The Glass Animals played through the pain to turn in a wonderful in-between-Coachella-weekends show at Pappy and Harriet’s on Wednesday, April 19.
Jagwar Ma warmed things up with a well-received set, highlighted by the song “Come Save Me.” Jagwar Ma is a blended swirl of delight, mixing EDM with live instruments, resulting in a sound that pleases purists like myself with fab and far-out tracks.
A non-clinical observation: There appeared to be plenty of attendees with mushroom eyes from the hallucinating fungus that is all the rage with the younglings, as hazy clouds of smoke floated above.
Glass Animals took the stage with front man Dave Bayley walking up to the microphone and saying, “This place is beautiful.” Early on, he felt the need to set the appropriate expectation level among the crowd: “So about a week and a half ago, I broke my ankle.” Wearing an orthopedic boot on his right leg, Bayley might be be slowed by this Velcro and plastic cage, so I thought—but he had no challenges spinning and dancing like a mad man, only using the stool occasionally to rest.
The band kicked things off with “Life Itself,” off sophomore release How to Be a Human Being, sparking joy among the fans who alternated between screaming and capturing photos for their Instagram accounts.
Bayley later shared: “We actually filmed a lot of music videos here,” apparently referring to the High Desert. The members of the Glass Animals clearly were having a great time.
The show featured the well-received “Gooey,” “Black Mambo” and “Hazey.” Glass Animals intertwined new material and old material from debut release Zaba.
As Bayley sang “Season 2 Episode 3,” my girl eats mayonnaise from a jar when she’s getting blazed, I witnessed a collision between a tall blonde—in 4-inch wedge heels with periwinkle toenails, awkwardly walking in the sand—and a dancing blonde, who apparently preferred dancing instead of mayonnaise when having herbal fun.
Glass Animals closed out the show with an encore featuring fan favorites “Pork Soda” and “Pools.”
- Happy Fans Happy Fans
- Jagwar Ma Jagwar Ma
- Jagwar Ma Belts It Out Jagwar Ma Belts It Out
- Set List Set List
- Time to Instagram Time to Instagram
- Beat the Drum Beat the Drum
- In the Haze In the Haze
- Dave Bayley Dave Bayley
- Playing! Playing!
- Make the Audience Happy Make the Audience Happy
- Raise Your Hands Raise Your Hands
- Crooner Crooner
Since its inception in 1999, Coachella has continued to evolve—to the point where it’s now one of the most well-known festivals in the world.
This year, it went through a large evolutionary step: The capacity went from 99,000 people to 125,000. The site was also reorganized, with the Outdoor Stage and the Mojave and Gobi tents pulled all the way back against Monroe Street. The Sahara Tent is a permanent fixture on the site, but the interior got all sorts of new effects. There is also a new tent, too: the daytime/early evening-only Sonora Tent. It offered an air-conditioned, club-like atmosphere and hosted a lot of punk-rock acts, like as T.S.O.L., The Interrupters, Shannon and the Clams and others.
Many Weekend 1 attendees took to social media to complain about crowding in the general admission areas. There was some truth to those complaints, as I learned during Weekend 2.
Still, I found it pretty easy to move around the festival with only a general-admission-wristband. I did notice longer lines for the restrooms, and thanks to an increase in the number of disabled patrons attending Coachella, the ADA platforms at all the stages got full early.
Another issue: The lobby area after the security checkpoints got overly crowded throughout the mid-afternoon to late evening. On Sunday night, I at one point found myself in a human traffic jam, in the middle of a large crowd of people trying to push through a bottleneck.
Yes, these are serious issues that need to be addressed for Coachella 2018. Still, I found the festival rather navigable overall.
Some Sunday highlights
• Ezra Furman, the first act on the Outdoor Stage on Sunday afternoon, opened his set with a cover of the Misfits’ “Where Eagles Dare.” His set had a lot of highlights; it was as if Brian Wilson of the Beach Boys and the Ramones had a love child. The mixture of piano, a bit of harmony and a punk-rock sound was fascinating.
• Lee Fields and the Expressions was the first act to perform on the Main Stage. Fields has a very powerful voice, even by old R&B/soul standards, and his songs got the crowd going—singing along, clapping and slowly waving hands in the air as Fields sang slow, ballad-like songs about love or changing the world for the better.
• Future Islands’ early-evening set on the Outdoor Stage was just as impressive as the set I witnessed in 2013 when the band performed in the Gobi Tent. Front man Samuel Herring is well-known for his high-energy dance moves, and on Sunday, he pulled them off quite well. After 11 years together, the band is still climbing the ladder of indie-rock success, and doing so without many stage effects or crazy gimmicks. Who knows what we’ll see from them in the future?
• TSOL closed out the Sonora Tent on Sunday night with a fun performance—complete with old-school Los Angeles punk attitude, mosh pits, circle pits and Jack Grisham’s wild banter. He explained that while the band was recording the recent record, the members were one studio over from Snoop Dogg. At one point, the crew joined Snoop for a game of basketball—when John Fogerty drove his Corvette onto the tennis court. Grisham said he politely asked him to move it, and Fogerty simply walked away. Grisham’s response: He pulled up the door handle and put it between his butt cheeks. When Snoop and his crew said that Jack’s actions were “pretty fucked up,” Grisham responded that they didn’t know what punk was about. Oh, and Grisham said he also rubbed his scrotum all over Fogerty’s hood, too. In other news: Grisham pointed out that keyboardist Greg Kuehn’s son, Max Kuehn (who plays in the band FIDLAR), was filling in on drums.
