after seeing him live. Great band, arranged on the circular stage, with numerous moments of real elegance. One of the finest representatives of contemporary black music.

Score: 7.5

Wednesday

They do exactly what you'd expect from them: a great show alternating alt-country with raw, stripped-down American rock. They close the set with two heavyweight tracks, “Bull Believer” and “Wasp”, delivered with a ferocity that could bring down the walls of any live club. Score: 7.5

Amid the frenzy of Coachella, it can be hard to get into the minimalism of XX, who start out a bit sleepy before growing on the audience as they go, in step with the beats laid down by Jamie XX, who besides handling electronics and synths also has fun behind a “real” drum kit, playing strictly standing up. He's the true soul of the trio, but Romy (wildly cheered when she performs her “Enjoy Your Life”) and Oliver Sim are no slouches either. The middle part of the set makes room for a few tracks from their respective solo albums. The chemistry among the three is excellent. After eight years away from the stage, welcome back — now we wait for new material. Score: 7

PinkPantheress

She's a bit like this edition's Charli XCX. Alongside her, a console, a drum kit that gives extra punch to the rhythm section, and a whole crew of dancers. Halfway through the show, The Dare takes over the console for a mini DJ set that turns the stage into a disco party. Among the guests, worth noting is the appearance of Thundercat. Score: 7

Oklou

Among the most interesting new names, France's Oklou confirms live everything good that's been said about her so far, even though the Coachella stage would intimidate anyone. Not the whole set fully convinces — it will take another couple of albums before she has a truly substantial setlist. But at least three or four songs are genuinely top-notch. Score: 6.5

Die Spitz

A somewhat chaotic show, one that fails to replicate live the quality shown on record. They certainly have energy and vitality to spare, dirty and fierce, with the smiling bassist's braids also dispensing plenty of femininity. Score: 6.5

NewDad

A good indie-rock band that we've been following on these pages since their earliest steps. They do their job without embarrassing themselves. Rating: 6.5

David Guetta

Guaranteed Ibiza vibes, Jennifer Lopez as a surprise guest, an ecstatic crowd: David Guetta remains one of the Midas kings of the console. Precisely for that reason, we'd expect far more daring visuals. But the fun is genuine, and the setlist is well balanced, able to satisfy a decidedly mixed crowd. Rating: 6.5

Addison Rae

We officially have the new Britney Spears. Only one album to her name, yet she's already a celebrity. She pays a great deal of attention to aesthetics, both her own and that of the dancers surrounding her; a slightly more interesting setlist will require a few more records. But Addison is very young, and she still has plenty of time to grow. Not a bad Coachella debut at all. Rating: 6

Alex G

No one on the Coachella stage is anything less than skilled, and Alex G and his band play very well too. The problem is that many of the songs tend to sound a touch anonymous, despite the meticulous arrangements. For lovers of American songwriting. Rating: 5.5

Mind Enterprises

Part of the Italian contingent at Coachella, this duo has carved out an identity by serving up the typical sounds of Italo disco from the Eighties. Even their outfits are always rigorously on theme. Style aside, we're not sure how genuinely interested California can be in the mood italian super thrash. Best to see them again on stages back home. Rating: 5

Anyma

“AEDEN,” his show, is billed as particularly ambitious in terms of light design. Scheduled right after Sabrina Carpenter, the Italian-American producer was meant to be the perfect post-headliner decompression. In reality, the show doesn't go on due to strong winds, according to the official statement, “to protect the safety of spectators.” We hope it can be rescheduled for the second weekend; if so, we'll report back. In the meantime, the rating goes to the festival's lavishly funded organization, which, despite being aware of potentially adverse weather conditions, failed to arrange an alternative setup. Not the best way to close out a Friday night that had been triumphant up to that point. Rating: zero.

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This article is an English translation of the original Italian text by Claudio Lancia, published on OndaRock.it. It was translated with the help of artificial intelligence, under the editorial responsibility of OndaRock's editor-in-chief, Claudio Fabretti.

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