Coachella
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Kesha overhauled the opening lyric of her 2009 breakthrough hit, “Tik Tok,” when she joined Reneé Rapp on stage at Coachella on Sunday (April 14). The song famously name-drops Diddy, who faces sexual assault and abuse allegations and whose homes were recently raided in connection with a federal sex-trafficking investigation.
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In the original recording of “Tik Tok,” off of Kesha’s Animals album, she sings: “Wake up in the mornin’ feelin’ like P. Diddy/ Grab my glasses, I’m out the door, I’m gonna hit this city.”
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During Rapp’s set at the Indio, California, festival Sunday, Kesha was warmly introduced as a special guest (and also as “the hottest person on the Earth”).
Kesha arrived on stage and launched into a 2024 version of “Tik Tok,” singing: “Wake up in the mornin’ like, ‘F— P. Diddy.’” Rapp yelled this out with Kesha, with both pop stars giving the middle finger at the same time.
And just in case anyone thought they misheard that lyric, Kesha made it loud and clear with a tweet following her surprise appearance at the fest.
WAKE UP IN THE MORNING LIKE FUCK P DIDDY— kesha (@KeshaRose) April 15, 2024
“WAKE UP IN THE MORNING LIKE F— P DIDDY,” Kesha wrote on X (formerly Twitter) Sunday night.
Rapp and Kesha have previously shared the stage, performing the latter’s “Your Love Is My Drug” in Brooklyn in November. “Getting to sing with one of your idols, who is unapologetically perfect, is so insane,” gushed Rapp, who at the time said Kesha was one of the artists “who shaped who I was as a kid, and made me want to be sexy, and funny, and exciting, and outrageous, and loud and, most of all, really f—ing sexy.”
“Tik Tok” was first released in 2009 and topped the Billboard Hot 100 chart in early 2010, spending nine weeks at No. 1.
See the Diddy lyric change and their “Tik Tok” collab at Coachella below.
Over the past years, Coachella has been committed to integrating regional Mexican music into its lineup, with previous performers including Banda MS, Grupo Firme, Natanael Cano and Los Tucanes de Tijuana. This year, among the música mexicana stars were Peso Pluma and Carin León, both making their Coachella debut this year — a nod to the genre’s continued global and mainstream rise.
On Sunday (April 14), before León took the main stage around 5:30 p.m. to chants of “Carin, Carin,” a video played showing images of the singer face-to-face with a potent lion who runs wild across a desert. The ferocious animal is then immortalized onstage with a massive wooden-shaped lion wearing a tejana (cowboy hat) erected in the background.
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The sun was beginning to set in Indio, Calif., when León took the stage, and it was the perfect vibe for his soulful tunes and tremendous vocals that roared across the desert and pulled spectators that perhaps had never heard of the Sonora-born artist. With his live band — consisting of more than 20 musicians that played the tuba, accordion, guitars and drums, among other instruments — León didn’t hold back in his performance, understanding the significance of this moment on the main stage.
“Viva México chingada madre,” he said, extra prideful of being Mexican, and representing a genre that has long been a backbone of Latin music. “Dónde están dolidos (Where are those who are hurting)?” he asked, setting the tone for a set that could mend broken hearts. He began singing the hits early on, not wanting to waste a minute, from “Me La Aventé” to “Te Lo Agradezco,” “Corazón de Oro” and his bilingual country song with Kane Brown, “The One (Pero No Como Yo).”
It didn’t take long for León to get ahold of a Mexican flag, which he held onto tightly. He then burst into the hip-swiveling “Que Vuelvas,” his collab with Grupo Frontera. Of course, it was a perfect opportunity for him to showcase his mesmerizing dance moves that have now become a staple at his shows. The irresistible huapango “La Boda del Huitlacoche” followed, which inspired a massive sing-along, and fans couldn’t help but show off their zapateado moves, literally dancing up a storm in the desert.
