As if SXSW 2018 doesn't have enough cool stuff going on — the panels, the bands, the networking, the parties, the culture of Austin, Texas — one of this year's keynote speaker sweetened the deal just a little bit more.

<iframe width="620" height="349" src="https://www.youtube.com/embed/idD1C2-ISlo" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

GRAMMY winner Keith Urban took the stage in conversation with GRAMMY Museum Executive Director and "Required Listening" podcast host Scott Goldman on March 16. The duo covered a wide range of topics, including the singer/songwriter's early music memories, how Ricky Skaggs influenced his career, the art of collaboration, memorable career advice, and why he's a huge fan of MusiCares and Post Malone.

The New Zealand native was quick to credit his drummer father for turning him onto his love of country. As a 5-year-old, Urban had the chance to see the legendary Johnny Cash in concert, which captured the young artist's imagination.

"What I remember from that concert is just how loud the crowd was," Urban recalled. "I remember just the roar of everybody when this guy walked out on the stage and it's never left me, and the power of when he played guitar and sang was an extraordinary thing."

By age 6, Urban was taking guitar lessons and learning from the country records spinning in his parents' house as well as the local bands in his area. When he discovered the "chicken pickin'" style of guitar players such as Skaggs, the deal was sealed.

<iframe width="620" height="349" src="https://www.youtube.com/embed/DqDGUhavFt8" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

Urban also discussed how his unique musicality stems from his affinity for collaborations. Not only has he recorded with other country artists but he's also worked across many genres, including artists as diverse as the Rolling Stones, Carrie Underwood, Alicia Keys, John Mayer, Aerosmith's Steven Tyler, and many more.

<iframe width="620" height="349" src="https://www.youtube.com/embed/GzT4p-OaJ5c" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

Indeed, his upcoming studio album, Graffiti U, will feature a collaboration with "Issues" singer/songwriter Julia Michaels, as well as borrowing a sample from country great Merle Haggard on another track.

Julia Michaels Deconstructs "Issues," Writing Songs | "Required Listening" Podcast

For his part, Urban feels collaborations keep his music fresh while also playing to his appreciation for all music genres and their creators, whether they are an EDM electronic-only musician or the classic instrumentalist.

"I'm a big believer that it's all still musicianship," said Urban. "If you're doing it on your MacBook Pro or you don't play an instrument … they still have to compose these things like a painter putting paint together in a such a way that it creates a compelling image. That's as valid to me as a guy sitting there playing guitar."

Urban further solidified his stance when asked by an audience member about his current favorite contemporary artist outside of country music.

"Post Malone because he's got his own thing, it's insane," Urban answered. "I don't even know what it is. I don't think he knows what it is, which is beautiful. It's just an incredible fusion of things — singer/songwriter, hip-hop, R&B, soul. It's just all out there and I love it."

<iframe width="620" height="349" src="https://www.youtube.com/embed/UceaB4D0jpo" frameborder="0" allow="autoplay; encrypted-media" allowfullscreen></iframe>

His penchant for fusing genres and forging his own path as a singer/songwriter, while it looks effortless now, wasn't always an asset to Urban. He recalled his early days playing shows around Nashville, Tenn., when a record label employee followed his band religiously, yet there was no indication the label wanted to sign him. When the guitarist finally asked why, the employee had some sage words of wisdom for the emerging artist.

"You're just really unique and it'll be your biggest curse until it becomes greatest blessing,'" Urban recounted. "And as cheesy as that might sound … what I took from that was stay the course and it's just going to take time."

With Goldman guiding the conversation, Urban went deeper on more personal topics, including his path to sobriety.

"It's such a personal thing, sobriety, for each person," Urban said about his journey. "I wished I gotten sober many, many years before I did but it is what it is. I'm glad that I finally got here almost 12 years later. I think for me it's made it possible to do the things I do."

Urban revealed that the Recording Academy-affiliated charity MusiCares was a driving force behind him getting help in the 1990s. The organization's MAP Fund helped pay for his first rehabilitation treatment, which is part of the reason he has lent his support to not only MusiCares but other charitable causes throughout his career.

