yo la tengo tour 2023 setlist

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Yo La Tengo  

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Yo La Tengo is an indie-rock band formed of husband/wife Ira Kaplan and Georgia Hubley originating from Hoboken, New Jersey, U.S.

The name Yo La Tengo means “I have it” or “I’ve got her” in Spanish and is due to the band not wanting a name with any English connotations.

The band’s first two LP entitled “Ride The Tiger” and “New Wave Hot Dogs” released on Coyote Records were the first glimpse of real potential for the band, and their follow up to it “President Yo La Tengo” almost sealed their fate in becoming a seriously well-acclaimed band.

The band is defined by their experimentation, their unwillingness to repeat past successes, their proclivity for space-rock drone sounds, jagged guitar, and unorthodox covers. They epitomise the obscure complexities of garage rock without any of the pretence familiar with indie-bands attempting to achieve cult status.

In 1993 Yo La Tengo joined forces with Matador Records and their first album on the new label “Painful” was produced by Roger Moutenot, who continued to produce all of their subsequent albums until 2013’s “Fade.” It was also the first album to feature James McNew on all of the songs. James McNew had been drumming solo under the moniker Dump before joining Yo La Tengo and his arrival gave the band a new emphasis, taking them to new heights.

After more than 30 years Yo La Tengo's albums have hit double figures, most of which were received with universal critical acclaim, yet the band are still challenging themselves, finding new ground to tread and new perspectives to view from.

Live reviews

Tuesday 20th October. Shepherd’s Bush Empire. Yo La Tengo. I have written before about what makes a great gig and there are many variables; beer, the music, friends, energy, lights and personal frame of mind. I come to this gig with my son in hospital but decided to still come to provide a temporary distraction.

Yo La Tengo have been going for years and have a produced a fine array of esoteric albums taking in a whole variety of styles sometimes within the same album. They are over touring in support of their new largely covers album.

Gruff Rhys of Super Furry Animals opens the night with a solo acoustic set that was difficult to hear and even more difficult to see as he was sat down and Shepherds Bush Empire has at best a flat floor and at worst an inverse camber.

The stage is sparsely dressed with easels of paintings from the band and friends and family and we await what will be an acoustic show complete with upright bass and drums just played with brushes. The only exception the electric guitar of on off band member Dave Schramm.

It’s a quietly hushed affair as the band cover songs by everyone from the Cure to the Bonzo Dog band. The music is beautifully played and works well particularly for the three part harmonies but ultimately the first hour doesn’t really go anywhere. It’s all a bit one paced and with no real variation in tone or mood. Second half picks up after Friday I’m in Love but ultimately we’re not taken on any sort of journey. Highlight was probably Rhys joining the band for Rings around the world.

We talked in the pub beforehand about seating in the Empire and afterwards I felt that this particular gig would have really benefitted from being all seated. The lack of energy on stage translates to the audience and I was surprised that anything tonight generated the odd woop after each song.

I maybe doing the band a disservice as my mind could have been distracted but isn’t that the whole point of music. To take you to another place. It did but unfortunately for me the blandness overtook the beauty in this grey countryside that lacked any other colour.

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Yo la Tengo is one of the most hardworking bands in the music industry consistently cranking out great albums and touring regularly. Their music translates best when performed live as the band experiments with bold and interesting sounds that keep the audience thoroughly engaged. For a three-piece band, Yo la Tengo holds its form quite well. Drummer, Georgia Hubley, holds down the rhythm with her atmospheric style of playing and often lends her vocals to create a beautiful Nico-esque quality of singing, James McNew plays intricate rhythms on the bass helping put form to the song when guitarist, Ira Kaplan experiments with crazy, howling tones on his guitar. Yo la Tengo are masters at taking complete cacophonic sounds and turning them into a beautiful, catchy melody. Perhaps the best part about a Yo la Tengo show is when they veer off from traditional form into an impromptu jam session incorporating shoegaze guitar playing into the mix. This band has been together for quite some time and knows exactly how to play off of each other.