He transitioned to rock en español with a spot-on cover of Hombres G’s “Te Quiero.” And after that, he brought out Mau y Ricky for “Llorar y Llorar,” marking the duo’s first time at Coachella. Nearing the end of his almost 50-minute set, he winded down with a fan-favorite, “Si Una Vez,” honoring one of the greats, Selena Quintanilla, and then went on to perform “Primera Cita.”
“Thank you for this first time,” he said before stepping off the stage. “Arriba la raza, arriba Coachella, but more than anything, arriba la música.” He closed with the hit song “Según Quién,” his 2023 collab with Maluma.
Other Latin artists who performed at Coachella this year included Young Miko, Bizarrap, Santa Fe Klan, Ludmilla and J Balvin, who was night three’s pre-headliner (just before headliner Doja Cat).
León is also set to also make his Stagecoach debut on Friday, April 26.
Grimes is apologizing for her set at Coachella 2024.
On Sunday morning (April 14), the 36-year-old musician took to social media to share a lengthy statement about the “technical issues” during her Sahara tent performance at the Indio, Calif., music festival on Saturday night.
“I want to apologize for the technical issues with the show tonight. I wanted to come back rly strong and usually I always handle every aspect of my show myself – to save time this was one of the first times I’ve outsourced essential things like rekordbox bpm’s and letting someone else organize the tracks on the sd card etc.,” Grimes began her message on X (formerly Twitter).
“i had a bad feeling beforehand not having run everything thru the cdjs myself and tho I flagged it I wasn’t insistent. the big lesson for me was a mix of 1 if u want it done right, do it yrself 2 be a c–t even if ppl feel bad 3 probably pretend it’s fine and engage w the crowd rather than spend a whole show slumped over the desk trying to fix software when ur meant to be entertaining.”
At about the halfway point of her 50-minute set, Grimes was forced to restart “Music 4 Machines” multiple times because the track was playing at double the speed.
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“This s— always f—ing happens, all my tracks are twice as fast so I’m not mixing very well, so I’m going to keep trying, and I appreciate you being here,” she told the crowd. “There has never been a Grimes show without a major technical difficulty. But yes, it will continue.”
Fan-captured video of Grimes’ Coachella set shows her yelling out in frustration over the “major technical difficulties” during the performance.
In her statement on X, she continued, “I will personally organize all the files next week. I will not let such a thing happen again. I’ve spent months on this show, making music and visuals, and admittedly am not in the best mood atm … But, yeh – next week will be flawless, everything will run thru my hands.”
Grimes closed her note, writing, “Some good lessons learned. Bless y’all. The cdjs were showing me bpms like 370 so I couldn’t even mix manually by ear and the front monitors were off so it was literally sonic chaos on my end trying to guess how stuff was sounding for u guys … Plz forgive me! Love, always.”
Day three of Coachella continues on Sunday (April 14) with performances by Doja Cat, J Balvin, Jhené Aiko, Lil Yachty, and many more.
See Grimes’ Coachella apology on X below.
I want to apologize for the technical issues with the show tonight. I wanted to come back rly strong and usually I always handle every aspect of my show myself – to save time this was one of the first times I’ve outsourced essential things like rekordbox bpm’s and letting…— 𝖦𝗋𝗂𝗆𝖾𝗌 ⏳ (@Grimezsz) April 14, 2024
Taylor Swift and Travis Kelce made a surprise appearance at Coachella 2024. The pop superstar and Kansas City Chiefs tight end showed their support for some of the singer’s musical collaborators at the popular Indio, Calif., musical festival on Saturday night (April 13). Swift and Kelce were spotted backstage at the Mojave tent to watch […]
One year after his onetime Odd Future collaborator Frank Ocean headlined the Coachella main stage on weekend one (to general bafflement from the public), Tyler, the Creator took a crack at the festival’s Saturday headlining slot with a fierce, visually arresting performance of some of his best-loved tracks. Throughout the rapper’s roughly 80-minute performance, he […]
When No Doubt broke through with “Just a Girl” almost 30 years ago, it was instantly clear that frontwoman Gwen Stefani wasn’t “just” anything. And at a main-stage reunion Saturday night (April 13) at Coachella, Stefani proved that the band’s debut hit — and the band itself — remains as vital as ever in its […]
Under the blazing desert sun, chants of “Mexico” echoed through the Coachella Valley. Santa Fe Klan emerged, his accordion in hand, as a massive silver inflatable “SFK” loomed behind him. His Coachella debut on Saturday (April 13) at 4:45 p.m. PT was a memorable moment.