To conclude the panel, audience members expressed their appreciation for Urban's music, including fans from as far away as Canada, Brazil and France. For Urban, who will play a special showcase at SXSW at Stubb's BBQ on March 16, it's clear that his reach will continue to make waves in the music industry for years to come.

Getting The Latest Music News Just Got Easier. Introducing: GRAMMY Bot. Find it On KIK and Facebook Messenger

Since Post Malone burst onto the mainstream nearly a decade ago, he has continued to flaunt his genre-defying brand of musical brilliance. For his latest venture, it’s time for gold grills and cowboy hats: Posty’s going country.

Though his musical origins are in rap, Malone has seamlessly traversed pop, R&B, and blues, always hinting at his deep-seated country roots along the way. In the last year, his long-standing affinity for country music has moved to the forefront, with appearances at the CMA Awards, a country-tinged Super Bowl LVIII performance, and a feature on Beyoncé’s COWBOY CARTER. Next up, he’ll make his debut at California's Stagecoach Festival alongside some of country music’s biggest names — and pay tribute to some of the genre greats.

While it’s unclear exactly what the Texas-raised hitmaker will be singing, his 45-minute set on Saturday, April 27 is labeled “Post Malone: Performs a special set of country covers.” After years of performing covers for and alongside country stars, the performance is arguably one of the most full-circle moments of his career thus far.

Ahead of his Stagecoach premiere, read on for some of Posty's biggest nods and contributions to the country music scene over the years — that could culminate in his own country album soon enough. 

A Slew Of Classic Country Music Covers

Malone has a history of channeling his musical heroes, often pulling on his boots to deliver heartfelt covers. He's paid tribute to country icons many times, including covers of Hank Williams Jr.'s classic, "There's A Tear In My Beer” in a 2018 fan-favorite video. 

During a 2022 Billy Strings tour stop at The Observatory in Los Angeles, Malone made a surprise appearance and used the moment to honor Johnny Cash alongside Strings. The pair delivered an acoustic duet of Cash's infamous murder ballad, "Cocaine Blues."

And just this year, Malone covered Hank Williams Sr. during a surprise performance at Nashville's Ryman Auditorium. On April 3, he closed out the annual Bobby Bones' Million Dollar Show with a rendition of Williams' "Honky Tonk Blues." 

A Longtime Kinship With Dwight Yoakam

Malone has long collaborated with Dwight Yoakam, marking a friendship and professional partnership that spans his career. Yoakam is a GRAMMY-winning trailblazer known for his pioneering blend of honky tonk, rock and punk that shook up the country scene in the 80's with his blend of "cowpunk." 

The pair frequently joined forces on Yoakam's SiriusXM Radio spot "Greater Bakersfield," where one standout 2018 appearance features Malone covering Yoakam's own “Thousand Miles From Nowhere” as the two laugh, strum and belt out the lyrics together in perfect harmony. 

On April Fool's Day in 2021, they playfully teased fans with the prospect of a double country album release — which may not seem so far-fetched three years later.

It's fitting that Malone would find such deep inspiration in folks like Yoakam, a man who first rode onto the country scene with a new take on a traditional sound. Much like Yoakam bridged generations with his music, Malone brings a new yet familiar energy to the country scene, embodying the spirit of a modern cowboy in both style and sound.

A Country Tribute To Elvis

Malone teamed up with Keith Urban for a duet rendition of "Baby, What You Want Me to Do" during the "Elvis All-Star Tribute Special," which aired on NBC in 2019. Originally written and performed by blues musician and songwriter Jimmy Reed, "Baby, What You Want Me to Do" was famously covered by Presley and commemorated through Urban and Malone's unique blend of modern guitar-slapping country-rock charisma. 

That wasn't Malone's only country collab that night, either. He also covered Presley's "Blue Suede Shoes" alongside Blake Shelton, Little Big Town and Mac Davis.

