I’ve never been to Coachella. Or Fuji Rock. Or any festival where you sprint between stages, praying you don’t miss the first three songs of your favorite artist. So, I did the next best thing: to watch from my computer chair.
YouTube made it easy, and a small lineup of must-see artists made it manageable. And on Day 3, when Laufey, FKA Twigs, and The Rapture all played simultaneously, was when I needed three devices: my laptop with a monitor, plus two tablets.
I missed Day 1 entirely due to an obligation. So consider this a partial, personal, and deeply biased review woth only my favorite artists, and only Days 2 and 3.
Day Two
Taemin
Taemin’s performance was in line with the typical K-Pop live shows designed for solo artists or groups. He delivered a strong show, which is what I expected from such a well-rounded artist. As one of my favorite members of the Korean boy group SHINee, I am incredibly proud of Taemin’s achievements. He truly deserves the opportunities that have come his way, especially as he makes his mark as a solo artist at Coachella 2026.
Nine Inch Noize (Nine Inch Nails and Boys Noize)
I switched between the stages of Taemin and Nine Inch Noize, but I put the latter at full volume because I love the electro and industrial rock soundscapes that they induce. Unlike many of the other stages, with usual band set-ups and projected visuals, Nine Inch Noize’s stage was a bit more unique. Their stage reflected the type of music they produce, with several dancers crawling kinesthetically around the stage and toward vocalist Trent Reznor, emulating a dark, gory atmosphere, reminiscent of an imagined hellscape.
Among all the artists who performed at Coachella, it was Nine Inch Noize’s set that I wished I had recorded. I just love listening to and dancing to the music of both Nine Inch Nails and Boys Noize. In fact, it’s their music that I’m currently enjoying as I write this.
The collaboration between Nine Inch Nails and Boys Noize wasn’t a surprise to me because the electronic genius of Boys Noize complements Nine Inch Nails’ industrial metal anthropophony. While Nine Inch Nails already produces a remarkable blend of electro-metal noise, this collaboration has taken it to a whole new level.
The Strokes
There’s nothing more profound in music than an awakened artist.
I was surprised by how little difference there is between watching a favorite artist live in the desert versus on YouTube. While the desert experience is more surreal, the feeling itself is strangely similar. You might be skeptical, but this perspective might only apply to my fandom of The Strokes, especially since I can’t remember the last time I saw them perform as a group online in nearly twenty years, which could explain this sentiment.
Seeing Nine Inch Noize was different because I wasn’t that big of a fan, so this sentiment is legitimate. There’s something just beautiful about seeing your biases age, ‘coz The Strokes is somehow a “boy band” if you base your judgment on their looks, without withholding the wonderful garage-melodic sensibilities of their music.
But what struck me most was The Strokes’ poignant performance of the last song in their set, “Oblivius.” It wasn’t just the performance itself, but the projected visuals that made me tear up.
The visuals displayed photos of governments, leaders, and countries that the U.S. and CIA have overthrown, including past Presidents of Bolivia, Ecuador, and the bombings of Iran and Gaza. Their performance served as a protest against imperialism and the meddlesome nature of Uncle Sam, which impacts many governments and countries around the world, including my own.
Of course, I take this performance and projected visuals as they are. Rabbit hole seekers might be cynical, especially since Julian Casablancas is a part of the elite circle. However, I’ve always been fascinated by characters like Henry IV (elites who engage with the lower classes and somehow develop empathy). Perhaps that is the case with Julian, especially since he’s in rock n’ roll.
The performance was profound nonetheless. Whether it is performative or legitimate, it compels the audience to pause and reflect on our privileges. Most importantly, it encourages us to recognize the real perpetrators, to despise them, and to see through their propaganda.
The Strokes are encouraging you to wake up. It’s important to note that they mentioned the CIA and the past foreign governments it overthrew, not just Trump (but the deeper state).
PinkPantheress
Because The Strokes were my top priority, I couldn’t fully concentrate on PinkPantheress’s stage since both artists performed at the same time on different stages, with The Strokes extending their set for one last song. I caught glimpses of her performance on my tablet, but I didn’t have the volume on. Her stage was simple and feminine, featuring her usual cute dances with backup dancers. However, I missed the moment when she brought Zara Larsson, Janelle Monáe, Chase Infiniti, Dev Hynes, Ninajirachi, and KATSEYE’s Manon on stage.
During her final song, actor Tyriq Withers appeared and presented her with a bouquet of flowers. This caught my attention and led me to wonder if they were in a romantic relationship. However, the truth is that PinkPantheress and Tyriq were just performing a scene from Romeo and Juliet. They are actually good friends.
Interpol
The Strokes’ set lasted a little over an hour. Pink Panthress’s performance on the Mojave stage ended just before the last two or three songs of The Strokes, and Interpol came on immediately afterward.
