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Last updateTue, 18 Sep 2018 1pm

Brian Blueskye

There were two rules for Stagecoach 2013’s third day, spelled out on video monitors and texted to attendees who downloaded the Stagecoach app: Drink water, and find shade for your health and safety.

While water was supplied by vendors and free refill stations, shade is limited at the Empire Polo Club.

The official sponsor of Stagecoach—Toyota—offered a bit of shade inside their exclusive tent on the right hand side of the “Mane Stage.” The Toyota tent became the “Toyota World of Wonders” this year, featuring an interactive vintage carnival theme, with a milk-jug throw, a ring toss and even a professional palm-reader—seated, of course, in a 2013 Rav4.

Over the weekend, Toyota revealed the brand new 4Runner model, which featured an acoustic performance in the Toyota World of Wonders from Dierks Bentley.

Around 1 p.m. on Sunday, the Budweiser Clydesdales—who made an appearance on El Paseo in Palm Desert earlier in the week—trekked through the lobby area of the festival, making their third appearance at Stagecoach.

“We enjoy a big crowd,” said Budweiser representative Dennis Knepp.

As far as finding shade was concerned, fans were finding it in the Mustang and Palomino tents.

Waddie Mitchell, a “cowboy poet,” offered a reading to a large group of attendees—some of whom sat with their backs turned, uninterested and conversing among themselves. I spotted one woman sleeping on one of the bales of hay. When he ended his 70-minute act, he said, “I think I’ll go start some supper now. Thanks for the ride.”

Riders in the Sky followed Mitchell at 3:50 p.m. Riders in the Sky’s performance at Stagecoach was their 6,419th performance over 35 years, as well as their third appearance at Stagecoach. The group’s performance had a diverse, interested audience of all ages, including children.

During the performance, Fred LaBour and the rest of the group performed solos—slapping the sides of their face making “clacking” noises. Paul “Woody” Chrisman dumped cornmeal on the stage and performed a fiddle solo while dancing on it.

The part of their performance that stood out the most was a cover of the theme to Rawhide, which had many of those in the audience singing and clapping along. Children in the audience got to hear “Woody’s Roundup” from the Toy Story 2 soundtrack, along with “You’ve Got a Friend in Me.”

In a way, the Riders in the Sky are the cowboy Rat Pack. Consider Douglas “Ranger Doug” Green’s vocals slightly echoing Frank Sinatra’s during “Trail Dust,” as well as the group’s comedy, which never stops during their performance.

Fans of John C. Reilly—known for his roles in Boogie Nights and The Aviator—were treated to the actor’s musical performance after Riders in the Sky (who took a few comedic shots at Reilly during their set). During sound check, Reilly addressed the large crowd who packed the front half of the Mustang Tent.

“It’s called a rolling festival sound check,” he said, gaining applause.

“I’m John Reilly, and these are my friends. On this hot day, so are you,” he said, before going into his first number. He played the guitar he used in the movie Walk Hard. People at the rear were slow-dancing, as if the Mustang Tent had been turned into a honky tonk. At times, it felt like a performance suited for A Prairie Home Companion. Nice job, John!

Mustang headliners Katey Sagal and the Forest Rangers took the stage around 10 minutes late. Sagal was yet another Hollywood figure performing at Stagecoach; she was a recording artist before becoming an actress in roles such as Peg on Married With Children and Gemma on Sons of Anarchy. The Forest Rangers have been contributors on the Sons of Anarchy soundtrack throughout its five seasons, with various vocalists.

A few Sons of Anarchy and “SAMCRO” T-shirts were scattered throughout the decent-sized audience, and as the Forest Rangers took the stage, Sagal was missing. The group performed alone with what they called “guest vocalists” at first. Through bluesy/southern rock performances of Stevie Wonder’s “Higher Ground” and Bob Dylan’s “Forever Young,” it seemed as if they were trying to shrug off a possible absence.

Sagal finally walked onstage to a deafening ovation. When she began to sing a cover of Tom Petty’s “Free Fallin’,” fans got to experience her magnificent singing ability. She then did a beautiful cover of Leonard Cohen’s “Bird on a Wire” and a cover of Steve Earle’s “Come Home to Me.”

She turned over the vocals to Curtis Stigers for a performance of “John the Revelator,” which was just as impressive as it was during the Sons of Anarchy season 1 finale.

While Sagal was obviously the major attraction, the Forest Rangers—along with their guest vocalists—were quite a sight to see, and it was a real treat for those who attended.

As Katey Sagal and the Forest Rangers were finishing up, a large crowd in the Palomino Tent was awaiting the Charlie Daniels Band, scheduled for 7:30 p.m. Daniels and the band took the stage about 15 minutes late; to be fair, the sound check appeared to be quite extensive. For a man who recently had heart surgery, Daniels appeared to be extremely energetic. The Southern-rock icon was twirling his bow and playing a mean fiddle during their opening song, and seemed to joke with his guitarist by slapping him with it.

“I do believe it’s party time in the desert!” he said after his first song.

While Daniels’ performance was strong throughout, his scaled-back set contained two long instrumentals and left no time for Daniels to play his established hits. Daniels bragged that his current band was the best he’s played with, and while there’s no doubt that’s true, people seemed as if they were ready for the long guitar solos and repetitive bass lines to end. Nevertheless, Daniels’ performance included spectacular lighting, and there was no better way to close out the Palomino Tent for Stagecoach 2013 than with “The Devil Went Down to Georgia.”

The Zac Brown Band closed out the Mane Stage and were the last act to play at Stagecoach for 2013. The band’s first song, “Keep Me in Mind,” was a delightful opener. Hearing some Americana, acoustic-driven country thrown into the mainstream Nashville sound that’s usually featured on the Mane Stage was a unique experience.

The highlight of their show was a cover of Dave Matthews Band’s “Ants Marching,” which was something I didn’t expect, and it sounded wonderful when played with their signature sound. The Zac Brown Band was not as flashy as Toby Keith or Lady Antebellum, and the group had a more-laid-back approach. Instead, it was all about the music. It was another wonderful night for the Mane Stage, and a lovely conclusion to Stagecoach 2013.

Despite blistering temperatures, fans enjoyed the three days of the most unique country music festival in the United States. It’s the only place where you will see Americana, bluegrass and alternative country, as well as groups like the Honky Tonk Angels Band, plus actors and actresses performing country music, and the thundering sound of modern Nashville mainstream—all in one place.

Photos by Erik Goodman

With the temperature surpassing 100 degrees, the Empire Polo Club was a challenging place to be during day 2 of Stagecoach 2013. Nonetheless, the people showed up ready for another day of country music … but that music came a bit belated.

While the gates were supposed to open at 11 a.m., general-admission attendees were held at the entry gates until noon on the dot. Nobody announced why fans were held up for an extra hour, but from the sound of it, sound checks were running late.

“Taps” played throughout the festival grounds as fans finally made their way in.