A Celebration Of Texas With Country Legends

In March 2021, Matthew McConaughey and his wife, Camila, hosted the "We’re Texas" virtual benefit concert, to help Texans coping with that year's disastrous winter storms during the Covid-19 pandemic. 

Following performances by George Strait, Kacey Musgraves, Willie Nelson, and Miranda Lambert, Malone — who moved to Dallas when he was 10 — served as the night's final entertainer. He performed Brad Paisley's "I'm Gonna Miss Her" followed by Sturgill Simpson's "You Can Have The Crown" backed by Dwight Yoakam.

A Rousing Tribute At The 2023 CMA Awards

At the 2023 CMA Awards, Malone joined country stars Morgan Wallen and HARDY on stage to cover late icon Joe Diffie‘s “Pickup Man” and "John Deere Green." Malone's first-ever performance at the CMAs felt more like a reunion than a debut, with Malone right at home among his collaborators.

“I’ve manifested this for years," HARDY told Audacy's Katie Neal. "Slight flex here, but I started following [Post Malone] when he had like, 300k Instagram followers. I was on the 'White Iverson' terrain, like the first thing that he ever put out and I was like, ‘this is dope,’ and I've been with him ever since.” 

After the performance, Malone hinted to Access Hollywood that it might be the start of a new chapter. When asked if a forthcoming country album would be in the works, he answered, “I think so. Yes, ma'am.” (More on that later.)

A Countrified Appearance At Super Bowl LVIII

View this post on Instagram

A post shared by NFL (@nfl)

Before Beyoncé announced COWBOY CARTER in a Verizon Super Bowl ad, Malone offered Super Bowl Sunday's first country-themed clue at the top of the night with his tender rendition of "America The Beautiful." Sporting a bolo tie and brown suede, Malone delivered his patriotic performance with a characteristically country drawl while strumming along on acoustic guitar before Reba McIntire's star-spangled rendition of the national anthem. 

Malone's performance followed in the footsteps of a long line of country artists who have kicked off the national sporting event, which started with Charley Pride in 1974 and has included Shania Twain, Faith Hill and Garth Brooks. 

A Tip Of The Hat To Toby Keith

During a performance at the American Rodeo in Arlington, Texas, on March 9, Malone paid tribute to the late Toby Keith, who passed away in February. After pouring one out and taking a sip from a red solo cup (an homage to Keith's playful hit of the same name), Malone performed a cover of "As Good As I Once Was" for the Texas rodeo crowd.

His TikTok video of the performance quickly garnered over 4 million views, sparking enthusiasm among fans for more country music from him. "Sir. I'm now begging for a country album," wrote one user in a comment that has received over 11,000 hearts.

A (Potential) Full-On Country Album

View this post on Instagram

A post shared by @postmalone

His much-teased country album may not be too yonder. After confirming that a country album was in the works during a live Twitch stream on his channel, Malone has spent much of this year teasing forthcoming new work. There is no scheduled album release date as of press time, but Malone has shared snippets of new songs including “Missin’ You Like This” and dropped sneak peeks of collaborations with Morgan Wallen, HARDY, Ernest, and Luke Combs. 

In February, Malone posted a sample of a collaboration with Combs, "I Ain't Got A Guy For That," the first in a series of song snippets shared across his social channels. 

On March 20, Malone posted a reel to Instagram featuring a video of himself seated on a stool, smoking a cigarette and singing along to a track that opens with Wallen singing, “It takes two to break a heart in two,” as Malone comes in to deliver a blow with the line, “Baby you blame me, and baby I’ll blame you." The track, shared with the caption (and supposed song title) "I had some help," was first announced in a now-deleted social media post by Wallen at the end of 2023. 

No matter when the album may come, Post Malone’s Stagecoach set will only up the anticipation for some original country music from the star — and from the looks of it, fans and genre stars alike are more than ready for it.