It is quite clear from a Yo la Tengo performance that they are not only incredibly knowledgeable about how to play their instruments, but they are also incredibly knowledgeable of their musical history incorporating many different styles of playing into their performance. They also have a wide range of obscure covers they perform live including artists such as Daniel Johnston, Booker T. & The MG’s, and Small Faces. Yo la Tengo is always doing something unique when they perform live, whether its splitting up their set into acoustic and electric sets or using a giant spinning wheel to dictate the songs they perform. Yo la Tengo was also very accommodating to their audience when I saw them perform by honoring the wishes of the audience’s song selections.

There are evident reasons why Yo la Tengo has a strong cult following and are recognized as “the quintessential critic’s band”. When going to a Yo la Tengo concert you will never know what to expect, except a great time of music making.

Yo La Tengo is an indie rock band formed of trio Ira Kaplan (guitars, piano, vocals), Georgia Hubley (drums, piano, vocals), and James McNew (bass, vocals). Although the band haven’t exactly hit the mainstream, they nonetheless have a great cult following and their fans are some of the most devoted, crazy fans around. And you can see why. The band is magnificent live. They incorporate a spacey rock sound with experimental instrumentals and obscure and complex arrangements. They are not your typical indie sound by a long shot. I was not expecting such a distinct sound from a rather plain looking band, in all honestly. And while their image may be nothing significant, their music certainly makes up for this. Jam sessions, impromptu shoegazing, haunting vocals and steady drum beats only start to summarise this band. They have been together for a long time and their chemistry and connection with each other is apparent from the very start. In fact, two of the band members are actually married so that probably answers just why they appeared so intimate with each other…

Indie rock outfit Yo La Tengo are the original critics darlings with the majority of their studio albums achieving high ratings on Metacritic indicating universal acclaim from the global media. When you carry a reputation of this weight, a fanbase materialises with very little need of promotion mainly due to the curiosity to find out if there is substance and reason to the hype.

Fortunately the way in which the New Jersey instrumentalists conduct their live show is more than reason enough to believe the high acclaim. Despite having gained a reputation as one of the most innovative cover artists of recent years, the band sticks mainly to original work tonight and hold the crowd in a curious concentration as they remain entranced by the three musicians recreating their work. Perhaps it is due to the high level of proficiency and skill they all attain as every instrumental seems to become more complex and the applause grow ever louder. The cover of 'Behind That Locked Door' by George Harrison ends the evening of musical ingenuity perfectly.

Second time that I watch a concert from Yo La Tengo, really amazing musicians that play for the love of playing and not just for the public. The first part of the concert was really calm while in the second part the rhythm was more energetic and vivacious: the group surprised us with a very beautiful and intense musical journey .

I suggest this concert to people that are looking for a concert were they want to appreciate the performance of three very good musicians. They tends not to replicate in an exact way their songs but each time they give a new interpretation.

Yo La Tengo were every bit as good as I hoped. I liked the relative delicacy of the first half and then the very different, more anarchic sound of the second half. Overall it was great but I personally would have liked more quieter songs in total.

Georgia is amazing - so efficient in driving the band forward and providing the platform for the guitars. She has a lovely voice too.

The venue was interesting but the advance warning/news about the gig should have included a warning that those with relatively skinny backsides would need to bring a cushion.

The review by garryw66 sums up the night. Not many other reviews actually mention the concert that night. Probably for good reason.

I found it lacklustre unfortunately and as they are such an amazing band I sincerely hope that this road that YLT are travelling along with the new album and live shows is just a tributary and that they rejoin the main road of their inventive and joyful music soon.

Just left the Stone Pony after a mesmerizing show! Yo La Tengo doesn’t disappoint! The playlist featured old and new ,.. loud and soft,... sweet melodies and screeching feedback. The music was- as always crisp and inspiring and built up to a riotous crescendo that rocked the audience producing palpable joy!! Watching/listening to these artists is a thoroughly inspiring experience- don’t miss it!

Mesmerizing show. They were SO smooth and groovy. The fact that Schramm was back for thrilling guitar solos was icing on the delectable cake. Pantages Theatre downtown Minneapolis had amazing acoustics. It was 26 years ago YLT last played in Minneapolis and my husband was there. I hope it doesn't take another quarter century to get them back to the Midwest. How about Sioux Falls, SD?

Yo La Tengo is an American treasure. Getting to see them in an intimate setting was a chance of a life time. My favorite part of the show was when they went into a heavy noise rock jam and the rich old people who didn't know what to expect starting covering their ears and shaking their heads. It was great. Thank you YLT for keeping it real and rocking the fuck out.