• New Order put on a tremendous headlining performance in the Mojave Tent on Sunday night; it was one of the best shows I saw. The performance was upbeat, included more of a dance music element, and filled up the entire tent, with overflows onto the lawn area. The band played two Joy Division songs for the encore: “Decades” and “Love Will Tear Us Apart,” both of which paid tribute to friend and Joy Division front man Ian Curtis.
Photo credits (below): Aerial shot, by Chris Miller/Goldenvoice; Ezra Furman, by Greg Noire/Goldenvoice; Future Islands, by Greg Noire/Goldenvoice; Lee Fields and the Expressions, by Chris Miller/Goldenvoice; New Order, by Charles Reagan Hackleman/Goldenvoice.
Coachella attendees who braved Saturday’s hot temperatures got some great music to enjoy, including the day’s headliner, Lady Gaga.
I must admit that I am not a big fan of pop divas, but I promised myself I would keep an open mind as I took in Gaga’s performance, rather than doing my usual full embrace of the “music snob” title that some have bestowed upon me.
As for that performance: After Bon Iver’s Main Stage set finished a little before 10 p.m., most of the area was dead, as attendees crammed the Outdoor Stage area to take in DJ Snake’s performance. That let Gaga’s die-hard fans grab spots close to the stage.
Gaga was scheduled for 11:10 p.m., and even though the stage seemed set well before that, she did not take the stage until after 11:30.
I watched parts of last weekend’s Gaga show on the live YouTube stream. While it was an impressive spectacle, some moments fell flat (a sentiment I heard from people who were there, too). The costume changes were over-long, meaning her backing musicians had to play lengthy solos before she would finally reappear.
This week, she tightened things up. Her default costume appeared to be a pair of decorated Spandex shorts over a leotard, with stars next to her eyes and on her temples. While her appearance may have changed a bit, the set list was rather similar. Her banter with the audience at times seemed to fall flat—although she admitted to the audience that she felt a little nervous, in part because her parents were in attendance.
She also told a story about how she arrived in Los Angeles from New York wearing all leather, and was told that it was too hot to wear leather. She added that she still loves leather and that she was bringing leather to the desert. I’m sure the small group of bears I saw earlier in the evening walking around with leather harnesses and aviator sunglasses were in that sea of 100,000 people screaming, “YOU GO GIRL!”
Many of the visuals that accompanied the performance were not included all that much on the live stream last week—and in person, the visuals were indeed stunning and well-done.
Lady Gaga ain’t my cup of tea, but I appreciate the energy that her music puts out, and that she has fans from all walks of life. While the performance was a little rough around the edges for my tastes, her appearance will be remembered fondly by most.
Other Saturday highlights
• Local band the Yip Yops were an early afternoon delight in the Gobi Tent, with many people coming through to check them out. Their evolving and futuristic sound definitely made them stand out. Of course, the Yip Yops were ready for the Coachella stage two years ago.
• Chicano Batman performed to a large and fantastically diverse crowd at the Outdoor Stage on Saturday afternoon. Despite temperatures at almost 100 degrees, the band still played in ruffled shirts and new navy suits. This band is truly on the rise and drew a much larger crowd than they did when they played in 2015.
• The Heineken House was the place to be on Saturday, thanks to the air conditioning and the never-ending flowing of cold, delicious beer. Late in the afternoon, the protopunk band Death, the subject of a documentary titled A Band Called Death, performed in the tent. While it may have annoyed the typical Heineken House audience of people who like house and trap music, the rock crowd that turned out to hear them play—myself included—loved every minute of it. One has to wonder why they were not put in the Sonora Tent instead.
• Bon Iver’s co-headlining Main Stage performance was nothing short of fantastic. The band’s indie-folk sound has evolved in a big way, and the show was nothing like the group’s Coachella 2012 performance. There was a lot of live sampling and layering during the performance, along with some pretty trippy visuals. Also, Bruce Hornsby and Jenny Lewis appeared with front man Justin Vernon at the end of his set. Vernon, wearing a T-shirt that said “PEOPLE” across the front of it, declared toward the end of his set: “If you don’t have close friends, you don’t have shit.”
Photo credits (below): Death, by Brian Blueskye; Bon Iver, by Julian Bajsel/Goldenvoice; Chicano Batman, by Erik Voake/Goldenvoice; Yip Yops, by Quinn Tucker/Goldenvoice
Coachella 2017: Shabbat Tent Is a Place for Jewish Attendees to Congregate—and for Everyone to Just Chill or Find AidApril 22 2017
Camping accommodations at Coachella are pretty sweet—if you like to party.
But what if you aren’t into partying, are Jewish, and are attending Coachella? Shabbat Tent has you covered.
Coachella and Passover tend to overlap at times—as was the case last weekend. This weekend, on Saturday morning—during the Sabbath—I noticed Shabbat Tent and decided to stop in. There, I met Rabbi Yonah Bookstein.