12 Must-See Acts At Stagecoach 2024: Tanner Adell, Charley Crockett & More

Year after year, the New Orleans Jazz and Heritage Festival drops lineups of unparalleled cultural depth and diversity, so there’s always an expectation for greatness. But when the roster was announced for its 53rd edition, one name at the top prompted an eye-popping response: the Rolling Stones.

Even if you’re not a fan, there’s no denying that the Stones are one whopper of a get. They hardly ever play at festivals, after all. But their presence is just the tip of the iceberg on a bill that represents a staggering amount of musical talent ranging from classic to contemporary across the event’s two four-day weekends (April 25-28 and May 2-5) held at the city’s expansive Fair Grounds Race Course. 

Within the fest poster’s top few lines alone, you’ve got not only heavy-hitters like the Foo Fighters, Chris Stapleton, the Killers and Greta Van Fleet, but also definitive cultural icons like Neil Young, Queen Latifah, the Beach Boys, Earth, Wind & Fire and Bonnie Raitt … and then a few hundred other artists to sift through. 

View this post on Instagram

A post shared by New Orleans Jazz Fest (@jazzfest)

So, if you’re headed to the Crescent City for either weekend (or both), you’re gonna need to make some hard choices — the schedule, spread out across 14 stages, is stacked, and you won’t want to be making all your decisions split-second and accidentally miss out on something unsuspectingly spectacular while navigating your way through seas of people (total attendance usually tops out between 450-500,000 over the course of the entire affair). Read on for all the info on 10 of this year’s must-see acts — from up-and-comers to certified superstars, to get you started.

Robert Finley 

Performing: April 25, Blues Tent

Blues and soul man Robert Finley performs in a way that might make you think he’s a legend who’s been playing on stages forever, which is only sort of true. The 70-year-old Louisiana native (from Bernice, just east of Shreveport), picked up music as a kid and worked as a U.S. Army bandleader while serving in Germany in the 1970s, but didn’t get his break until 2015 when he met Big Legal Mess Records producer Bruce Watson, who recognized Finley’s talent and the following year released his fittingly titled debut album Age Don’t Mean a Thing.

Fast forward to now, and the singer/guitarist has three more albums under his belt, each of those produced by the Black Keys’ Dan Auerbach via his label Easy Eye Sound. Finely was one of many artists whose scheduled debuts at Jazz Fest 2020 fell through because of the event’s cancellation due to COVID, so his April 25 performance in the Blues tent will mark his first appearance at the New Orleans fest. 

His latest full-length, 2023’s Black Bayou, is described as a "tour de force that coalesces gospel, blues, soul, and rock into a raw, thundering tribute to Finley’s home state of Louisiana," which sounds pretty dang perfect for a set that helps kick off two weekends of Jazz Fest.

Big Freedia

Performing: April 27, Congo Square Stage

Queen of bounce music, queen diva … with their twelfth performance at the New Orleans festival slated for April 27, Big Freedia might be well on their way to becoming queen of Jazz Fest. Given all those appearances and their constant local presence, you’re likely in the know and don’t need extra urging to catch the set on the Congo Square stage if you’re a NOLA resident. 

For anyone else, here’s the rundown: Freedia’s music — known as bounce — is something that must be witnessed live to fully appreciate it. The multi-sensory experience incorporates hip-hop, electro/dance elements, a lot of call and response and a ton of twerking, always assisted by at least a few impressively acrobatic backup dancers. 

Freedia only has two official full-length albums, 2014’s Just Be Free and 2023’s Central City, but other recordings and collaborations abound, including a feature (via sample from first-album track "Explode") on Beyoncé’s GRAMMY-winning Renaissance single "Break My Soul." Your Jazz Fest outing will not be complete without at least a little time spent gettin’ down with the Queen Diva.