Ray Cammack Shows, which operates the Ferris wheel, was kind enough to allow photographer Erik Goodman and I to start off the day with a ride. With a grand view at close to 200 feet, we could watch attendees entering the grounds, with a stunning view of the mountains and most of Indio in the distance.

How many people have ridden the Ferris wheel during the three festival weekends?

“As of today, it’s approximately 31,500 people,” said RCS’ social media representative, Daniel Mejia. “It will be approximately 35,000 by the end of Sunday.”

The Ferris wheel—one of Coachella and Stagecoach’s most popular attractions—is especially in demand after sunset.

It’s a fun experience for the people who work for Ray Cammack, too.

“It’s crazy that we get time away from our carnivals that we go to each year and get to come to this spot and be like the main part of it. It’s pretty awesome,” he said.

For festival attendees who feel a patriotic duty to support American products and jobs, Keep America has them covered. Founded by CEO David Seliktar, the company has been in operation since March 2012. Keep America’s small tent in the festival lobby offers an array of products, from American-made sunscreen and T-shirts to can cozies.

Dina Rezvanipour of Keep America expressed passion about the business’ purpose.

“We decided to come here because we’re country-music fans, and we know that everyone here truly believes in what we’re here for and what we stand for,” she said.

She also makes a suggestion for consumers to consider.

“If every consumer were to spend $30 a month (more on American-made products), we could create over 1 million jobs here. That is the message we are trying to get out—simple numbers.”

As for the music, the Americana presence was strong on Saturday.

The festival kicked off with an energetic performance at 12:45 p.m. in the Palomino Tent featuring Chris Shiflett and the Dead Peasants. Shiflett, a member of the Foo Fighters, had only a small crowd at first due to the late entry, but people continued to show up through the beginning of his set. In what sounded like a mixture of the mainstream Nashville sound combined with Americana, he started his set with “Guitar Pickin’ Man."

Shiflett was playful with the audience, pointing out two fans.

“You guys are my favorite Stagecoach people; (tattooed)-guns-on-chest guy, and mustache man,” he said, with much laughter among the crowd.

Shiflett was also honest about the heat.

“I promised myself I wouldn’t complain about this heat, but we could really use some of those little fucking misting fans right now,” he said.

He closed his set with Waylon Jennings’ “Are You Sure Hank Done It This Way?” Shiflett may be a guitarist for one of the world’s biggest rock bands, but he proved he’s one heck of a country performer as well.

For fans of Americana and a little something different, the Palomino Stage was the place to be, featuring some of the biggest names in alternative-country subgenres and Americana.

The Inland Empire’s Honky Tonk Angels Band took the stage after Shiflett. With a thunderous intro that proved the band’s set would get crazy and loud, the Angels proved themselves to be a band that could play either Stagecoach or Coachella.

Oh, and you could really hear that cowbell in their opening number!

The Honky Tonk Angels Band is a talented group of performers with great guitarists. The best way to describe their sound would be if the Supersuckers and the Black Crowes teamed up. Kurt Ross, the group’s vocalist, has one hell of a stage presence that got all of those in attendance riled up. There was even a group of people line-dancing on the left side of the stage.

The band announced they were celebrating their 25th anniversary as a band.

“We have three rules to be in this band,” Ross told the audience. “You have to like George Jones; you have to like the Rolling Stones; and you have to like tequila.”

This band is one hell of a good time, and it’s amazing that after 25 years, they seem to be off the radar. This gig was well-deserved.

When I later asked Ross how he felt about the group’s performance, he was speechless.

“I’m at a loss of words. It was amazing,” he said.

After the Honky Tonk Angels Band, Justin Townes Earle—the son of Steve Earle—took the stage a few minutes late. Earle, wearing a white suit, was a perfect fit, continuing the Angels’ momentum in a slightly mellower way.

His sound at times sounded like vocal jazz with a bit of the blues. He paid a tribute to his mother, declaring that she likes to go home early and that young people are up to no good if they’re out after the sunset, before covering Wolf Parade’s “You Are A Runner and I Am My Father’s Son.”

Before playing “Harlem River Blues,” he talked about how fans have told him they want to jump into the Harlem River. He advised against that, given how polluted it is.

Following his performance, Earle said the show felt good.

“I seem to have a really good feeling playing when it’s really hot,” Earle said.

And speaking of hot, Nick 13 of Tiger Army took the stage after Earle, wearing a light-green, embroidered suit. The anticipation of Nick 13’s performance could be felt throughout the day, with fans wearing his T-shirts congregating in the tent during previous performances.

The upright bass sound and the Americana style made Nick 13 a popular sight; he’s a serious performer who has never considered himself a novelty act. He played his single “Carry My Body Down,” announcing that the music video was shot here in the Coachella Valley.

Before playing “101,” he made a special dedication: “I’d like to dedicate this song to everyone who still listens to real country music,” he said.

He played an Americana-sounding “In the Orchard,” from Tiger Army’s catalog, dedicating it to the late George Jones. He also played his new single, “Nighttime Sky,” having just released the video earlier in the week.

When I caught up with Nick 13 after his performance, I asked him if he was annoyed by the heat—especially in the suit he was wearing.

“Nope, mind over matter,” he said with a smile.

For fans of the Bakersfield sound, Dwight Yoakam took to the Palomino Tent 10 minutes late, at 6:55 p.m.

Yoakam wore a blue denim ensemble that included his trademark skin-tight jeans, while his band members were in flashy, sparkly black suits. He opened with an unrecognizable song that was played at a fast pace while they were obviously still mic-checking. When he followed with “You’re the One,” he already had the audience rocking, and that would continue, with a fast-paced take on every song he performed. Even the slow numbers had energy behind them.

During “Streets of Bakersfield,” he stopped the song halfway through.

“That’s not right. … I spent time some time in San Bernardino. … I spent some time in Coachella!” he said, which resulted in an eruption of applause as he resumed the song.

The spirit of the Bakersfield sound was alive for the rest of the performance. Unfortunately, Dwight didn’t play “Stuart Drives a Comfortable Car” like I was hoping he would.

Lady Antebellum managed to pull in an even larger audience than Toby Keith did the night before the “Mane Stage.” They’re one of the hottest groups in country music, and the performance was sort of a homecoming for the group, who played on the Mane Stage at the 2009 festival, but not as headliners.

The group’s flashy intro played on the video wall, and was followed by the intro to their song “Downtown,” leading to a roaring ovation as the group took the stage. Vocalists Hillary Scott and Charles Kelley worked well together throughout, despite technical difficulties during a stretch of songs; the sound was barely audible for 10 to 15 minutes, depending on where you were standing.

“Our Kind of Love” nonetheless offered a perfect performance. The group also sampled a new song off their upcoming album, Goodbye Town. Lady Antebellum proved to be solid headliners throughout, not letting the technical difficulties sidetrack them.

As for the death of George Jones, it was still a relevant and hard-to-avoid subject during day 2. Many of the artists paid tribute to him in some way. 

Photos by Erik Goodman

It’s definitely another hot weekend at the Empire Polo Club.