Before the service, Rabbi Bookstein’s volunteers offered attendees grape juice, wine or whiskey to drink during the service. One of the attendees raised his hand and said, “WHISKEY PLEASE!” He then added: “I LOVE JUDAISM!”
During the brief Sabbath service, Rabbi Bookstein discussed giving freely to others without expecting anything in return, as well as the meaning of establishing healthy boundaries.
Shabbat Tent doesn’t only show up at Coachella. When you look at the Shabbat Tent website, you’ll see it has appeared at numerous U.S. music festivals, both small and large. The tent is not only a place observe together; it’s also a place where people can get hot meals, water and even some entertainment.
“The idea of Shabbat Tent started in 1999,” Rabbi Bookstein told me after he finished the service. “A couple friends of mine noticed a lot of people of Jewish background going to these festivals. They want to observe some of their Jewish rituals together. They wanted to have a themed tent where they could get together. That was the original idea. They’re going to be there on Friday night during Shabbat, ‘So let’s do Shabbat together.’”
Bookstein told me that everyone is welcome in the tent. His wife, Rachel, and all the volunteers are very hospitable toward all.
Bookstein said Shabbat Tent organizers quickly learned they were on to something. “There are the people who want to come together. But then there are hundreds (of people), or at some festivals even thousands, who also want to benefit and participate. Maybe they have a Jewish background; maybe they want to do Shabbat.
“Then there’s another element, which is opening a hospitality tent. You can’t just make it for Jewish people; you have to make it for everybody. It’s got to be universal. Shabbat Tent became a universal tent to create a place of chill and community in the middle of the craziness of a music festival.
“Coachella is more of a party scene than any of the other festivals that I can think of. Some people have asked us, ‘Why would you go to Coachella? It’s nothing but a big party.’ Actually, that’s why we need to be here more than ever. Because Coachella is such a party atmosphere, there are not a lot of places for people to chill and relax. Here, I feel we’re a necessity as to what’s going on, to provide people with a safe and chill area.”
The Shabbat Tent was of great service to Coachella attendees who found themselves in distress this weekend, as a rash of robberies hit the festival.
“People here get robbed. Who else is going to give them water and food?” Bookstein said. “They just can’t walk over to any of those vendors and say, ‘Hey, my wallet got stolen. Can I have a burger?’ They can come to Shabbat Tent, and we’ll give them water and food. We had a few people sleeping here last night who had their tent stolen, and a couple of people had their friends leave and abandon them. They had no place to sleep and no food, so they slept here at the Shabbat Tent.
“There’s another element, which we never planned for, which is Coachella not serving Kosher food. We have a Kosher kitchen here.”
Is Rabbi Bookstein excited to see any of the acts at Coachella? He laughed when I asked him and he described himself as more of a bluegrass fan.
“This is not my kind of music,” he said. “I appreciate the people, and there are some really talented people here. There is somebody playing on Sunday who I want to see: Toots and the Maytals. But this is not my lineup. A couple of years ago, when the Red Hot Chili Peppers played, my wife and I went and saw them a little bit, which is was fun. I grew up a few decades ago, so that was the music I remembered from high school.”
Radiohead’s Weekend 1 Coachella performance was, by all accounts, a disaster.
That was on everybody’s mind as the Friday headliner prepared to take the stage for Weekend 2.
I wasn’t at Coachella last weekend, but I certainly heard about the sound issues, intense audio feedback and other problems that forced the band off stage twice during the set.
Also … the band played “Creep” last weekend—a song the group almost never plays. Was it planned for the set list, or was it added as a consolation for fans who braved the technical difficulties?
I may never get the answer to that last question, but all of my other queries and concerns were washed away: Radiohead’s Weekend 2 performance was fantastic.
Ambient and atmospheric sounds emanated from giant poles, with speakers positioned throughout the Main Stage crowd area, before the band took the stage; it reminded me of Roger Waters’ Desert Trip performance. Speakers like this can really complement sound effects—or make a band’s sound schizophrenic.
Radiohead took the stage with a surprising lack of visuals: The video walls to the left and were not on, and a large round oval—visible as a non-operational backdrop throughout the entire day—remained non-operational. (This is called foreshadowing, kids!) During the first two songs—“Daydreaming” and “Desert Island Disk”—the only visual effects were lights shining upward on the stage.
Then came “Ful Stop,” the third song—where all the problems started last week. Suddenly, visuals on the sides of the stage started—and the aforementioned large, round oval in the background came to life.
It was like a cosmic blast.
The speakers throughout the field in the Main Stage area began to add layers and little noises to Radiohead’s music. Thom Yorke was energetic, although he avoided conversation with the audience, other than quipping that Radiohead was ready for a residency in Las Vegas.
While the Weekend 2 crowd didn’t get to hear “Creep,” we were treated to “Fake Plastic Trees,” another song the band almost never plays live.
Radiohead’s Friday night set was indeed a beautiful thing, and Weekend 2 attendees—who tend to be more of a music-aficionado crowd than the Weekend 1 group—left the Empire Polo Club on Friday night quite happy.