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Yo La Tengo is not due to play near your location currently - but they are scheduled to play 10 concerts across 3 countries in 2024-2025. View all concerts.

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Interview: Ira Kaplan crafts Yo La Tengo setlists for the ultimate fan

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by Reed Fischer

April 12, 2023

On the afternoon before Yo La Tengo play a packed First Avenue show, frontman and guitarist Ira Kaplan saunters into the Depot Tavern. At the back of the empty restaurant, he removes a winter hat, and settles into a wooden booth across from me.

Kaplan carries himself with quiet confidence. His band — featuring his wife Georgia Hubley mainly on drums and longtime collaborator James McNew frequently on bass — released their 16th full-length studio album, This Stupid World , in February. Like all of the New Jersey-based indie rock band’s albums, it’s good. It has moments that aren’t like any of their previous albums, along with indulgent helpings of comforting distortion and feedback. (The night’s set would celebrate many of This Stupid World ’s witty, tender, and ferocious choices among 23 songs , some varied covers, and guest appearances by Low’s Alan Sparhawk and NNB’s Mark Freeman.)

As we talk, it’s apparent that Kaplan cares immensely about the job that he has gotten to do for the past four decades. His approach to creating and archiving Yo La Tengo’s setlists is admirably meticulous. He’s not too cool to praise his heroes, like NRBQ, the Feelies, Robyn Hitchcock, and Television. Artificial intelligence? Not so much.

Interview Transcript

I’m gonna ask you a little bit about setlists, because I've noticed you'll mention [in interviews that] you keep track of all of them. If you indulge me a little bit, how do you do it? And why do you keep track of your setlists?

Ira Kaplan: It just speaks to my own interest in that stuff. Literally, when I was whiling away the time in high school that I was bored in class, I would just be doodling the Kinks setlists that I would like to see in my notebooks that were not filled with what the teacher was saying. As a Grateful Dead fan, especially in high school, that was something that was really intriguing to me. I've always been interested in how sets change and interested when they don't. The Feelies, one of my favorite bands, went years doing the exact same set. I think of it as close as I'm ever going to come to going to church. They're just doing the service and it was beautiful. Now it's much more freewheeling. But from the beginning, it became something I knew, and we knew we wanted to do was always play different songs. And so I like to take notes.

Do you have a big stack of notebooks?

Not anymore. It used to be. It may have been handwritten, at first. It was certainly typewritten for a long time. And then I transferred it all to a computer. So now it's just a big computer database.

Oh, that's handy, though. Because then you can easily check what happened last time you were in a place.

And I do. To a preposterous degree, we act as if, like us, everybody in the audience has seen every one of our shows. And everyone who will be here tonight will have seen every one of our shows at First Avenue, and even the 7th Street Entry. For the most part, whatever songs, a lot of the songs that we did five years ago the last time we were here, if we do them tonight, again — I’m sort of laughing about the word "again" — it will not be because we didn't know. It'll be we decided to repeat ourselves from five years ago.

I don't know if you've played around with ChatGPT much yet.

The AI program.

Couldn't be less interested.

I asked it, "Tell me what Yo La Tengo should play in Minneapolis tonight." I won't bore you with all of the details. It did a decent job. It obviously just scoured lots of available data to do that. But it chose probably what would it be if we went to Spotify, what would be the most popular songs...

See, then they're wrong already.

Exactly. They didn't include an encore. And so I was like, "All right, well, you need an encore." So they did that. And I was like, “But you're not including any songs that they played right now promoting their new album.” And there's no covers. [Learn more about that here: We asked AI to write a Yo La Tengo setlist ]

Well, I'm happy we can defy the bot for now. Our time is dwindling when we'll be able to do that.

I do think it's interesting, because it is an exercise to just say in life: Are we phoning it in with what we create? Versus: Are we really being organic? And I don't know if it has much use beyond that yet. But that's really cool. I do like that there's just an interest in keeping people guessing with what you put into a set in a given night. Is there a ritual to actually doing it as you set up for a show?