The Stagecoach Music Festival kicked off on Friday, April 26, with a mellower, laid-back vibe compared to the Coachella Valley Music and Arts Festival’s two weekends. Beautiful women clad in Daisy Dukes and Western attire and a lot of shirtless men in cowboy hats braved the hot weather.

The sun didn’t bother a couple of fans in attendance, who appeared happy as they exited the beer garden next to the Mane Stage. (That’s not a typo; that’s what the main stage is called.)

“I’m having an awesome time,” said Zack Lindsay of Palm Springs.

When it came to the sun, Lindsay came prepared. “I’m not bothered by the sun. That’s why I have a hat.”

Larry Owen of La Quinta wasn’t bothered, either, going shirtless and displaying good spirits. He shared what excited him the most about the festival.

“It’s definitely the acts, and some of the old country acts playing on some of the other stages. It’s great,” Owen said.

Before the gates even opened, the news of George Jones’ passing set a somber mood among some of the older country-music fans, as well as many of the artists. Robert Ellis, who performed a set in the Palomino Tent in the afternoon, toured with Jones recently.

“I would hope that people would be honoring his memory today,” Ellis said. “I think there’s a chance that the younger folks here at this festival might not know who he is, which is kind of a shame. I mentioned it onstage, and a couple of the older guys “wooed” really loud. But most of these people are probably 18 or 19 years old; they’re going to see Toby Keith, and they don’t have any idea who George Jones is. You would hope at a country festival that it would be earth-shattering news,” he said.

Nonetheless, Ellis said his set.

“My show was cool. It was a lot of rednecks, a lot of people without shirts on. It made me feel right at home—I’m from Texas,” he said with a laugh.

The Haunted Windchimes took the stage at 1:30 p.m. in the Mustang Tent. The Windchimes are known for being perfectionists in the art of harmonies, and their performance started off as an intimate show for just a few people. The bluegrass and folk sound of their opening number “Waiting for a Train” was stunning. Desirae Garcia mentioned the scantily clad ladies and gentlemen, and during the group’s set, they dedicated a heartwarming performance of Leadbelly’s “Old Ship to Zion” to George Jones. The band’s mellow and laid-back set felt like a show by genuine old-time country band in an era that has long since passed.

Hayes Carll was fired up through his sound check in the Palomino Tent, with “Check, check, 1-2, how are you?” leading to a small ovation a few minutes before his scheduled 2:50 p.m. set. Carll, ever the literary troubadour, played his signature songs that resemble the sound of Willie Nelson and Waylon Jennings, combined with a little bit of Southern rock. His all-over-the-place beats had the crowd dancing and laughing. During a long-winded speech addressing his hectic and somewhat unique touring schedule of rodeos and honky-tonks, Carll thanked the crowd for attending. “I know we’re in a recession or a depression, but I want to thank you for spending your hard-earned money to come out and support country music,” he said, to a loud ovation.

Carll decided to take a break from the normal Southern rock sound of “Bad Liver and a Broken Heart” by performing it in a Americana style, which made the song stand out and become a little bit more … country. Toward the end of his set, he announced he was going to play a song about the political divide in America. His description: “If Rachel Maddow and Ann Coulter went on a blind date with an open bar tab.” “Another Like You” reflected Carll’s unique and amusing take on a variety of subjects. He also performed a great cover of Ray Wylie Hubbard’s “Drunken Poet’s Dream.”

If there’s one thing you can say about Hayes Carll, it’s this: Anyone who despises country music would love him.

For fans of Americana, Old Crow Medicine Show’s headlining performance in the Mustang Tent was a real sight to see. The tent was nearly full, as the group attracted a unique audience of both older and younger attendees. When the band began playing, it looked and sounded like the biggest hoe-down ever seen. Cowboy hats bounced up and down as people danced country-style. Each time one of the members would address the audience, the crowd cheered so loudly that the members’ words were barely audible. Covers of Tom Petty’s “American Girl” and Hank Williams’ “Hey Good Lookin” were a perfect fit. Considering other songs in the set such as “Alabama High Test,” “Take It Away” and “Wagon Wheel,” fans of Americana should celebrate the fact that Americana is back on the up and up.

The main stage was graced with the presence of Bocephus himself, right as the sun went down. His intro—a mix of Kid Rock, Gretchen Wilson and other various artists who mention him in songs—received a thunderous applause, as did his opening number, “I Like to Have Women I’ve Never Had.”

One thing is for certain: Hank Jr. is not that great of a singer; his late father and his estranged son Hank III surpass him when it comes to singing. He sounds like Waylon Jennings at times when it’s mellower, but when he tries to sing to a beat, he goes out of rhythm and out of tune. His band, on the other hand, is excellent.

When he started his second song, he stopped and said he instead wanted a little bit of “Keep the Change.” The song—a verbal lashing of the Obama administration featuring lyrics declaring, “I’ll keep my freedom, I’ll keep my guns,” and, “We know who to blame: United Socialist States of America”—had fans cheering and clapping. In a surprising move, his most popular song, “All My Rowdy Friends,” was third on his set list.

While Bocephus’ singing may be weak, he’s a brilliant instrumentalist. He showcased his ability to play guitar solos, teasing the audience with a few covers that he didn’t sing (thank God!), such as Lynyrd Skynyrd’s “Gimme Two Steps” and Marshall Tucker Band’s “Can’t You See?” One cover he did sing, quite terribly, was Aerosmith’s “Walk This Way.”

He later took to the piano and told a story about how he wanted to “boogie woogie” when he was a kid. He played a cover of his late father’s “Your Cheatin’ Heart” and Jerry Lee Lewis’ “Whole Lotta Shakin’ Goin On.” Toward the end of his set, he included “Family Tradition.”

While Hank Jr. might not be able to sing like his father or his son, he knows how to work an audience; his fans love him.

Headliner Toby Keith (the Independent was not among the media outlets authorized to photograph him) had the entire festival’s attention when he showed up on the Mane Stage at 9:30. The intro was AC/DC’s “You Shook Me All Night Long,” until the song stopped, and a video started to play of Keith driving a Ford truck through the desert. In the video, he picks up a mysterious woman who leads him to a ramshackle bar that’s empty; it’s a mirage sequence of some sort.

All I saw was: “Ford truck commercial.”

Toby’s opening of “American Ride” was all-American display of loud country music set to pyrotechnics and an impressive light show. He kept his patriotic vibe going with “Made in America.”

“Let’s get drunk and be somebody tonight!” Keith said, holding up his red plastic cup, before starting “Get Drunk and Be Somebody.” He then asked the crowd, “Anybody drinking here besides me?” before telling the audience that he was trying to remember how long it had been since his last trip to Palm Springs. “1,452 beers ago,” he said, before starting the song with the same title.

Keith, like many performers throughout the day, mentioned George Jones.

“He was the face of country music that everyone wants to be,” said Keith, before covering “She Still Thinks I Care” and “White Lightning.”