Fantasia 

Performing: April 27, Congo Square Stage

Singer and actress Fantasia hasn’t released an album since 2019’s Sketchbook, but her return to Jazz Fest couldn’t come at a more auspicious time (she debuted at the festival in 2011, shortly after winning the GRAMMY Award for Best R&B Female Vocal Performance for 2010 single "Bittersweet"). Following her starring role in 2023’s musical movie adaptation of The Color Purple, Fantasia appeared at the 66th GRAMMY Awards in February to perform Tina Turner's "Proud Mary" as part of a tribute to the late "Queen of Rock ’n’ Roll."

There are already tributes to Turner planned — one at the fest proper from Adonis Rose and NOJO on April 26, and another from Grace Potter and Boyfriend at a satellite show at the Orpheum Theater on May 2. Fantasia could appear at either of those, but it feels just as likely that she’ll work in her own homage during her Congo Square stage set on April 27. She may also preview some new music: It’s been nearly two years since it was reported that Fantasia had two albums in the pipeline, one of them a gospel record.

The Rolling Stones

Performing: May 2, Festival Stage

The Rolling Stones have for years been Jazz Fest’s veritable white whale. The legendary British rock band was booked to headline in 2019 and was forced to cancel due to Mick Jagger’s heart surgery. Their 2021 rebooking likewise fell through after a new wave of COVID caused the entire festival’s cancellation for the second year in a row (2020 and 2021 are the only years Jazz Fest did not manifest since its start in 1970). So it stands to reason that the band’s May 2 debut on the main stage will far and away be the most momentous show across the two weekends.

Unless you’re an out and out Stones hater, you shouldn’t need any other reasons beyond those to make them a top priority. But, if you need a couple more, it’s also worth considering that this stop on their 19-date U.S. Hackney Diamonds Tour will mark only the fifth time they’ve ever performed in New Orleans and, seeing as they’ve been at it for more than 60 years, there’s no telling how long they’ll continue to play live, so it may be now or never if they’re on your bucket list. 

Of course, there’s also the music: over the course of their two-hour set, it’s a sure bet they’ll bust out all the hits and, with any luck, a few once-in-a-lifetime rarities.

Christone "Kingfish" Ingram 

Performing: May 3, Blues Tent

If you’re curious who’s carrying the Delta blues torch, look no further than Christone "Kingfish" Ingram. The 25-year-old, Mississippi-bred guitarist and singer has some mighty impressive credentials. At age 15, he performed in a band at the White House for Michelle Obama, and a year later he was getting props from Bootsy Collins and jamming with Buddy Guy, who went on  to fund his debut album Kingfish, released in 2019.

Ingram’s second album, 2021’s 622, earned him a golden gramophone for Best Contemporary Blues Album at the 64th GRAMMY Awards, and he went on to make his Jazz Fest debut last year. He returns to headline the Blues Tent on May 3 riding the strength of third full-length, Live in London, released last September. If you need any extra motivation to go see one of the young saviors of traditional blues, give that record a spin.

Rhiannon Giddens 

Performing: May 4, Blues Tent

If you’re a fan of top-notch southern folk, bluegrass, country, gospel, blues, soul … OK, hold up. If you’re a fan of enthralling music in general, pencil in Rhiannon Giddens’ set on May 4 in the Blues Tent at the top of your list. Giddens returns to New Orleans for her third Jazz Fest appearance following sets in 2016 and 2017, both of which were released as live albums (so you can go back and get a sneak preview of precisely how it might feel in this setting). 

You’ll be sure to hear key cuts from her latest solo full-length, 2023’s You’re the One (produced by Jack Splash, who’s repertoire also includes studio work for Kendrick Lamar, Solange and Alicia Keys), as well as tunes from her various other GRAMMY-nominated and -winning recordings, including solo albums, collaborative records and earlier work with old-time string band the Carolina Chocolate Drops. 

Heck, you might even hear snippets of opera — Giddens won the 2023 Pulitzer Prize for Music for co-composing Omar, an opera based on the autobiography of Omar ibn Said, the only memoir known to have been written by an American slave in Arabic. 

