Reviews > Shows
Published: 2011/04/27
by Jeff Miller
Coachella Music And Arts Festival

Photo by Casey Flanigan
Coachella Music And Arts Festival
Empire Polo Fields, Indio, Calif
April 15-17
Given that it ended the day before the Jewish holiday Passover, and considering the fact that all of its headliners (Kings of Leon, Arcade Fire, The Strokes, and Kanye West) had played the fest before, it only seems fair to ask: What Made This Coachella Different From All Other Coachellas?
Lots, actually: last-year’s fest was nearly done-in by gate crashers and security issues, so this year organizers of the 3-day Indio, CA fest capped attendance, bought more land, and installed security parameters both high-tech (chips imbedded in wristbands) and low-tech (rubbing vasoline on outside gates so climbers would fall off). The result was an airy, comfortable three days of music, with killer sets from festival vets like The Black Keys (who overcame sound problems to use their newfound powers as hitmakers and destroy the audience with “Tighten Up”) and newcomers like Lauryn Hill, who, in one fell swoop — ok, and by playing “Doo-Wop (That Thing)” — put to rest all those insanity rumors and proved that she’s got all of her shit back together.
Of course, there were tons of special guests: Vampire Weekend’s Ezra Koenig played saxophone with throwback-rockers Chromeo, fun. had help from Steel Train bassist Evan Winiker for their whole set, and during what was supposed to be a solo set, Brandon Flowers reunited The Killers. Standout small bands included the UK’s angular Foals, LA’s Pavement-ish Henry Clay People, and Trentemoller, who kind of sound like Mogwai if they were taken over by Kraftwerk. But the weekend belonged to two of its biggest acts: Kanye West, who rose above the stage on a massive crane to start his set and rolled out every trick known to man (from writhing ballerinas to rains of fire), delivering a set that was passionate and spectacular, and The Arcade Fire, who dropped 2000 massive white balls on the audience, all of which exploded with color simultaniously in a feat that seemed like remote-control magic. By the end, it was an exhausting, worthwhile weekend: wholly worth trudging through the desert for, even if it was only for three days and three nights.
Relix A/V
The Howlin’ Brothers "Big Time"
The Howlin’ Brothers take to the Relix rooftop and share a song they wrote with Warren Haynes.
Beth Hart "Baddest Blues"
Beth Hart shares the opening track from her latest album, Bang Bang Boom Boom, live at Relix.
Jamie Lidell "A Little Bit More"
Jamie Lidell sets up in the Relix boiler room and delivers a tune from his 2005 album Multiply
King Lincoln "Coffee"
Duane Trucks is happy to announce his new project, King Lincoln. Watch them perform “Coffee” live and acoustic at Relix’s Online-Video Coordinator’s loft in Williamsburg.
Crystal Bowersox "Dead Weight"
Here’s another song from Crystal Bowersox’s new record All That For This, live at Relix.
Goodnight, Texas "The Railroad"
Goodnight, Texas share a song from their latest studio album, A Long Life of Living, live at Relix.
Warren Haynes "Railroad Boy"
Warren Haynes performs a solo, acoustic version of “Railroad Boy” and explains how he adapted the traditional Celtic song for Gov’t Mule, backstage at the Hangout Music Festival.
Alpine "Hands"
Australia’s Alpine recently made their NYC debut at the Relix office with this song from their new album A is for Alpine.
Brendan Bayliss and Jake Cinninger "The Pequod"
In honor of Umphrey’s McGee’s return to Summer Camp this weekend, we present the group’s Brendan Bayliss and Jake Cinninger performing this version of “The Pequod” from UM’s Anchor Drops.
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