If I were in the deserts of Indio, I would have rushed to the Mojave stage to catch Interpol, arriving just in time for their second song. That would have been a win, as some of my favorite Interpol songs were played in the middle and towards the end of their set. Interpol’s stage presence was unassuming, yet they delivered some of their best hits from the 90s and 2000s, along with tracks from their new album.
Justin Bieber
I wouldn’t consider myself a genuine “Belieber” since I was already around 19 or 20 years old when Justin Bieber first debuted. However, as someone who enjoys a variety of music, I can’t deny that I listened to and loved many, if not most, of the songs from his debut and second albums. I especially remember listening to “U Smile” and “Common Denominator” while working on my college thesis.
Hence, I was thrilled that Justin not only performed songs from his latest album, “SWAG,” but also took the time to treat his loyal fans to a nostalgic moment by playing many of his bubblegum pop hits from his first two albums. My sister, who is the number one Belieber, and I were incredibly happy and excited, singing along to all of Justin’s older tracks.
I respect and celebrate Justin’s evolution as an artist. He has transitioned from being a golden pop boy to an EDM and contemporary R&B crooner, and now he is an all-around soul artist, almost considered avant-pop. I admire him for embracing his younger self and for being proud of his journey. He pays tribute to the fans who have supported him since his early days and who continue to stand by him. Although he may not reach the high notes of his old songs anymore, his performance was impeccable and flawless, as he seamlessly transitioned to a lower octave.
As you know, long-time certified Belieber Billie Eilish performed on stage, along with SZA, Sexyy Red, and Big Sean. Big Sean shared a heartfelt message expressing his admiration for Justin, highlighting his resilience and affirming that he knows God loves him.
Justin also performed a mini acoustic set featuring the Christian songs he released last year, which made me admire how authentic and unassuming he is as an artist.
Day Three
Iggy Pop
AT 78 years old, Iggy Pop was still able to bring out the best of his Coachella crowd. The audience at the Mojave stage had an amazing time, with several fans forming a mosh pit in the center of the tent, slam-dancing to Iggy Pop’s greatest hits, including those from The Stooges.
More than half of his setlist was from The Stooges, like “Raw Power,” “I Wanna Be Your Dog,” and “Loose.” He only played four of his solo-released songs, “Lust for Life,” “The Passenger,” “Nightclubbing,” and “Funtime.”
For this show, Iggy was backed by one of my favorite rock guitarists, Nick Zinner of Yeah Yeah Yeahs on lead, Ale Campos of Las Nubes on rhythm guitars, Brad Tuax of Interpol on bass, Urian Hackney of The Armed on drums, and Joan Wasser of Joan As Police Woman on keyboard. Plus, a group of horn and trumpet players and backup singers that riot-punked the night away.
Iggy’s show was one of those events in the YouTube lineup that I wanted to experience in person because of its authenticity and entertainment value. After all, who wouldn’t want to see the Godfather of Punk live, showcasing his signature shirtless style and proto-punk attitude? What made his Coachella 2026 performance even more memorable was how it concluded: he dramatically climbed into a coffin on the side stage, which was then brought to the center of the stage for everyone to see. I have immense respect and admiration for this punk icon, who continues to be the best despite his age.
Tomora
While I was waiting for the 8:45 PM sets of Laufey (Outdoor) and FKA Twigs (Mojave), as well as the 9 PM performance by The Rapture (Gobi), I was captivated by the experimental electro band Tomora on the Gobi stage. This collaboration between Tom Rowlands of The Chemical Brothers and Aurora, the Norwegian solo artist known for her ethereal and psychedelic music, was a mesmerizing sight and sound. The duo truly impressed me, and the large crowd cheered for them enthusiastically.
While Tom was occupied with his DJ set in the background, Aurora not only sang but also showcased several performance art pieces alongside a “twin” dancer she brought on stage. Both were dressed alike, likely to symbolize a “mirror” or “reflection” of each other.
The entire performance was nothing short of outstanding and surreal, with electronic dance music at its core and Aurora’s celestial vocals coupled with her mesmerizing performance art.
Laufey
As a sort of certified lauver, Laufey’s stage was one of the stages that I looked forward to the most, especially after seeing some of the clips from her performance on the first Coachella 2026 week.
Laufey’s stage presence, performance, and overall aura were mesmerizing, tantalizing, magical, whimsical, dreamy, and cinematic, which captivated me instantly. She effortlessly switched between instruments, including acoustic and electric guitars, piano, and cello. Along with her backup dancers, she danced and made full use of the stage props, such as the stairs and swing. This style reminded me of the musicals and movies from the 1930s and 40s that I adored as a child, under my mother and grandmother’s influence.