During “I Wanna Talk About Me,” Keith’s microphone seemed to suffer from technical issues, but the performance was still solid. “I’ll Never Smoke Weed With Willie Again,” Keith’s story about trying marijuana with Willie Nelson, led to the stench of marijuana going in the night air.

Keith’s patriotic set couldn’t have left out “Courtesy of the Red, White and Blue,” his controversial anthem recorded shortly after the Sept. 11, 2001, attacks. Keith delivered a strong performance and closed out Day 1 on a high note.

Even with George Jones’ death on the minds of many—some performers even choked up while mentioning his passing—Stagecoach went on and paid a warm tribute to the late country legend.

For those who are not able to attend Stagecoach, AXS TV is offering live coverage from 5 to 11 p.m. Saturday and Sunday. Photos below by Erik Goodman.

While Stagecoach is known for showcasing a wide variety of alternative-country, traditional country and Americana, there’s still plenty of room for the Western music of Riders in the Sky, who will be making their third appearance at the festival, taking place April 26-28.

The group’s lineup—Ranger Doug (Douglas B. Green), Woody Paul (Paul Chrisman), Joey the Cowpolka King (Joey Miskulin) and Too Slim (Fred LaBour)—has never changed and has remained more or less intact since their founding. When the group came together in the late 1970s in Nashville, Tenn., they decided to wipe the dust off the Western music sound that was pioneered by Roy Rogers and Gene Autry. Throughout their 35-year career, they have become the first “exclusively Western” music artists to join the Grand Ole Opry, and the first Western music artists to win a Grammy (they’ve won two, in fact). They have performed at Carnegie Hall and the White House, and have 36 albums to their credit.

In other words, they have arguably reached heights higher than the people who influenced them, which is impressive for group playing a genre of country music whose time has long since passed.

“It’s been a long and wonderful ride,” said Ranger Doug in a recent phone interview from Nashville.

While the group’s focus has always been on Western music, they’ve never been afraid to produce a few laughs during their performances, too. “It was just sort of homegrown and organic. We all thought we were fairly funny guys and enjoyed cracking each other up,” he said. … “The things that cracked up the audience, we kept in the act. Suddenly, we became known for the comedy as much as the music.

“It’s been a good combination over the years. It gives us two different audiences and entertains as much as it preserves the music.”

They have also been known for being entertainers to children. The group’s self-titled TV show on CBS replaced Pee-wee’s Playhouse in 1991, after Pee-wee Herman’s indecent-exposure arrest. They also recorded “Woody’s Roundup” for the Toy Story 2 soundtrack, which led to the group recording two of their five children’s-themed albums for Disney’s music label.

“We didn’t start out to entertain children. We still don’t think of ourselves as a kids' act, per se, but people were bringing their children to the shows. It’s been a big part of who we are. The kids have always loved the outfits. There was something about cowboys where everyone wanted to be one for a while,” he said.

“Now kids want to listen to rap. Maybe (cowboys) will come back.”

Riders in the Sky keep busy with touring and have performed more than 6,000 shows. When Ranger Doug looks back on their grueling tour schedule, he simply takes it all in stride.

“You lose sleep sometimes, but there’s not an act out there that doesn’t, I suppose. It’s just part of the business,” he said.

Along with lack of sleep, there are other downsides. “There are definitely days when that hour and a half onstage is the happiest hour and a half that you have, but we don’t have plans to slow down, and we love doing it.” 

The future is bright for these hard-working, yodeling cowboys. They have a new album titled Home on the Range coming out in two weeks; it’s a collaboration album with … Wilford Brimley?

Wait. What? When I asked if Ranger Doug meant the Cocoon actor and the subject of several Internet memes spoofing his diabetic-supplies commercial, Ranger Doug said yes and assured me of Brimley’s talents.

“He’s actually quite a good singer!” he said.

When it comes to the group’s third Stagecoach performance, Ranger Doug said he is happy to be coming back.

“It’s great that they save a corner for the traditional Western music. I think that’s a tip of the hat to where our music came from. We’re honored every time (Goldenvoice asks) us. It’s just means a lot to us that we’re allowed to come out and keep our traditional sound alive to entertain some people, and maybe some kids too while we’re at it,” he said. 

Riders in the Sky play on Sunday, April 28, at Stagecoach. The festival takes place Friday, April 26, through Sunday, April 28, at the Empire Polo Club, 81800 Avenue 51 in Indio. Passes for all three days start at $239. For tickets or more information, visit www.stagecoachfestival.com.

They saved the best for last.

Day 3 of Coachella 2013’s second weekend started off with blistering temperatures, but attendees came prepared. While a windstorm put a damper on the closing events of Coachella’s first weekend, the winds on the second Sunday remained relatively calm.

While Saturday’s schedule was heavy on the EDM, on Sunday, it was mostly about the rock. Throughout the Coachella’s history, Day 3 has always seemed to feature the biggest acts.

The Gaslight Anthem took to the main stage at 3:30 p.m. One figures the New Jersey punk outfit would attract a sizable crowd, but the attendance was quite thin.

The band walked onstage and began performing without an intro and without addressing the crowd—and they suffered through technical difficulties throughout the set. Guitarist and lead vocalist Brian Fallon’s microphone didn’t appear to be loud enough; the guitar solos were low volume and barely present. Overall, the band’s performance seemed … dull. The band—notable for being the closest thing to Bruce Springsteen within modern music—decided for some reason to cover Stone Temple Pilots’ “Interstate Love Song” toward the end; they closed with “The Backseat,” which was probably the best song of their set.

Too little, too late.

“I like them; they were on my list of bands that I wanted to see,” said Karen, who came all the way from Toronto.

However, she was honest about the band’s performance.

“I enjoyed them, even though the sound wasn’t perfect. It was still worth seeing.”

The eccentric and renowned Dinosaur Jr. performed on the Outdoor Theater stage at 5:10. The Massachusetts band—known for lead guitarist and vocalist J Mascis’ perfection of the art of feedback—offered a variety of songs from throughout their career. The band’s sound—which could be described as a combination of hardcore-punk, metal and psychedelic rock—made them a perfect act to follow Kurt Vile and the Violators. Mascis’ Marshall stack amps were arranged in a feedback zone that he moved in and out of between vocals; on couple of songs, he ceded lead vocals to drummer Murph and bassist Lou Barlow. Toward the end of their set, Dinosaur Jr. played a cover of The Cure’s “Just Like Heaven,” in their own unique sound.

Rodriguez—the subject of the documentary Searching for Sugar Man, which won Best Documentary Feature honors at this year’s Academy Awards—took the stage in the Gobi tent at 6:35 p.m. to an audience of die-hards excited to hear the newly famous Detroit musician, whose music became the soundtrack for the anti-Apartheid movement in South Africa, unbeknownst to Rodriguez. Rodriguez’ folk sound, however, presented a problem: At the same time, Social Distortion was blasting throughout the entire festival; Tame Impala was performing in the nearby Outdoor Theater; and James Blake was performing in the neighboring Mojave tent (with Rza of Wu-Tang Clan making a special appearance during Blake’s set).