Other Friday highlights
• Local band Kayves absolutely rocked the Gobi tent. A nice crowd came to catch a glimpse of the band, which was received well. I had to laugh when Nick Hernandez explained that Kayves was on Spotify; this led a man to scream, “WHERE ARE YOU FROM!?” Alas, his shout went unheard by the band.
• The Preservation Hall Jazz Band’s second appearance at Coachella was also well-received—which, considering the group was performing traditional jazz, was a beautiful thing. The group played some material from its new album, So It Is, and praised the crowd for “getting (their) asses out of bed early” to see them—even though it was after 3 p.m.
• King Gizzard and the Lizard Wizard (say that 10 times fast!) is a psychedelic rock band that includes elements of garage rock and metal. Also … I swear there’s a touch of Indian music for which Ravi Shankar was so famous—even though nobody plays sitar in that band. Anyway, the band turned in a fantastic afternoon set, while saying that the band’s Weekend 2 crowd was better than last week’s group. Pretty far out, man.
• The Interrupters performed an energetic, upbeat and wildly fun performance in the new, punk-and-garage-leaning Sonora Tent during the early evening—one of several new additions to Coachella this year that boosted capacity to a whopping 125,000 people. (Good news: The tent’s air-conditioned. Bad news: It looks like Nickelodeon threw up in there.) The Interrupters gained a huge mosh pit and knowledgeable fans who knew the lyrics to the songs—screaming along with Aimee Interrupter. At the end of the performance, guitarist Kevin Bivona told the crowd he wanted some audience participation, and asked if anyone knew how to play guitar. In response, a guy got up onstage; when asked what his name was, he replied “Tim” in a gruff voice, before a crew member handed him a worn-down black Gretsch guitar. That not-so-random audience member: Tim Armstrong of Rancid, who played two songs with the group and then went back into the crowd, where he took selfies with attendees who couldn’t believe what had just happened.
Photo credits (below): Kayves, by Julian Bajsel/Goldenvoice; King Gizzard and the Lizard Wizard, by Charles Reagan Hackleman/Goldenvoice; The Interrupters, by Everett Fitzpatrick/Goldenvoice.
Coachella 2017: A Chat With the Front Man of Klangstof, the First Dutch Band to Ever Play at the FestivalApril 21 2017
You’ve probably never heard of Klangstof. If that’s indeed the case … you really need to change that.
From Amsterdam, the group has been performing together since 2015, and is now signed with Warner Bros. This year, Klangstof became the first Dutch group to ever play at Coachella.
Front man Koen van de Wardt stopped by the media tent on Friday, April 21, and chatted with me about his Coachella experience.
“It’s been amazing,” van de Wardt said, beaming with a smile. “It’s been everything I expected and a little bit more. It’s our first United States festival date, and it’s a very cool one as a first experience. Everything has been so overwhelming. All these people are walking around. Obviously, the heat is horrible, but you try to deal with it.”
Van de Wardt said the band has played at festivals in Europe—but the experience here is rather different.
“American crowds are very honest,” he said. “If they don’t like anything, they’ll (complain) right away. If they love it, they’ll be screaming. In Europe, it’s like people wear a mask. You can’t really read them as you would American people. I really love playing Coachella—because whenever you play a good song, people notice it right away. You can really feel the vibe of the audience right away.”
Klangstof’s indie sound may be a tough sell in America, but van de Wardt said he hopes people will keep an open mind.
“I wouldn’t call it a struggle, but we definitely need to work a lot harder playing in America,” he said. “We have to take way more extra steps to get going here. But I think if we work hard to get that done, people will understand at last. We’ll get there.”
Klangstof will soon go on tour with the Flaming Lips—one of the craziest live psychedelic-rock bands in the world. A look of excitement came over van de Wardt’s face when I asked him about it.
“I’ve never seen them live before, so that’s going to be a first for me. I really can’t wait to see the unicorns, the confetti and all that kind of stuff,” he said. “I also like to tour with a band that inspires me—the bands you watch and say, ‘Now I’m inspired to write new music.’ I think the Flaming Lips are the perfect band to go on tour with, because they’re so different. They really do their own thing, and I’m looking forward to asking them how they do it and how they record their music. For me, it’s going to be a great learning process.”
Van de Wardt also talked about Radiohead’s glitch-filled performance last week.
“I really enjoyed Radiohead last week, even though they had all those sound problems,” he said. “I’ve seen a perfect Radiohead show before so many times, and I was curious to see how they coped with such a big problem. It was inspiring and very cool to watch a band cope with such a problem.”
I asked him what he thought about the cult of Lady Gaga, which is most definitely present at Coachella this year. He said he understood it—even if he doesn’t share warm feelings for the Saturday headliner’s music.
“I actually fell asleep during Lady Gaga because I was so tired,” he said. “That's definitely some kind of music I don’t understand myself, but I do understand it’s poppy and catchy, and people love it. But I always find it hard to trigger me. I do understand why she’s popular. I was awake for it for about 15 minutes, and I understand that it really works—how she does it onstage, and every move she makes. It’s very well-thought through, and it works great.”
Klangstof said the band is already booked through December.
“We’re doing the Flaming Lips tour first, going through the United States as well, and then we’re going to run through some festivals in Europe. After that, I want to rent a cabin in Norway, get the band in, set up our equipment and be there for three months.”