Well, it's changed a little bit. Especially when we're doing the Hanukkah shows, when there's just so much that goes into every single night, it became very helpful. Helpful for all of us, but especially for the crew to know what we're doing on a given night because of the different people who are sitting in. We need one drum set setup or two drum sets. And so we've gotten into the habit of letting them know the night before. In fact, I think this year at Hanukkah, I managed to write all eight setlists before we started, and then with the freedom to tweak it if we needed it because over Hanukkah, we do eight nights without repeating a single song. So everyone seemed to enjoy knowing, so now I've been trying. It used to be just sitting in the dressing room before we go on, write it down. And now it's not like that. And so especially in on the first leg of this trip, where we were on the West Coast — mostly we did multiple nights in the same venue. So I would always come up with both nights to divide things up. And then it just became a little easier to do it that way. So like tonight's list was written in advance of the Chicago show. Chicago, Milwaukee, and tonight were all on one PDF.

I can't help but be interested in it.

This is a fascinating conversation. Yeah, I do really enjoy talking about the process.

If you've poked around on setlist.fm , it's like Baseball-Reference.com for bands. You could go deep into the data of whoever you want, as much as you want.

I love looking up NRBQ setlists. Even like the bands that almost don't change, looking at the minute changes from show to show, and a lot of bands who are trying to ultimately settle on a set they're going to do every night, but the beginning of the tour, the removing, flip-flopping four and five. That stuff interests me tremendously.

Yeah. Sometimes when there's special guests, and there's covers. Just that type of stuff, you can drill into that.

I like when they get it wrong, too. I'm very fond of the mistakes, and a lot of times, the cover songs are, to me, misattributed. That might be who did it originally. But really, the version being covered is not the original. I mean, in our case we've taken to doing "Going Down the Road Feeling Bad" a couple of times; it's showing up on setlist.fm as a traditional cover of a traditional song. We're covering the Grateful Dead. We're not covering Woody Guthrie.

Would you ever go as far as to actually go in and tweak it?

Never. Absolutely not. I would only add more mistakes.

Something I was thinking about on [ This Stupid World ], was having ['‘ Brain Capers ” as] a locked groove track [which causes the end of the song to play infinitely] as part of it. It's like a little reward for people to actually pick up the vinyl and pay attention. I did a little digging just into the history of that in itself. And obviously, there's like, a lot more of it than I thought. [ Sgt. Pepper's Lonely Hearts Club Band ] and [ The Who Sell Out ] are the easy ones to find, but it's around out there a lot. Did you stumble upon it in your collection?

You know, I don't remember where I first came upon it. One of our favorites is [tour manager Joe Puleo], who you just met. I think it was his radio show. And when he was in college, he was playing, I think it was "Little Doll" by the Stooges. And the record was skipping, and it skipped perfectly in time. And he just let it go for like 20 minutes. And he has a recording of it, which we've heard. It just sounds remarkable. I think it's a "Little Doll," but it's definitely a Stooges song. And then [New Jersey public radio station] WFMU one year, I think, as a premium did an entire album of locked grooves. So it's, you know, almost unbearable. You keep getting up.

But was there any thought here? Like, this is the one that needs a locked groove?

Oh, specifically. Yeah. And it became one of the challenges of sequencing the record was we knew that we — it was when we were listening to it, while we were working on it — we thought it would lend itself to that. So that became, we didn't want it to be the last song on the record. So you know, that was just one of the puzzle pieces that needed to be fit together, was to make sure we could get that song at the end of a side.

Robyn Hitchcock just turned 70 recently. I've read his point of view on getting to know you and you working in [New Jersey music venue] Maxwell’s and doing sound for shows and writing about him. And then a friendship forming and then [decades later] you all like, playing together a significant amount. Just seeing that evolution is pretty interesting and unlikely in many ways, because life doesn't always put people back together even after they connect.

That's for sure. We've been doing this a long time, a lot of unusual things could have happened, you know, and that's one of them. I really did not see that coming when listening to Underwater Moonlight thinking, "This could be the greatest record I've ever heard."

Oftentimes, what can happen is people can hear appreciation, someone who enjoys their music, and say thank you. But to grow from there to where it's actually more like a partnership and a chance to exchange creative ideas, it's interesting to me.