Kicking off with the infectious rhythm of “Cuidando El Territorio,” the rapper wasted no time amping the crowd’s energy. “¡Y arriba México, cabrones!” he shouted, igniting a wave of Mexican pride that swept through the audience at the Coachella main stage.
Sporting an oversized black jersey emblazoned with the numbers “473,” the area code of his native Santa Fe, Guanajuato, the wordsmith delivered a riveting showcase. From the gritty bars of “Cypher” to the heartfelt melodies of “Mi Vicio,” and the poetic prowess of “Luna y Mar,” he effortlessly blended rap, cumbia, and Mexican symbolism.
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Accompanied by a crew of dancers clad in bulletproof vests, army cargo pants and bandanas, and a full band consisting of a drummer, bassist, guitarist and DJ, the Mexican star’s presence was undeniable. As he picked up his accordion, the crowd erupted into a frenzy, ready to dance to the infectious cumbia sonidera of “Soledad.” “Vamos a bailar cumbia,” he asserted.
But his performance was more than just music — it was a celebration of Mexican culture, the barrio life and resilience. “Con la bandera arriba, ¡que se sienta México!” he exclaimed, expressing gratitude to his fans and honoring his heritage.
Guest appearances added to the spectacle, with poet/rapper Nanpa Básico from Colombia joining SFK on stage for a soulful rap rendition of “Te Iré A Buscar.” Later, “Tornillo” took the spotlight, delivering a powerful performance of “Un Día Todo Se Termina (Remix)” alongside the star of the show.
Midway through his set, the artist took off his shirt to demonstrate his fully tattooed body with stunning portraits of Mexican idols like Chalino Sánchez and Pedro Infante.
As his set drew to a close, the Guanajuato native paid tribute to his late comrade Lefty SM with a heartfelt rendition of “Por Mi Bandera,” from their joint 2020 album Necesidad. Mexican flags waved proudly, decorating the desert as Santa Fe Klan’s growing legacy echoed through the Coachella Valley.
The day before, on Day 1 of the festival, Santa Fe Klan surprised fans during Peso Pluma’s set with an electrifying rendition of “NO SON KLLE,” cementing his status as a force to be reckoned with.
A small earthquake near Coachella on Saturday (April 13) shook the Southern California desert, where the famous music festival is being held this weekend. No damage or injuries were reported. Explore Explore See latest videos, charts and news See latest videos, charts and news The quake, with a preliminary magnitude of 3.8, hit at 9:08 a.m. local […]
04/13/2024
Plus, highlights from Justice, Chlöe, Deftones, Sabrina Carpenter, Peggy Gou & more Friday performers.
04/13/2024
Not only did Lana Del Rey start her Coachella headlining set early, but her entry was epic.
On Friday, April 12, at 11:16 p.m. the festival main stage screens showed an aerial view of Del Rey and her entourage rapidly approaching. As she neared, it became clear her crew was not rolling up on the expected golf carts that often shuttle stars around the Indio, Calif. fest, but rather motorcycles. And as a snippet of her never-to-be-officially-released song “Jealous Girl” played – with the lyric “Baby, I’m a gangster too” on loop – Del Rey’s motorcade took a lap through the crowd as she smiled and waved to the thousands of fans gathered for this very moment.