Coachella finally caught on to the craft-beer revolution with the birth of the Craft Beer Barn in 2014. When it comes to weed, however, the festival seems to be further ahead of the game, thanks to this year’s introduction of a WeedMaps-sponsored cannabis lounge for VIP ticket holders—just a few months after legalization was approved by California voters.
Meanwhile, another marijuana event, located just a couple of miles from Empire Polo Club at the corner of 50th Avenue and Calhoun Street in Coachella, could not get off the figurative ground.
Kushella Life was a cannabis festival open to the public, with free admission for Coachella Valley residents, slated for both Coachella weekends and Stagecoach weekend. Organizers worked with the city of Coachella to secure all permits required to enable the legal consumption of marijuana on the festival site. Produced by the Coachella Grow Association and Coachella Ventures, Inc., the festival was a place to purchase and consume cannabis for Coachella attendees and valley residents alike.
However, typical bureaucratic delays prevented permits from being issued until the event date was a mere three weeks away, which left organizers with an unfortunately short amount of time to recruit vendors, promote the event and book musical acts.
“We agreed to meet with the sheriff and a contingent of residents, and we did. Everyone was agreeable to the plan we laid out,” said executive producer Freddie Wyatt via phone from Washington, D.C., on Monday, April 17, after Kushella’s opening weekend. He had already traveled to another event to help Kushella Life organizers cut their losses. “Everyone with the city of Coachella, from the fire marshal right on up to the mayor, was an absolute pleasure to work with. They were on board. They wanted to do it, and they wanted to do it right, which we appreciated.”
Alas, the cooperation was too little, and way too late. Attendance was estimated at around 1,000 on Saturday, April 15, the festival’s biggest day.
“Peak time was Saturday, and next weekend should be bigger. With three weeks to promote, that’s about what we expected,” Wyatt said during that Monday, April 17, phone call.
There were high hopes for the second weekend of the festival, which was slated to start a day early in celebration of 4/20—but it was not meant to be. On Wednesday, April 19, organizers decided to pull the plug and cut their losses.
“Our sincere thanks to the city of Coachella, its mayor, councilmembers and management,” said an announcement on the Kushella Life Facebook page. “Thank you all for your support! Due to circumstances beyond our control, Kushella Life will not move forward as planned, and has been cancelled. We are hopeful that the event will return in late 2017. Once again, thank you, and we apologize for any inconvenience.”
Wyatt remained optimistic when I texted him on the day of the cancellation. “Yes, we will retool and be back for next year, for sure!” he said. “We were obviously over-equipped this year, but that’s the plan.”<hr
Canada Moves Toward National Legalization
Canadian Prime Minister Justin Trudeau introduced legislation on Thursday, April 13, that would legalize marijuana for recreational use.
The proposed change would take effect in July 2018. Canadians would then be able to purchase flower, extracts and edibles from licensed shops, and grow up to four plants. While the change would allow Canadians 18 and older to possess up to 30 grams of dried flower, provinces, territories and cities could pass more-restrictive laws, if desired.
If passed, Canada would join Uruguay as the only countries to completely legalize cannabis for recreational use.
The bill’s introduction was the fruition of a campaign promise Trudeau made in 2015 to end the Canadian prohibition of cannabis. In the announcement, the Canadian government said ending prohibition “would mean that possession of small amounts of cannabis would no longer be a criminal offense and would prevent profits from going into the pockets of criminal organizations and street gangs.”
Down here in the United States, cannabis is still listed as a Schedule I narcotic, meaning cannabis-industry finances are excluded from Federal Deposit Insurance Corporation (FDIC) protection. This has made investors wary, meaning that billions of dollars could go to Canada and its more-cannabis-friendly banking environment rather than being spent in the U.S.
It remains to be seen if this will happen. We may find out over the next year ...
U.S. Senate Considering ‘Path to Marijuana Reform’ Package of Bills
Attorney General Jeff Sessions appears to be increasingly alone in his quixotic anti-pot crusade.
Department of Homeland Security Secretary John Kelly recently went on Meet the Press and said, “Marijuana is not a factor in the Drug War,” and in late March, Sen. Ron Wyden, D-Oregon, and Rep. Earl Blumenauer, D-Oregon, unveiled the “Path to Marijuana Reform,” a bipartisan package of bills to address banking, taxation, civil forfeiture, decriminalization, descheduling, research and regulation of the booming cannabis industry.
The package includes the Small Business Tax Equity Act, which would create “an exception to IRC section 280E to allow businesses operating in compliance with state law to claim deductions and credits associated with the sale of marijuana like any other legal business.” Section 280E is a 1982 law meant to prevent illicit drug-dealers from claiming deductions related to the sale of narcotics. Sen. Rand Paul (R-Kentucky) is a co-sponsor of Wyden’s bill in the Senate, while Rep. Carlos Curbelo (R-Florida) is sponsoring companion legislation in the House.