I don't know if he's mentioned, but I used to be the soundman of Maxwell's. And I was really dreadful at that job. And I knew what I liked to listen to, but I was really unprofessionally disinterested in learning anything about how to do it. And I apologized to most everyone I ever did sound for. And Robyn actually asked me to do sound for him somewhere else, which seemed flattering and bizarre. When he was doing solo shows, he would do these remarkable sound checks where he would just play songs that he wasn't necessarily going to play that night, including playing "A Day In the Life" on the acoustic guitar. Just the things that he could do and the breadth and the openness to doing different things. I know that had an impact. I think the first time we ever played, he invited me to come onstage and play with him at Maxwell's. I think for like one song, but he just kept calling more songs. I'm like, "I don't know how these songs go." He's like, "Don't worry about it." And even if it's never been explicitly remembered that that night worked somehow, I do think there is that awareness that all three of us [in Yo La Tengo] have that there are many worse things in performance than a mistake and doing something that you didn't mean to do. It can go a lot worse than that. And so just to sort of put yourself in a position where it might be good or it might not be.

I love the expression [you use when playing covers sets], "murdering the classics." It's perfect because there's reverence in there. You have to really be passionate to want to murder anything. But also, if covers are played too true, they aren't interesting.

You don't have to worry about that.

You've also obviously put out enough material that other people have connected to and they've put their spin on it. How does it feel to be in the listener’s shoes for that?

It's fantastic, it's great. You do know that "murdering the classics," that's a borrowed phrase?

I don't know its direct origin. What is it?

Spike Jones and His City Slickers. I first came upon them because my parents used to sing on car rides their song, " Der Fuehrer’s Face ." And so it was a kind of comedy band from my parents' generation. And one of their albums was called Spike Jones Is Murdering the Classics . So that was our tip of the hat.

That makes sense.

Those shows are really fun to do, in a certain sense. Fun's kind of the wrong word. But listening back to them is not fun. Oh, and so when we've tried to compile those records, we've tried to enlist other people to sift through them and make suggestions. And frequently, we have to reject their suggestions, because they picked the ones we played too well. Thank you for picking the less messed-up version. But we're sort of after something a little more chaotic.

One other thing I wanted to ask you about: We lost Television’s Tom Verlaine earlier this year. And I mean, that was a punch in the gut to me. Just seeing that you've spoken about the influence and the quality of the records, and I just was curious to hear your thoughts.

Punched in the gut. That's good. The memories of seeing Television are indelible, I would say, even greater than the memories of the records. I mean, just to be at those shows, and just seeing the magnificence of that band at that moment. I mean, the reunion stuff was great, too. I never got to see them when Richard Hell was in the group, but I did see him before the albums came out, and it really was just jaw-dropping how great they were, how great he was. I remember seeing when Patti Smith made her return to the stage and he was sitting in a chair just playing along. I mean, just any opportunity to hear him play. It was time well spent.

Was that a person you met ever?

A little bit. We didn't know him very well. We are shy, and he was shyer. But a few encounters.

I worked in a record store for a little while, and that was my introduction. It's just somebody threw it on. It's just kind of my favorite way to hear something is to have no expectations whatsoever, and just have it interrupt whatever you're thinking about and have it be amazing.

Yeah, for me, it was different because the Village Voice, like James Walcott, was writing about what was happening at [New York punk club] CBGB's. So I kind of knew that Patti Smith and Television, this is something I am going to want to check out. So I kind of had some expectations when I went in, but they were met and exceeded.

Yo La Tengo’s This Stupid World is out now.

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• Boaventura, Daniel
• December 19, 2018 Setlist

Daniel Boaventura Setlist at Moscow International House Of Music, Moscow, Russia

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• My Way ( Claude François  cover) Play Video
• From Russia With Love ( Matt Monro  cover) Play Video
• Smile ( Charlie Chaplin  cover) Play Video
• She ( Charles Aznavour  cover) Play Video
• Unchained Melody ( Hy Zaret & Alex North  cover) Play Video
• Still the Same ( Bob Seger & the Silver Bullet Band  cover) Play Video
• You Can Leave Your Hat On ( Randy Newman  cover) Play Video
• Corazón espinado ( Santana  cover) Play Video
• Mambo Italiano ( Bob Merrill  cover) Play Video
• Just the Way You Are ( Billy Joel  cover) Play Video
• Bésame mucho ( Consuelo Velázquez  cover) Play Video
• Fascinação ( Elis Regina  cover) Play Video
• Ya Lyublyu Tebya Do Slez ( [traditional]  cover) Play Video
• Theme From New York, New York ( John Kander  cover) Play Video
• Last Dance ( Donna Summer  cover) Play Video
• Never Can Say Goodbye ( Gloria Gaynor  cover) Play Video
• I Love the Nightlife (Disco Round) ( Alicia Bridges  cover) Play Video
• Dancing Queen ( ABBA  cover) Play Video
• You're the First, the Last, My Everything ( Barry White  cover) Play Video
• Can't Take My Eyes Off You ( Frankie Valli  cover) Play Video