When Rodriguez walked on to the stage, he was guided on each arm to his guitar and microphone due to the inoperable glaucoma that’s causing him to go blind. When Rodriguez began his performance, the other bands easily drowned him out. Still, his fans got as close as they could to try to hear him. His performance of “I Wonder” early in his set led to loud applause when fans heard the opening bass line.

Despite all of the noise, Rodriguez and his backing band were on the ball. Fans began to trickle in after James Blake and Social Distortion were finished, just as Rodriguez began “Sugar Man,” which sent smartphones up into the air to capture video or shoot photos. After a folk-sounding cover of Little Richard’s “Lucille,” Rodriguez began to lose a portion of the audience to some of the other performers about to go on stage, but nonetheless, Rodriguez delivered a strong performance until the very end.

Regarding the art exhibits of Coachella: When the sun sets, the night time is the right time, because many of the exhibits have lighting that makes them visually stunning. On Sunday night as Vampire Weekend played on the main stage, the exhibits in the areas closest to the main stage came alive for one last night.

The Balloon Chain looks more impressive at night as it moves through the festival with balloons lit and streaming across the night sky. Mirage lights up at night, putting an impressive accent on the Frank Lloyd Wright-inspired structure. The Do LaB’s teepee-style tents glow at night, bringing out the different shades of the fabric.

One exhibit that grabbed attention throughout the weekend was the Poetic Kinetics’ PK-107 Mantis. A cherry-picker-like structure with wings that look like they came off a jet fighter, Mantis moves up and down, looking like a giant, robotic praying mantis.

Lindsay, attending the festival all the way from Ireland, stood and watched it with curiosity

“It’s quite spectacular. It really stands out at night time,” he said.

Another attraction that could be seen moving around the festival at night were the Electric Butterfly Effect butterflies. They were illuminated in neon colors and looked like they were really moving.

In the evening, nothing is better than a ride on the Ferris wheel—one of the festival’s most popular attractions. Despite an $8 ticket price, there was a long line on Sunday night.

A couple offered a very sentimental take on their Ferris wheel experience, stating that from up above, you can see the diversity of the festival. “You can see music bringing everyone together,” said Karen from Pasadena.

Her friend, Matt from Palm Desert, agreed.

“It’s such a great thing to get all these people together. It was kind of epic seeing everything up there going on at once,” he said.

When it came to the last of the musical performances, the main stage seemed to lose a large percentage of the attendees’ interest.

After the sun went down, Nick Cave and the Bad Seeds took the stage, at 8:40 p.m. Cave’s dark songwriting—referencing the Old and New Testament, plagued characters, and sometimes heartfelt sentiments—make him an unusual performer, and several people didn’t know what to make of him. As he walked onto the stage—backed by a children’s choir and with a woman doing sign language in front of the video monitor on the right side of the stage—he didn’t have much of a crowd. As he started his first song, “From Her to Eternity,” the choir provided a drone to Nick Cave’s howling of the lyrics.

While performing “Deanna,” the crowd sang along to the chorus of “Oh, Deanna, D-e-anna,” giving Cave the crowd participation he deserved, before a good chunk of his audience moved over to the Outdoor Theater to wait for Wu-Tang Clan.

If there was one important lesson to be learned during Coachella 2013, it’s this: Wu-Tang Clan ain’t nothing to … mess with.

Wu-Tang attracted an audience at the Outdoor Theater that went into to the Main Stage area, around The Do LaB, and near the Gobi tent. Wu-Tang, backed by a large orchestra, rocked the audience with their hard-core hip-hop anthems from their legendary Enter the Wu-Tang (36 Chambers) album. Wu-Tang’s energetic set ran into the end of Nick Cave’s set and into the beginning of Red Hot Chili Peppers set, holding the audience even as the Peppers took the stage. After Wu-Tang finished their set and wished the fans a happy late 4/20, the crowd at the quickly moved to the main stage area.

Last week’s performance by the Red Hot Chili Peppers was plagued by a windstorm, and it seems that last week’s attendees didn’t get to see the full stage show by Hall of Fame inductees. The band’s full stage show, with video monitors and much more colorful lighting, seemed to help the band perform a little better. Unfortunately, the set list didn’t offer much of their early ’90s classics other than “Give It Away.”

While the Coachella 2013 lineup seemed a little lackluster, and too many performances were plagued by technical problems, scheduling problems, and various other problems, the event was nonetheless solid and a full experience for those in attendance.

It’s definitely hot out here.

The second day of the second weekend of Coachella 2013 featured high temperatures in the 90s by mid-afternoon. But despite the heat, most of the attendees were having a good time.

Still, many sought shade under the Mirage art exhibit, designed by Paul Clemente of Los Angeles. Mirage, a Frank Lloyd Wright-looking housing structure, was crowded in the open spaces under the roof.

“It’s pretty hot, but not too unbearable,” said John, from Santa Monica. “It bothers me a little bit, especially right now.”

The Helix Poeticus—a large mechanical snail that moves around—was close by, attracting the curiosity of attendees who were snapping photographs and touching it as it slowly slithered around the main stage area, close to Mirage. Eric Hendricks, from Orange County, was in awe.

“I love it; I love the interactiveness of Coachella with the people,” he said.

However, there was a potential downside.

"It’ll run you over if you’re not paying attention,” Hendricks said.

The Do LaB, a long-running exhibit at Coachella, features live DJs in an area within teepee-like structures. “The vibe is great, and there’s a lot of bass,” said an Indio man coming out of The Do LaB. The dance floor and the DJ stage resemble a smaller version of the dance parties once shown on MTV’s Spring Break.

On the subject of electronic dance music, Saturday’s lineup of EDM artists was featured in the Mohave tent as well as the large EDM-featured Sahara Tent.

Major Lazer took the Mojave stage at 6:25 p.m. on Saturday to a full house that extended to areas around the stage. Jillionaire and Walshy Fire jumped around, barking orders to the crowd to jump, put their hands up, and remove their shirts and toss them into the air. The people obeyed, sending a collage of various colored shirts into the air. Diplo stayed at the mixing board, offering remixes of songs from Nirvana, Damian Marley and Yeah Yeah Yeahs. Toward the end of the set, the group was joined by 2 Chainz, who performed earlier in the day.

The EDM in the Mojave and Sahara tents drew a large chunk of the crowd, trying to get a peek at artists such as Grizzly Bear and Fedde Le Grand. The main stage and the outdoor theater saw drops in crowd sizes between 6 and 8:30 p.m.

The ‘80s British ska band The Selecter took the stage at 7:10 in the Gobi tent to a small crowd. Many of the attendees had most likely never heard of the group, yet were dancing and bouncing around to the band’s anthems such as “On My Radio,” “Missing Words” and “Too Much Pressure.” The crowd had very few people “skanking”—a signature dance move done by ska devotees. But regardless, attendees couldn’t resist dancing or bouncing.