The Responsibly Addressing the Marijuana Policy Gap Act would remove federal penalties and civil-asset forfeiture from individuals and businesses that are in compliance with state marijuana laws. The law would ensure access to banking, bankruptcy protection and advertising for marijuana businesses; expunge criminal records for select marijuana-related offenses; and ease barriers for medical-marijuana research. It would also end drug-testing requirements for federal civil service jobs in states where marijuana has been legalized.
The third bill, the Marijuana Revenue and Regulation Act, would remove marijuana from the Controlled Substances Act. It would impose a federal tax structure on pot products, define permitting for marijuana businesses, and regulate cannabis much like alcohol has been regulated for decades.
“This is common-sense legislation that will eliminate the growing tension between federal and state marijuana laws,” said Robert Capecchi, director of federal policies for the Marijuana Policy Project, in a statement on the organization’s website. “Voters and legislatures are rolling back antiquated state marijuana prohibition policies, and it’s time for Congress to step up at the federal level. States are adopting laws designed to improve public safety by replacing the illegal marijuana market with a tightly regulated system of production and sales. The federal government should be working to facilitate that transition, not hinder it.”
The diverse and impressive musical lineup makes the Coachella Valley Music and Arts Festival one of the most popular events in the world—but it’s the food and drink lineup that rounds out the experience for many festival-goers.
Nic Adler, who also puts on Eat Drink Vegan in Pasadena, has been curating the food at Coachella for four years. I recently had the chance to interview him.
How has the food and drink morphed at Coachella since your first year working on it?
In many, many ways. … There are a lot of things that happen back-of-house to make restaurants and vendors successful front-of-house. For many years, the vendors that we used—and still use—at Coachella have been used to vending at high-volume events. However, a lot of the restaurants that I brought in were not used to being in front of 100,000 people. They might do a food festival with 4,000 or 5,000 people, but nothing on the level of what we’re doing at Coachella. So, there was a lot of work to do … for us to understand how vendors work, what their needs are, and how to deal with chefs. Chefs are artists, and they’re used to very specific things. They know their kitchen. They know where everything is. They know that everything’s working. That’s not always how it works when you come out to a large festival like Coachella.
Putting together the right team to support these chefs, restaurants, bartenders and mixologists took a little bit of time.
All of our restaurants (from) year one struggled a bit. It took us some understanding on what people wanted. It took them (a while to) understand how to put out food in a way that was pleasing to the festival audience. Both of those things have come together, and they’ve kind of met in the middle. It’s made for really interesting, great food that’s visually beautiful, and food that is portable—bowls, wraps and things like that. It just took a little bit of time.
What are some of the restaurants that have been there since the beginning, that were super-successful, and people loved?
It’s interesting: We don’t do a lot of returning restaurants, although the ones that have returned have been there from very early on. Beer Belly would be one that has been with us since the very beginning. KazuNori in the Rose Garden has been there from the very beginning.
We really try to keep the food program (like Goldenvoice President/CEO) Paul Tollett keeps the music lineup: There are some (acts) that return. Maybe they take a year off, and they come back again; they get bigger and go to a bigger stage. We kind of look at the food program in a similar way: We need to have these big names that people recognize, and then we’ve got to have a whole middle tier that people know. … And then we have a bunch of (vendors) that have never done anything like this before, and are kind of the new up-and-comers.
Are you actually the person who chooses the restaurants?
Yes, I do. I have a really solid team. I work closely with Lizzy Stadler, and between the two of us, we spend nine months searching out restaurants and chefs that we think would work well with the festival.
Where are most of the restaurants from? Do you have to stay kind-of local because of the equipment they bring?
Yeah. We do have a good amount from Southern California—but this is the first year that we’re really making a big transition to having Coachella be more of a national food program, so we have 2nd City from New York. In our Outstanding in the Field program, we have chefs from Miami, Chicago and New York. MatchaBar started in New York as well. We’re just trying to look around the country and see what’s happening and bring that to Coachella. We don’t do a lot of Coachella Valley restaurants—although we do have The Venue Sushi this year—only because this is also one of the busiest times of the year for those restaurants.
How many restaurants are at Coachella this year?
In total, in the food program, there are more than 150 restaurants and vendors. As far as our curated, featured restaurant lineup, there are more than 40.
I imagine you’re trying to cater to the organic and vegan crowd, too.
Yeah, being a passionate vegan myself. We have Ramen Hood doing ramen. We have Taqueria La Venganza. We have 118 Degrees. We have Strictly Vegan. I would say there are about 10 to 15 restaurants. Then you have a restaurant like Sumo Dog that is known for their crazy Japanese-style hot dogs, which has a separate grill (for making vegan food) inside of their restaurant. They have amazing vegan hot dogs. … Every vendor has to offer a vegetarian or vegan item on their menu.
How many craft breweries are there this year?
The Craft Beer Barn started four years ago. We’ve consistently had somewhere between 100 to 150 breweries as part of that program, and that includes the rare beer bar, which we introduced last year, where Jimmy (Han) from Beer Belly curates. He spends all year (curating); he’ll call me in September telling me how he got a keg of something, and that he’s hid it in the back of the cooler and wrapped it up. He gets these little gems all year long. … He’s really worked with the breweries to get special, unique kegs out there. That’s also because we invite so many of the breweries to come down: At any given time, there are 20 or 30 brewmasters or owners or technicians who are here onsite at the festival. When you’re walking through the Craft Beer Barn, and you look over and see the head brewer from one of your favorite breweries, that really makes a difference.