Edits and Comments

30 activities (last edit by HermanNick , 6 Oct 2023, 02:38 Etc/UTC )

Songs on Albums

• Bésame mucho by Consuelo Velázquez
• Can't Take My Eyes Off You by Frankie Valli
• Corazón espinado by Santana
• Dancing Queen by ABBA
• Fascinação by Elis Regina
• From Russia With Love by Matt Monro
• I Love the Nightlife (Disco Round) by Alicia Bridges
• Just the Way You Are by Billy Joel
• Last Dance by Donna Summer
• Mambo Italiano by Bob Merrill
• My Way by Claude François
• Never Can Say Goodbye by Gloria Gaynor
• She by Charles Aznavour
• Smile by Charlie Chaplin
• Still the Same by Bob Seger & the Silver Bullet Band
• Theme From New York, New York by John Kander
• Unchained Melody by Hy Zaret & Alex North
• Ya Lyublyu Tebya Do Slez by [traditional]
• You Can Leave Your Hat On by Randy Newman
• You're the First, the Last, My Everything by Barry White

Daniel Boaventura

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• Oct 06 2017 Teatro Metropólitan Mexico City, Mexico Add time Add time
• Dec 18 2018 Moscow International House Of Music Moscow, Russia Add time Add time
• Dec 19 2018 Moscow International House Of Music This Setlist Moscow, Russia Add time Add time
• Apr 06 2019 Tom Brasil São Paulo, Brazil Add time Add time
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Yo La Tengo

Out now via matador records.

2018 Primetime Emmy & James Beard Award Winner

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Luis Enrique: "No tengo ninguna duda de que Xavi es 'top', pero mantengo lo que dije, mi reivindicación"

El entrenador del PSG afirma que "la palabra especulación no existe" en la vuelta en Montjuïc, donde debe remontar el 2-3 de la ida en París

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Luis Enrique era esperado en Montjuïc, mucho, después de sus palabras en París, del debate del ADN Barça y de al derrota (2-3) sufrida ante el Barcelona. Estuvo conciliador, no desafiante, dijo que la especulación está prohibida en la vuelta de estos cuartos de Champions, devolvió los elogios a Xavi y celebró el récord de goles global de la ida de los cuartos, en el que implicó a los ocho entrenadores, no únicamente a los que tienen pasado azulgrana. "Esto no es sólo ADN Barça, es ADN fútbol", zanjó y se levantó, raudo, directo al entrenamiento de los suyos.

Después de unas respuestas en las que no era el Luis Enrique habitual, nada provocador, entró de nuevo en la polémica para hacer aclaraciones: "Xavi me parece un entrenador 'top' y me gustaría que alguna vez me hubiera entrenado, pero no podrá ser. Como Guardiola , como Luis Aragonés . Pero como no lo ha hecho, no puedo decir que conozca al Xavi entrenador. No obstante, mantengo lo que dije, mi reivindicación, porque una derrota no cambia nada". Lo que dijo antes de la ida es que representaba mejor el ADN Barça que su oponente en esta eliminatoria.

En cuanto a la derrota sufrida en París hace una semana, manifestó: "El resultado no refleja lo que merecimos, al menos el empate. Hemos de dar una mejor versión mañana. No existe la palabra especulación. Estamos plenamente convencidos de que le vamos a dar la vuelta".

"Un jugador profesional se cae y se levanta, hay que saber adaptarse a eso", explicó, sin mencionar directamente a Mbappé , que ha sido foco de las críticas la última semana. "Tengo un equipo unido, sin egos", apostilló.

Vaticinó el asturiano un partido con goles, similar al de la vuelta, en el que, reseñó, " Ter Stegen jugó 24 balones largos, todo un récord". Algo con poco ADN Barça, aunque no lo dijera.