Punk icons the Descendents took the outdoor theater stage at 9:05. Milo Aukerman walked on and started playing “Everything Sucks” with some technical difficulties (the volume was too low) to a smaller-than-expected crowd. The band only plays a few shows a year due to Milo’s gig as a “plant researcher” at DuPont, and he chooses his vacation days wisely when it comes to touring. Still, the band had incredible energy and managed to pull in an audience that increased in size throughout the entire set. Milo read off a list if “punk commandments,” some of which were “thou shalt not commit laundry” and “thou shalt not take the van’s name in vain.” During what seemed to be a longer set than last weekend’s show, the Descendents looked happy and energetic.

The EDM presence remained strong through the evening. Moby … ahem, DJ Moby was performing at the Sahara, which was packed to capacity with an overflow. Moby, dressed in a Black Flag T-shirt, jumped up and down to pump up the crowd. He moved between fast-paced beats, ambient, trance, dubstep, and even a few cuts from his own albums. The visuals that flashed through the video screens were at times psychedelic, somewhat chaotic, and breathtaking. 

As The xx prepared to take the main stage, with Franz Ferdinand scheduled to play in the neighboring Mojave tent, DJ Moby’s audience began to thin out.

While Phoenix played on the main stage, New Order headlined at the Mojave tent. For a moment, it felt like a Metallica concert: New Order used the same intro as Metallica, Ennio Morricone’s “The Ecstasy of Gold.” When Bernard Sumner and the rest of the band took the stage, Sumner addressed a technical difficulty, thanking the sound engineer for failing to fade properly.

While Sumner (guitar and vocals) and Stephen Morris (drums) both look like they have aged into AARP status, make no mistake: They still rock! While Peter Hook is sitting out this reunion (and took a shot at the band in the press by referring to them as a “tribute band”), Tom Chapman fit in nicely on bass guitar.

Throughout the set, Sumner took shots at main stage headliner, Phoenix. “Thank you for being here instead of over there,” he said. Later on, he said—while experiencing technical difficulties in between songs—that they were out to prove to Phoenix that louder doesn’t mean better.

New Order played songs from throughout their career. “Your Silent Face,” from 1983’s Power, Corruption and Lies, featured a makeshift film in the background that made light of mankind’s destruction, showing shipwrecks off the shores of beautiful islands, helicopters flying over ravaged cities, shanties in parts of Los Angeles, and a big tidal wave hitting homes on the L.A. coast line. The band’s performance of “Blue Monday,” their hit single that was later covered by Orgy in the late '90s, delighted the audience. The former Joy Division members paid tribute to the late Ian Curtis with a portrait of him appearing on the backdrop as they played “Love Will Tear Us Apart.”

While I was leaving, I had one question in mind: Phoenix who? Performances on other stages stole the show from the early evening until the very end.

Photos by Noelle Haro-Gomez

The Dropkick Murphys’ set during Weekend 1 of Coachella seemed … off. The performance by the Boston-area band seemed cut in half, and the band only played a string of songs off their two most-recent albums.

Of course, a lot has happened in the week since that performance.

Dropkick Murphys have always had a soft spot for their hometown and have never held back in expressing their love for their city.

The Weekend 2 appearance of Dropkick Murphys, of course, came a day after the capture of Dzhokhar Tsarnaev. As the world now knows, he and his older brother, Tamerlan Tsarnaev, allegedly planted two bombs that exploded at the Boston Marathon, and killed one police officer.

The Dropkick Murphys’ style of including Celtic music in their punk-rock sound has always made them a popular live act around the world. The band has always included their hometown of Boston as a theme in their music, and even recorded the song “Tessie” for the Boston Red Sox. They also play a series of shows throughout various venues in the city on St. Patrick’s Day every year.

As one of the darkest weeks in Boston’s history unfolded, the band again did their hometown proud, raising more than $60,000 this week with a collector’s edition T-shirt they sold via their website for victims of the bombing.

The band’s intro music—The Chieftains’ “The Foggy Dew,” featuring Sinead O’Connor on vocals—played before the band took the stage earlier today. The band’s road crew struggled to secure a flag featuring the seal of the city of Boston, and they eventually took down due to technical problems. The band opened up the set with “For Boston,” the first song off their 2001 album Sing Loud, Sing Proud. The large crowd that gathered at the main stage screamed the lyrics back to the band.

“We’d like to thank everyone for their support for our hometown of Boston,” said Ken Casey, bassist and vocalist of Dropkick Murphys. Casey and lead vocalist Al Barr traded the lead vocals on several songs.

The crowd was energetic, even in the hot sun, breaking out into mosh pits and crowd-surfing. (See the photo gallery below) The band asked people to “put their arms around their neighbor and do an Irish jig,” the crowd obeyed, despite the blistering heat.

Al Barr ran down to the crowd level and stood on the security fence to sing during many of the band’s songs.

Dropkick Murphys played several of their fast-paced Celtic/punk rock songs, but they also played some of their sentimental ballads, including the song “Rose Tattoo” from their new album, Signed and Sealed in Blood. Dropkick Murphys were joined by The Pogues’ accordion player James Fearnley last week; this week, the crowd was treated to Gordon Gano from Violent Femmes, who followed Dropkick Murphys on the main stage. Gano played the fiddle on “Captain Kelly’s Kitchen.”

The band closed their memorable set at Coachella Weekend 2 with “I’m Shipping Up to Boston” after stating that they were happy to be headed home to be with their families.

Have a safe journey home, boys. You did your city proud at Coachella.

Coachella Weekend 2 is officially under way.

While this weekend is essentially a repeat of last weekend, there was still a great deal of excitement and anticipation in the air.

“There are some awesome bands and great weather. It’s going to be a good time,” said a man from Calgary as he went through one of the security lines.

There was even excitement among the bands playing at the festival. “We are very excited to have opened the main stage,” said Lorna Thomas of Skinny Lister. “The crowd was up for it today, and we had a good time, and it was a great gig.”

Art installations are widespread throughout the grounds. One exhibit that caught my eye on Day 1 was called The Coachella Power Station, designed by Los Angeles artists Derek Doublin, Vanessa Bonet and Chris Wagner. It looks like a model of a power station, with costumed workers wearing white jumpsuits and horse masks. It isn’t very clear what they are doing, but they open tool boxes and stuff the mouths of their masks with plastic imitations of wood and grass chunks.

“I love it,” said Ramin Omid, from Marina Del Ray, Calif. “I’ve been coming here for 10 years, and I’ve never seen anything like this.” When I asked him what he thought about the costumed individuals inside the exhibit, he laughed and said, “They look like nuclear engineers to me.”

Another exhibit makes rounds throughout the festival. Balloon Chain, developed by Robert Bose, from New York City, is a kite-like chain featuring numerous helium balloons, pulled by individual operators who allow attendees to take hold of them for a few moments. When Andy with Balloon Chain allowed me to take control of the handle, the pull of the 1,800-foot-long cord with small balloons was incredible. “When the wind picks up, it’ll drag you across the ground,” Andy said. “Last weekend, we did shorter lines due to the wind. Last Sunday night, it was really windy, and we had to bring the Balloon Chain down.”