Laufey performed most, if not all, of her popular songs, including “Valentine,” “Lover Girl,” “Silver Lining,” “Bored,” and her latest single, “Madwoman.” Everything was perfect, and I couldn’t ask for more.
The Rapture
As one of the legacy bands that brought indie dance punk to life, The Rapture came back for several tours in recent years, tapping into the wave of nostalgia. It’s no surprise that they have been invited to join the lineup for Coachella 2026, despite not having released a recent album.
Vocalist-guitarist Luke Jenner is a true-blue punk from the 90s to the early 2000s, and it was almost a prerequisite for him to remain raw, devoid of elaborate or performative stages. He, along with his band came as they are, clad in typical ragged shirts, pants, and lanky looks, with only their instruments and voice as their raw power.
Due to the overlap of the three scheduled artists from 8:45 to 9 PM (Laufey, FKA Twigs, and The Rapture), I played all three of my devices simultaneously, switching between the artists based on my favorite songs.
I put The Rapture on my main screen when they played three of my favorite tracks from their seminal 2003 album, “Echoes”: “Sister Saviour,” “Echoes,” and my absolute favorite dance-punk track, “House of the Jealous Lovers.” The first time I heard this track on the now-defunct NU 107 radio station was an ecstatic experience that made my hands and toes tap along with its choppy snare drums and the frantic cowbell that pulses throughout the song.
FKA Twigs
Even though I didn’t focus on FKA Twigs during the first hour of her performance, I knew that it was one of the best sets at Coachella 2026, alongside Laufey’s. Her performance also lasted over two hours, so I didn’t miss much and got to enjoy both Laufey and The Rapture. I feel fortunate to have caught FKA Twigs performing some of my favorite songs, including “2 Weeks” from her first album, “LP1,” and “cellophane” from her 2019 album, “MAGDALENE,” which was the last song she performed during her second week at Coachella.
FKA Twigs is a multitalented artist known for her incredible performance art and vocal abilities. Her performances feature intense pole dancing, diverse movements, and sensual choreography, all complemented by her flawless, ethereal soprano voice. However, what truly sets her apart is the poignant, magnetic, and highly emotional energy she shared with her backup dancers throughout the stage.
FKA Twigs conveyed deep honesty and vulnerability during her Coachella performance, becoming emotional towards the end and prompting many fans to feel similarly and appreciate being present in that moment.
BIGBANG
When expectations go unmet, it can leave one feeling underwhelmed. At BIGBANG’s Coachella performance, I felt a bit disappointed because, first, T.O.P didn’t show up, and second because my first K-pop bias, G-Dragon, delivered an unsatisfactory performance.
I know it’s partly my fault for having unrealistic expectations, thinking that Top would join the men on the Coachella stage. This belief was fueled by numerous social media posts claiming that T.O.P. had confirmed his attendance, as well as Mark Lee (formerly of NCT127) having an artist pass. As a result, the optimistic side of me got caught up in the excitement, and I genuinely looked forward to seeing Top, Mark, GD, Daesung, and Taeyang perform at Coachella.
I would be lying if I said that this pipe dream was somehow forced. While I still admire the remaining three members of BIGBANG, the group feels crippled without T.O.P. Without any bias, I believe that former member Seungri is replaceable in terms of talent itself, but T.O.P.’s unique rap style is not something that can be easily replicated and substituted. That’s why we could still hear his recorded voice in one of the songs that they performed.
Taeyang was exceptional throughout BIGBANG’s performance, and Daesung showed improvement in the middle, especially after his entertaining trot segment. However, similar to their surprise performance at the MAMA 2024 Awards, G-Dragon wasn’t very audible during the entire show. It seems he is making this non-vocal style a habit now. I’m sorry, fellow VIPs, but I can’t deny this truth, despitemy deep love for GD.
Regardless of that, I was still happy because BIGBANG performed my classic favorites “Lies” and “Haru Haru.”
If I watch them live (GD confirmed that their world tour will start in August of this year), I hope that GD will improve his current live vocal style. By that time, I may either be pleasantly surprised or indifferent. We’ll see!
Conclusion
Again, this Coachella 2026 Week 2 review is based solely on the live performances I watched on YouTube. Overall, I was deeply moved by the profound nature of some performances, such as those of Justin Bieber, The Strokes, and FKA Twigs. I also appreciated the raw energy of Iggy Pop, Interpol, and The Rapture, the whimsical sound of Laufey, and the dark, eerie intensity of Nine Inch Noize and Tomora.
NeP-C Ledesma is a millennial writer and entrepreneur full of curiosity about our abstract world. She devours Psychology, food, Philosophy, and prefer cats as her all-time company. Pop Culture is her kryptonite.