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J Balvin Gets Abducted by Aliens, Doja Cat Gyrates in Mud at Coachella Day Three

Coachella 2024 was the year of the A-list guests. Across all three days, top stars made appearances either onstage or in the crowd to support their musician besties. Olivia Rodrigo joined No Doubt , Will Smith pulled up for J Balvin , Justin Bieber sang with Tems, Billie Eilish threw a last-minute party at the DoLab stage, and Shakira even announced a world tour during Bizarrap’s set.

The talk among some festivalgoers ahead of Coachella suggested that this year’s lineup might underwhelm, but the number of stars joining their friends onstage surely helped with that. Plus, the headlining sets from Doja Cat , Lana Del Rey, and Tyler, the Creator surely did not disappoint.

That’s a wrap on Weekend One! Here are some of the best things we saw at Coachella on Sunday, April 14.

Doja Cat’s post-apocalyptic performance

Doja also welcomed 21 Savage , who rapped opposite her in the 2024 track, “H. N. I. E.” Bashfully wielding a bouquet of baby’s breath, Teezo Touchdown joined Doja for a live debut of their song “Masc,” as featured in Scarlet 2 CLAUDE , the deluxe edition of Scarlet , which dropped last week. A$AP Rocky also emerged from backstage, raring to throw down to a metal version of their brand new song, “URRRGE!!!!!!!!!!”

Doja omitted her most poppy of songs from her setlist, including “Say So,” “Woman,” and “Kiss Me More,” her Grammy-winning pop number with SZA. As Los Angeles’ biggest female hip-hop star to date, Doja chose instead to flex her precision as an MC, spitting fire in each verse without missing a single beat. –S.E.

J Balvin ’s new beginning

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J Balvin delivered one of the best-produced, most exciting sets of the weekend Sunday night, as he danced alongside aliens and brought out the alien exterminator himself — Will Smith, dressed in his Men in Black Agent J role, for a rendition of the film’s theme song. Jada Pinkett Smith (dressed in a large fur coat) and Katy Perry were among the stars who watched the E.T.-abduction-themed performance from the crowd.

Backed by dancers in Lady Gaga-esque, otherworldly outfits, Balvin jumped between recent hits such as “Colmillo” (as he welcomed Jowell and Randy) and the Usher-sampling “Dientes,” along with some of his older tracks like “Ginza” and “La Canción” that had the crowd jumping. It sure helped to have Tainy behind the turntables to keep the crowd going.

“Es una nueva temporada de J Balvin,” he teased onstage: “It’s a new season of J Balvin.”  –T.M.

@tomasmier Will Smith surprised the crowd joining J Balvin at Coachella 2024 #coachella2024 #coachella #jbalvin #willsmith @Will Smith @J Balvin ♬ original sound – tomás mier

Victoria Monét hosts a consciousness-raising burlesque revue

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Things got progressively steamier with her second act, in which she stripped down to a set of lingerie and simulated sexy moves with her all-woman dance crew during “Friend U Can Keep.” She extolled the virtues of working out in her performance of “Ass Like That,” but made sure to affirm the body diversity of those cheering her on in the audience. 

“Whether you get ass shots or it’s natural, it doesn’t matter,” said Monét. “If it’s real or fake, people will still wanna f—. You look good!”

She made another show of compassion in her performance of “Stop (Askin’ Me 4Shyt),” and becoming one of the few acts at Coachella to condemn attacks on civilians in Gaza, Sudan, and the Democratic Republic of Congo. “Stop the wars, stop the hate, stop the genocide!” she proclaimed. “We need love. Stop thinking so small. We need to think big, bitch!”

With that point made, she added: “And stop asking for the ‘Alright’ music video, because it’s on the way.” Case closed! —S.E.

Reneé Rapp and Kesha say “fuck P Diddy ”

Two giant scissors and the cast of the L Word welcomed Reneé Rapp onto the Outdoor Stage Saturday afternoon. Need any more hints about her sexuality ?

The silly pop singer — dressed in a trench coat and black sports bra — sang fan favorites like “Colorado” and “Poison Poison.” Rapp knew her crowd well, and before “Willow,” she encouraged: “If you know this song and you know where the ass shake is at, you should do it.”  Then, she gave her set a complete turn, as she welcomed Kesha onstage for a fun rendition of her 2010 hit “Tik Tok” that included a  big “fuck you” to Diddy in the song’s opening line.