For those who are looking to cool down, Heineken’s air-conditioned “Dome” is an inflatable dome featuring a bar and a dance floor, complete with live DJs. “It’s super refreshing,” Paloma Martinez of Los Angeles said. “The music inside here is definitely different than what you hear out there.”

If you ever wanted to learn more about the subject of drinking water, the Oasis Water Bar is the place to go. “We’re sharing with people where our water comes from, and some potential places where our water might come from in the future,” the Oasis employee explained to me, before handing me a survey sheet asking questions, like: Do I own a water bottle? Do I drink tap water at home? Do I order tap water or bottled water in restaurants? Participants then receive a sample of one of the various waters; the one I tried was called “Moonshine Secret Sauce.”

It tasted just like water.

When it comes to music, Coachella Day 1 definitely featured some noteworthy performances.

Johnny Marr—former guitarist with The Smiths—played mid-afternoon inside the Mojave Tent. Walking onto the stage with a rose in his mouth, he opened his set with the opening track on his newly released debut album, The Messenger.

“Is anyone smoking pot? I know someone is!” Marr said in between songs, earning a laugh from the crowd. He asked the guilty individual to raise his hand; one attendee then pointed out the man to the rest of the audience.

“Here’s one you know,” Marr said before he started The Smiths’ tune “There Is a Light That Never Goes Out,” which electrified the audience and led to a sing-along. Marr closed his set with the Smiths’ hit “How Soon Is Now,” which gave the crowd another opportunity to sing along to a song they actually knew.

Reggae legend and producer Lee “Scratch” Perry appeared in the Gobi tent for an early evening performance. Perry, known for producing Bob Marley, was colorfully dressed in attire inspired by punk rock and Rastafarianism. Perry’s reggae sound has always been eccentric and nontraditional; he was accompanied by a dubstep DJ and a reggae band.

Following Lee “Scratch” Perry was former Dead Kennedys frontman Jello Biafra and his band, The Guantanamo School of Medicine. Biafra, who once ran for president on the Green Party ticket, is known for his heavy political themes in his music; he referenced the debate on firearms and people who fear having their guns taken away.

“If that were ever to happen, I’d get out my lawn chair with a glass of lemonade and watch it,” Biafra said to the audience.

Biafra taunted the audience with his strange facial expressions and hand gestures; he resembled a punk-rock circus clown, only without makeup. He performed two Dead Kennedys songs during his set: “California Über Alles” and “Holiday in Cambodia.”

While The Yeah Yeah Yeahs are experiencing some negative reviews for their new album, Mosquito, their performance on the main stage proved the band still knows how to turn in a great live show. The band’s lead-singer, Karen O, is a pop-star diva with a little bit of punk-rock attitude. The combination of the band’s rock sound and dance elements got the crowd moving. They dazzled the audience with a performance of “Sacrilege”—backed by a full gospel choir—toward the end of their set.

While Nick Cave and the Bad Seeds are playing Sunday night on the main stage, he also performed with his side project, Grinderman, in the Mojave tent. The stage featured sets of large amplifiers on each side; amplifiers were also placed on the ground level between the security fence and the stage. When the band started playing, the ground felt like it was shaking; the feedback from the instruments was screeching enough to almost shatter ear drums. While Cave generally sings ballads and well-crafted songs when he plays solo or with the Bad Seeds, Grinderman is a harder, faster, louder experience.

A reunited Jurassic 5 took the stage at the outdoor theater at 10:45 p.m. Jurassic 5’s positive and political themed hip-hop songs brought out a laid back vibe. An oversized turntable in the middle of the stage turned out to be not just a prop; both DJs, Cut-Chemist and Nu-Mark, took turns scratching the large record and messing with the mixer. As they say in one of their songs, “we came here to entertain,” and entertain, they did. They also made mention of Public Enemy being inducted into the Rock and Roll Hall of Fame and dedicated their performance to them, stating that without Public Enemy’s influence, Jurassic 5 wouldn’t have come together.

With Damon Albarn supposedly at odds with Jamie Hewlett as far as the Gorillaz are concerned, it’s not a surprise that he is continuing the Blur reunion. Blur, who switched spots with The Stone Roses this weekend, took the stage at 11:35. The 3-D, hologram backdrop of the underbelly of a bridge was realistic; it actually looked as if the band were playing under a bridge.

The group proved worthy of being headliners. “Out of Time” had many people gently swaying side to side, singing along to the sentimental song about not having enough time to appreciate life. Of course, no Blur show would be complete without their hit “Song 2,” which made the audience scream “WOOOO HOOOO” along with Albarn.

Photos by Noelle Haro-Gomez

Stagecoach always features many of the biggest names in country music on the main stage, but the festival also offers a broad variety of artists within country music’s subgenres: Americana, alt-country, folk music, the “California sound” and some sounds that can’t quite be described.

Here’s a list of performers whose names appear in smaller print on the Stagecoach poster, yet they are great performers in their own right. Whether you’re roaming around the Empire Polo Club trying to find something different, or you’re looking for something in between performances on the main stage, here are some performers for your consideration. (And passes are still available.)

Friday, April 26

The Haunted Windchimes: This five-piece folk group from Pueblo, Colo., has a distinctive sound; they don’t define themselves as Americana, country, blues or bluegrass—but one still manages to hear all of those styles in their music. This is a band that has perfected the art of harmonies, and have written beautiful songs of redemption; I guarantee they will reassure you that the Americana sound is alive and well. They have performed on Prairie Home Companion and have a faithful following within the country-music underground that makes them one of this year’s Stagecoach bands not to miss.

Hayes Carll: Hayes Carll is what you get when you mix the writings of Jack Kerouac, the outlaw anthems of Waylon Jennings, and a bit of the softer sounds of Neil Young. An artist in the Lost Highway stable, he’s recorded some eccentric tunes that have made him popular across the music spectrum. He’s not afraid to sing about the dark places that were once popular in the outlaw-country days, in songs such as “Drunken Poet’s Dream” and “Bad Liver and a Broken Heart.” He also does a very nice cover of Tom Waits’ “I Don’t Wanna Grow Up.” He made his first Stagecoach performance in 2008 and has also performed at Bonnaroo and SXSW. He’s a delight for country fans who also appreciate rock music and/or eccentricity in songwriting.

Old Crow Medicine ShowOld Crow Medicine Show: This old-time string band was discovered busking on the streets of Boone, N.C., by Doc Watson’s daughter, and it’s been a hell of a ride ever since. After performing on Coachella’s main stage in 2010, they’re now making their first appearance at Stagecoach. They have also performed at the Grand Ole Opry, been an opening act for both Dolly Parton and Loretta Lynn, made an appearance at the 2003 Macy’s Thanksgiving Day Parade. Their song “Wagon Wheel”—co-written with Bob Dylan and later covered by Darius Rucker—will bring a tear to your eye.