Last year, there was a big push for sours, and the IPAs are obviously always really big. This year, one my favorites has been the hazy IPA, the New England-style IPA. I can’t get enough of it. It’s got very little bite on it; it’s super-refreshing, but you still have all of that hop. It’s really exciting to learn about those beers.
We also have a tiki bar that’s something that’s new for the festival this year. I’m really excited to be working on that with the guys from PDT in New York … which stands for Please Don’t Tell. They really ushered in revival of the speakeasy. They’re known to be some of the best bartenders in the world there, and they’ve come out to Indio to be part of this tiki bar. It’s not on any map. We don’t tell anybody where it is. When you find it, you know it.
Tradition, tradition, my sweet Lorde—a Pappy and Harriet’s tradition continued with a surprise show after midnight on Friday/Saturday at the storied adobe bar in Pioneertown.
Lorde, aka Ella Yelich-O’Connor, continued the tradition of secret, last-minute shows at Pappy’s, disclosing her first full-length performance since December 2014 with a simple tweet earlier in the day. She followed in the footsteps of Bon Iver playing a secret pre-Coachella warm-up under the nom de guerre of Mouthoil in 2013; the Pixies celebrating a return to Coachella in 2014; and Sir Paul McCartney’s Oldchella mini-gig last October that created the biggest traffic jam ever in Pioneertown.
Lorde’s shocker of a show had me scrambling, but I was able to make it for the hour-long warm-up gig, during which she introduced three new songs and played plenty of material from 2013’s Pure Heroine. Unfortunately, I was not allowed to bring in a pro camera, so I was only able to get some snapshots of the venue; the photo above is from her 2014 Coachella performance.
The show was slated to start at midnight, and security had all ticketholders line up in the outdoor stage area, since Wanda Jackson performed a 9 p.m. show inside. There was more security than usual—and lots of people running around with a sense of urgency, with VIPs, mostly family, entering first.
I waited in line with a group of fans from Long Beach who were able to obtain six of the $20 tickets before they sold out. The door’s opening led to a quick security check and a mad scramble toward the stage. I spied Nancy Hunt, owner of the boutique Brat, in Santa Monica, who seems to be at every sold-out show at Pappy’s, but for the most part, the crowd was new to Pappy’s, based on the informal survey I took while in line.
The show started about 12:20 a.m. with an intro tease of new single “Green Light,” as many fans did their best Statute of Liberty impressions with cell phones rising high in the sky for most of the show. Lorde was very comfortable and chatty, saying, “This is what I like about a small place,” before she was interrupted by fans stating where they drove from: “Oh, you came from L.A.? You from Nashville, today?” It felt like she was playing for close friends—something you rarely see from a pop star with fans only feet and inches away, and something that won’t happen at Coachella on Sunday.
Lorde teed up the crowd: “So I wanna try something that no one knows about yet. I wanna play you something from the new record. It’s kind of like one of my favorite things I think I’ve done. It’s a two-part song, but they’re very different. They’re what the core of this album is about.” A fan finished her sentence by yelling, “Sober!” which is a song from her upcoming second album, Melodrama. She replied: “Fuck, you guessed it! I really need you with me for this,” and a request was made to turn down the blue, cavern-like lighting. Lorde drove spectators wild as she sang, “My hips have missed your hips … what will we do when we’re sober?” partially hanging from the stage right “punk pole” used by many to just hold on during more raucous shows.
Lorde expressed how happy she was to play a live show again: “Thank you so much, wow, cool, I miss you so much.” Then came more news: “This song is a little ghost. I felt like a little ghost when I wrote this one. I walked until I could not walk anymore and I called a cab. … When I was writing, I felt like was in high school. Oh, I see my sister in standing in the back. It’s called ‘Liability.’”
Lucky ticket-holders were treated to an “old” Lorde hit, “Royals,” which had a few Pappy’s staffers behind the bar singing along with the chorus.
Lorde shouted out to the crowd, “Thank you very much. How you doing out there? What do you want to know?” A fan asked, “What have you been doing?” She responded: “I bought a house in New Zealand, and I don’t garden yet, but I’ve been going to the beach.”
She hinted that the end of the night was near: “It’s a great one tonight. I want to get pretty down for the last two songs. I want you to dance like you’re alone in your bedroom, and you don’t give a fuck. Are you in?” Lorde then ended with “Team” and “Green Light,” the latter off her highly anticipated sophomore release.
As she knelt on a corner sub-woofer, Lorde said her goodbye: “Thank you so much Pappy and Harriet’s.”
From the time it was announced through Lady Gaga’s late addition as a headliner fill-in for the pregnant Beyoncé, this year’s Coachella lineup has been one of the most questioned and talked-about ever.
Beyond the headliners, however, there are always gems among the names in the smaller font on the poster. Here are some acts I’ll make sure to see—and I recommend that you check them out, too.
Friday, April 14 and 21
The name is funny, and so is some of the music, but this Seattle band, around since 2007, has a seriously interesting punk-rock sound. Three of the band’s four members are women, and during an interview with VICE, bassist Bree McKenna claimed that she was the illegitimate child of Megadeth frontman Dave Mustaine. She was kidding … we think. Don’t dawdle on Friday; get to Coachella early to catch this band’s feminist messages, humor and sarcasm.