Later in the set, Rapp brought her girlfriend (and fab performer) Towa Bird for a rendition of “Tummy Hurts,” perfectly tying together the sapphic themes of her set to perfection. –T.M.

@tomasmier Renee Rapp and Kesha at Coachella had a special message for Diddy #kesha #coachella #coachella2024 #reneerapp #tiktokkesha @Kesha @reneé ♬ original sound – tomás mier

Carin León builds a bridge between Mexico and Nashville

While fans were treated to his greatest hits — among them the soulful “Primera Cita,” and “Que Vuelvas” with cumbia stars Grupo Frontera — León flaunted his Nashville bona fides by performing “The One (Pero No Como Yo),” a bilingual duet he recorded with country star Kane Brown. “Whatever you’re chasing better be a tequila double shot,” sang León in a rich, Southern drawl. “‘Cause you know I’m the one!”

Fans kicked up dust by dancing along to the brisk pace of “La Boda del Huitlacoche,” and León almost lost his cowboy hat to the wind. Flown in from Miami were Venezuelan hitmakers Mau y Ricky, who arrived sharply dressed to perform “Llorar y Llorar” — which was graced by the nostalgic country feel of a lap steel guitar. León pleased the crowd further with a bluesy version of “Te Quiero,” a song by rock en español legends Hombres G; he then knocked it out of the park with a brassy rendition of Selena’s “Si Una Vez.” León will represent Mexico once more at the upcoming Stagecoach Festival, also in Indio, taking place April 26-28 at the Empire Polo Club. —S.E.

Bebe is more than good: She’s the drama

Bebe Rexha ’s got hits. The songwriter-turned-pop-hitmaker packed her 45-minute set with some of the biggest songs of her career as she opened with G-Eazy’s “Me, Myself, and I” and “I Got You” and later played “Call You Mine” and “In the Name of Love,” two DJ collaborations from over the years.

“I started as a songwriter and I always thought I wasn’t cool enough for Coachella, but here I am now. I’m cool now, mothafuckers!” she told the crowd as they let out a roar and she teased her next song. “I guess it’s meant to be.”

Rexha even found room to preview three unreleased songs: the electric banger “I’m the Drama,” “Chase It” during a dance break, and later, “Beat It Up,” as she shook her ass on the floor alongside her dancers. “Did you like our little onstage orgy?” she joked. 

@tomasmier Bebe Rexha and David Guetta shared a sweet moment at Coachella #coachella #coachella2024 #beberexha #davidguetta #imgoodbeberexha @BebeRexha @David Guetta ♬ I’m Good (Blue) – David Guetta & Bebe Rexha

Catch them while you can : FLO

FLO are sort of like the PowerPuff Girls, if the trio’s superpower was harmonizing gorgeously. The British R&B trio — Renée Downer, Jorja Douglas, and Stella Quaresma — proved to be one of the most exciting acts at Coachella all weekend, as they packed their 45-minute set with perfect choreo and stunning vocals.

The group performed songs such as “Summertime” and “Immature” (“We’re leaving immature men in the past. That ends today,” instructed Douglas) from their debut EP, The Lead , before summoning the energy of the Nineties with their Missy Elliott-sampling “Fly Girl.”

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Atlanta’s Lil Yachty captained an eclectic set on Sunday evening inside the Mojave tent. Standing at the helm of his own makeshift ship, bearing his nickname “Lil Boat,” Yachty mostly performed songs from his latest record, 2023’s Let’s Start Here . An experimental foray into the realm of psych-rock, with assists from members of Unknown Mortal Orchestra, Chairlift, and MGMT, it’s an album almost made for Coachella.

Onstage, Yachty broke the hypnagogic spell he’d cast on his fans, who responded with hair-raising shrieks as he called indie superstar Mac DeMarco to the stage. “Sing with Daddy,” DeMarco said to the audience, before joining Yachty in serenading fans with his own songs “On the Level” and “Chamber of Reflection.” Yachty sailed effortlessly into previous trap numbers like “Flex Up” and “Minnesota” — but his rousing performance of his art-rock song, “I’ve Officially Lost Vision!!!!” was transcendent. —S.E.

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