“What’s up, Coachella,” she asked casually, after making her way to center stage and offering a small smile before performing “Without You” into a fusion of Sublime’s “Doin’ Time” with “Summertime Sadness.” “I’m so happy to be here,” she added with another faint, and even briefer, smile. But keep in mind, this is Lana Del Rey – sad girl pop president and eternally committed to the bit, whether she’s headlining Coachella or not.
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As such, her demeanor matched the elaborate set design that looked much like a dilapidated version of the Gatsby Mansion long after it had thrown its last party. Making it, of course, the perfect imaginary scene for Del Rey to host a late-night shindig of her own complete with a swing band and roaring 20s-inspired backup dancers.
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Early into the set, Del Rey noted that she last played Coachella “exactly 10 years ago to the day” (during which she debuted single “West Coast”), before softly speak-singing, “We’re still doing it.” Yet, it’s not the fact that she is still here a decade in that’s impressive, but more so that she is still entirely and unapologetically herself after so many years – or at least, that the persona of Lana Del Rey is still so intact. In fact, across her nine studio albums, Del Rey has seemingly become even more herself, taking bigger experimental swings and offering longer, more eyebrow-raising track titles along the way.
And tonight, her headlining set seemed to be a quiet celebration of such, during which Del Rey sauntered across the stage performing career-spanning hits that, in a festival setting like Coachella, felt almost like underground gems that she was carefully unearthing. Even the expected “headliner stunts” were delivered with a delicate touch: She performed “Ride” while slowly spinning from within a circular, leaf-covered swing; delivered a gorgeous a cappella rendition of “The Grants” alongside her trio of backup singers; and, most notably of all, sang “Hope Is a Dangerous Thing for a Woman Like Me to Have – but I Have It” via hologram accompanied by collaborator and close friend Jack Antonoff on piano, who co-produced the track. (Earlier in the night, she was joined by Jon Batiste on piano for an extended version of “Candy Necklace.”)
The hologram – though a bit morbid, especially considering the lyric, “Hello, it’s the most famous woman you know on the iPad/Calling from beyond the grave” – perfectly punctuated the spirit of the set. As evidenced by her closing song selection of “Young and Beautiful” (which was prominently used in The Great Gatsby), it became increasingly clear that Del Rey had come to make a statement.
As she sings on “Young and Beautiful: “I’ve seen the world, done it all, had my cake now. I’ve seen the world, lit it up as my stage now.” All the while, the song’s primary question loomed: “Will you still love me when I’m no longer young and beautiful?”
Earlier in the night, Billie Eilish delivered an affirmative answer.
Following online rumors that the superstar would be making a guest appearance during Del Rey’s set (an artist Eilish has long been a fan of), she appeared toward its end atop the arched trellis to duet on “Ocean Eyes” and “Video Games” with Del Rey. After the two were done, they sat a moment longer, seeming genuinely stunned by one another’s presence. “Get the f–k out of my face,” laughed Eilish, speaking to her hero.
“Yep, that’s the voice of your generation, the voice of our generation,” replied Del Rey. “I”m so f—ing grateful she’s standing next to me right now.” To which Eilish replied: “This is the reason for half you b—-es existence, including mine.”
That simple sentence cut to the core of the evening. Sure, the set was spotty at parts – with moments of darkness and silence in between many songs and a handful of issues with mic volume, all of which Del Rey audibly called out. And yes, Del Rey’s soft-spoken tendencies on and off stage may have not made her the most obvious headlining act to kick-off Coachella. But it’s her impact that remains undeniable.
But don’t take my word for it, take it from “the voice of our generation.” The artist who we may not have had it not been for an artist like Lana Del Rey doing what she has and will always do best: being Lana Del Rey.
As she delivered the final note of “Young and Beautiful,” the band picked up steam and her dancers reappeared with champagne bottles in hand as fireworks exploded into the night sky – all the makings of a signature Gatsby blowout. And as Del Rey rode off on motorcycle, just as she came in, the party on stage continued long after she was gone. And that’s the point.
Her undeniable impact is also unforgettable – and exactly what makes Lana Del Rey the icon she is. And one well worth the celebration.