Saturday, April 27

Chris Shiflett and the Dead Peasants: Most country-music fans wouldn’t think that Chris Shiflett, who plays guitar in the Foo Fighters, would be appearing at a country-music festival. On an interesting note, Shiflett has been known to sit in with the Traveling Sinner’s Sermon at Slidebar in Orange County that consists of Charlie Overbey of Custom Made Scare, Steve Soto of The Adolescents, and Jonny “Two Bags” Wickersham of Social Distortion. “Chris writes from the heart and sings his guts out, and I really respect that,” said Overbey via e-mail. “Chris is obviously a great rock guitar player in Foo Fighters and his prior bands, but it takes real versatility to front his country band, and he does it easily with style and grace.”

Honky Tonk Angels Band: According to the band’s MySpace page (who still uses MySpace?), they’re from the Inland Empire, so they’re a semi-local band playing a major country-music festival, which is always a nice surprise. When I scrolled through the band’s general info and saw that they answered their “sounds like” section with, “A drunken, Dixie fried roadhouse knife fight set to music,” I couldn’t help but to give them a listen. Sure enough, that’s exactly what they sound like … and it sounds awesome; they sound like an edgier, non-jam band version of The Black Crowes. I’m curious to see how they perform live, and how they interact with the audience, but I don’t think there’s much to worry about.

Justin Townes EarleJustin Townes Earle: When one hears the names “Townes” and “Earle,” one thinks country legacy. Justin Townes Earle is the son of troubadour Steve Earle; his father gave him the middle name of “Townes” in honor of Townes Van Zandt. Justin Townes Earle doesn’t have the same type of left-wing-themed songs as his father, and instead has his own unique style that melds rockabilly, Americana, ’50s rock ’n’ roll and early folk music. Like his father, Justin has had problems with addiction, but has seemingly put them behind him. His voice has soul, and you can feel the emotion.

Sunday, April 28

Katey Sagal and the Forest Rangers: Jeff Bridges and John C. Reilly aren’t the only well-known actors performing at Stagecoach. Katey Sagal is best known for playing Peg on Married With Children and currently has the role of Gemma on Sons of Anarchy, but she actually started in the music business as a backing vocalist in the ’70s, and sang with people from Bob Dylan to Gene Simmons of KISS. It’s no surprise that she has been singing some of the songs that have appeared in various Sons of Anarchy episodes, including a cover of Dusty Springfield’s “Son of a Preacher Man” and Leonard Cohen’s “Bird on a Wire.” The Forest Rangers have also played on some of the cover songs on Sons of Anarchy, most notably the cover of The Rolling Stones’ “Gimmie Shelter” with Irish vocalist Paul Brady.

Riders in the Sky: Riders in the Sky are another group returning to Stagecoach from the 2008 lineup. They formed in the late ’70s and are purists of the early country-Western style similar—but they aren’t afraid to include some comedy routines in their act. Bassist Fred “Too Slim” LaBour is credited by Rolling Stone as being mostly responsible for the “Paul (McCartney) is dead” rumor that turned into an urban legend after publishing a satirical piece while he was attending the University of Michigan. This trio has performed several times at the Grand Ole Opry, once had a children’s television show, and contributed “Woody’s Roundup” to the Toy Story 2 soundtrack. This is one performance that can be enjoyed by the entire family.

Charley Pride: Charley Pride is one of the best-known names in country music—and he’s also one of the few African Americans in country music. He originally intended to become a professional baseball player and even played for the Boise Yankees, once a farm team for the New York Yankees. After a stint in the Army and an arm injury, he abandoned his baseball career and started his music career. Pride struggled during the early years of his career due to Jim Crow laws; his early recordings were never released with pictures of him. In 1967, he became the first African-American performer to perform at the Grand Ole Opry. He is one of country music’s most well-respected and influential performers; this is definitely a great experience for anyone who wants to experience a performance by a legend.

If you are without a Coachella ticket, no worries: The Ace Hotel has you covered with the fifth annual Desert Gold event.

Desert Gold is an 11-day festival that coincides with Coachella, and it started with a bang on Thursday night, with DJ sets in the Amigo Room featuring the Coachella Valley’s own DJ Day; BBC Radio personality Benji B; and Flying Lotus.

DJ Day got the crowd pumping with his remixes of various rap songs and funky anthems. Benji B, known for a wide variety of sounds at the mixing board, started with a gentle instrumental and worked his way up to faster mixes before turning over the mixing board to Flying Lotus.

As the evening progressed, standing space became hard to come by, but that didn’t stop crowd's urge to dance. Flying Lotus, grandnephew of Alice and John Coltrane, whipped the capacity crowd into a veritable frenzy with his meditative and energetic infused style of electronic dance music.

Desert Gold offers events during both weekends of Coachella—and the days in between. Best of all, the events are all free to attend. You can take a swim in the pool with pool toys designed by Mark Mothersbaugh of DEVO; enjoy a wide variety of DJ sets and bands; or kick back and enjoy a cocktail inspired by one of the Coachella artists. The vodka based “Blurberry Lemonade” had hints of cinnamon and real blueberries; as strange as the concoction was, it was very refreshing.

Third Man Records—founded by Jack White—has an on-site store selling vinyl records and Third Man merchandise at reasonable prices. I was awe-struck by the selection of singles—starting as low as $6—from the White Stripes, Tom Jones, and Stephen Colbert with the Black Belles. There’s even the Jack White and Insane Clown Posse collaboration of Mozart’s Leck mich im Arsch that left many confused last year.

Third Man is also selling live albums—recorded in the Blue Room of their Nashville, Tenn., headquarters—which are normally website exclusives.

Here are some upcoming highlights:

• Miss Lily’s—a Jamaican diner, radio station and record shop from New York City—will be onsite selling the diner's famous jerk chicken on Saturday, April 13, and Sunday, April 14.

• NPR Music will be featuring live music in the Amigo Room on Monday, April 15, and a special karaoke night on Tuesday, April 16.

• Local bandleader JP Houston will also host his weekly podcast from the Amigo Room on Wednesday, April 17.

• Warp Records will be kicking off the second Coachella weekend on Friday, April, 19, in the Commune, featuring Gaslamp Killer, Flying Lotus, Warp DJs and an unannounced special guest. After experiencing Flying Lotus’ set in the Amigo Room on Thursday, I can say this is something that you don’t want to miss.

• Third Man Records will host live bands at poolside on Saturday, April 20, with performances by Carly Ritter, Courtney Jaye, Dough Rollers and Gap Dream, Y DJ Blue Jeans, and Moon Beams.

• Just like it started, Desert Gold will close with a bang, featuring a performance from Redd Kross and Coachella Valley’s very own Eagles of Death Metal on Sunday, April 21.

Desert Gold runs through Sunday, April 21, at the Ace Hotel, 701 E. Palm Canyon Drive, in Palm Springs. Admission is free, but some events may reach crowd capacity. For a full schedule, www2.acehotel.com/desertgold/schedule.