Preservation Hall Jazz Band
I always love the variety of music showcased at Coachella throughout the weekend—and seeing the Preservation Hall Jazz Band will be a real treat. This legendary New Orleans jazz band has been going since 1963, and an impressive list of musicians has come through the band. The group also recently appeared on the Foo Fighters’ album Sonic Highways. The band played Coachella in 2014—and it felt like you couldn’t escape them. Beyond the band’s scheduled set, the group showed up in the Heineken tent to perform with Angelo Moore of Fishbone, and also appeared with Arcade Fire later in the evening. For a minute, I thought I might even see them busking in the parking lot.
Father John Misty
I’m so happy that Father John Misty is not scheduled at the same time as Radiohead’s headliner set. I included Father John Misty in my Coachella suggestions in both 2013 and in 2015—and both sets were amazing, so there’s no reason to think he won’t be blowing minds again in 2017. The former Fleet Foxes drummer has come a long way as a solo artist. His indie-folk sound has a lot going on in it, and his songs are deep—and often hilarious. Definitely make sure you catch Father John Misty; you won’t be disappointed.
Saturday, April 15 and 22
Yip Yops, Kayves
A different local band or two is announced as a Coachella performer, playing early on a stage, a few days before both Weekend 1 and Weekend 2. CIVX (now Killjoi), Machin’, EeVaan Tre, Alchemy, Brightener and The Flusters have played in this slot. Who will play this year? We received the answer for Weekend 1 today: Kayves on Friday, and Yip Yops on Saturday. As for Weekend 2, worthy contenders include The BrosQuitos, Hive Minds and the reigning Independent Best of Coachella Valley Best Local Band, Venus and the Traps. Locals: Go and support the bands are selected!
Psychedelic pop/rock band Warpaint (upper right) turns in live performances that soak attendees in dark psychedelic vibes—no frills necessary. The group’s most recent album, last year’s Heads Up, took the band in more of a pop direction, but let me assure you: The album is fantastic, and was one of my favorites of 2016. The tracks “New Song” and “So Good” get stuck in your head—and you only want to hear more.
Flying Lotus protege Thundercat is a musician on the rise. After releasing his latest album, Drunk, in February, he’s gotten bigger thanks to the buzz that has surrounded it. Thundercat’s electronic funk mixed with soul somehow sounds both futuristic and traditional. His bass grooves on Drunk are so damn smooth, and his collaborations with people such as Kenny Loggins and Michael McDonald are weird and fantastic at the same time. It’s hard to believe this guy was once playing bass for Suicidal Tendencies.
The Head and the Heart
I saw The Head and the Heart’s set at Coachella in 2014, where I learned the band’s folk sound could work well at Stagecoach, too. The Head and the Heart remind me a lot of The Lone Bellow, because the songs are deep, yet The Head and the Heart also can play in styles similar to Fleet Foxes, Iron and Wine, and even Vampire Weekend. The band writes more complex parts for the mandolin and fiddle than most Americana bands.
Sunday, April 16 and 23
Toots and the Maytals
Goldenvoice has put some great reggae legends on the Coachella stage—and Toots and the Maytals, one of the great reggae/ska bands of the early ’60s, is the latest band that is part of that welcome trend. Toots Hibbert (below) is a reggae legend who has the voice of a soul singer; he’s written some of reggae’s greatest songs, and has performed with acts such as the Red Hot Chili Peppers, Major Lazer, Eric Clapton, Keith Richards of the Rolling Stones, and many others.
This one makes me laugh every time I look at the Coachella lineup. One of my friends who worked in the film industry at Warner Bros. asked me, “Hans Zimmer ... how does that work, exactly?” The legend who has created the scores for films such as The Dark Knight, The Lion King, Inception and many other blockbusters is definitely an odd addition to the lineup … but I have a feeling he’s going to silence anyone who made fun of his inclusion, even though I have no idea what his performance will entail. Who knows … maybe Goldenvoice can get Philip Glass to perform in the future?
In 2014, I went Pappy and Harriet’s before Coachella started to watch The Pixies. As I was leaving Pappy’s, one of the owners, Linda Krantz, asked if I was staying for the very late performance of Future Islands; I declined. While at Coachella the next day, I took a short nap on the grass in the media area right behind the Gobi tent … and was woken up by a catchy bass line. I got up and walked into the Gobi to watch Future Islands, which had just started the set. I was blown away, and I can’t wait to see Future Islands at Coachella again.
New Order is made up of the surviving members of Joy Division (now minus bassist Peter Hook) and was one of the biggest bands of the ’80s and ’90s. Take note: Bernard Sumner is known to be a serial complainer during performances. When I caught the band’s set at Coachella in 2013, Sumner bitched throughout—to the sound engineer about a botched intro (before the band even played a note), and about headliner Phoenix, which was playing on the Main Stage at the same time. That aside, the band turned in a great performance. Expect some great visuals and music to dance to—things any Coachella attendee will appreciate.
Updated on April 11 after release of set times.