Samara Joy

Performing: May 4, WWOZ Jazz Tent

Kudos to Jazz Fest for booking Samara Joy to play a prime slot on May 4 in the WWOZ Jazz tent during the fest’s second weekend. After she nabbed GRAMMY Awards for Best New Artist and Best Jazz Vocal Album (for 2022 sophomore release Linger Awhile), it would’ve been a big miss had they not put her on. 

For Joy, whose notoriously arresting performances have already led her to playing a grip of other prestigious jazz fests around the world while touring relentlessly over the past couple of years, this appearance represents a major notch on her belt. For anyone planning to attend the fest, this is the chance to witness a major moment in the 24-year-old’s meteoric rise — history in the making.

Queen Latifah 

Performing: May 4, Congo Square Stage

Queen Latifah has been dubbed many illustrious titles over the course of her decades-long career, among them queen of rap and hip-hop. But seeing her name atop this year’s Jazz Fest roster evokes one in particular: queen of jazz-rap. No, it’s not too on the nose — since the release of her first album All Hail the Queen in 1989, her music has leaned heavily on elements of jazz, and on 2004 release The Dana Owens Album, she embraced it completely, covering standards of the genre alongside legends like Al Green and Herbie Hancock, even garnering a GRAMMY nomination for Best Jazz Vocal Album.

That legacy paints an exciting prospective picture for her May 4 headlining set on the Congo Square stage. Could she possibly bring out some of those venerable forebears for some surprise live collaborations? It’s likewise worth noting that this show arrives only a few months after her performance in "A GRAMMY Salute To 50 Years Of Hip-Hop." Might this also function as a victory lap with the potential for cameos from others involved in that all-star celebration? Let’s be real though: it is her Jazz Fest debut, and a long time coming, so even a set featuring only the Queen will be one for the books.

Grupo Niche

 Performing: May 5, Congo Square Stage

Here’s one to give you an extra boost on the fest’s final day (May 5). Colombian-bred, Miami-based Grupo Niche have been considered one of the most influential salsa groups in the Americas since their formation in 1979, making them just nine years younger than the fest itself and well-deserving of their Jazz Fest debut on the Congo Square stage.

Though their final founding member and director/composer Jairo Valera passed away in 2012, the expansive group — comprised of four vocalists, five horn players, four percussionists, a bass player, keyboardist and band director — has successfully evolved and thrived. Huge credit to their perseverance: the first album released without Valera, 2020’s 40, won the Latin GRAMMY Award for Best Salsa Album that year, as well as the GRAMMY Award for Best Tropical Latin Album in 2021. 

If Grupo Niche can keep the dance party going for more than four decades, surely you can squeeze in an hour at the fest.

Celebrating Jimmy Buffett With The Coral Reefer Band

Performing: May 5, Festival Stage

Considering Jimmy Buffett’s roots in New Orleans — his busking on the streets of the French Quarter in the 1960s essentially propelled him on his path to becoming a music legend — it would be utterly irresponsible as a Jazz Fest attendee to skip the Coral Reefer Band paying tribute on May 5 via the main stage to the late singer-songwriter, who passed in September 2023. 

This will be the second official performance after his death from his backing band following their April 11 all-star outing at the Hollywood Bowl in Los Angeles, which included appearances from Paul McCartney, Zac Brown and Brandi Carlile, among many others. 

No announcements have been made regarding Jazz Fest’s additions to the band, which performed there with Buffett for a dozen shows, their first in 1989 and last in 2022. Regardless, there’s no doubt it will play out as an emotional and uplifting ode to an artist who lived and breathed New Orleans music.

Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More

Ah, springtime. For the average person, that means sunshine, flora in bloom, perhaps a figurative fresh start in the new year. But for music festival fans, it signals another season starter: Coachella.

An estimated 125,000 people will flock to the Empire Polo Fields in Indio, California for the first weekend (April 12-14) of the 23rd Coachella Valley Music and Arts Festival. While the first weekend is already sold out, tickets are still available for the second weekend (April 19-21).

Coachella's headliners have been busy: Both Lana Del Rey (headlining Friday) and Doja Cat (slated to close out Sunday) just wrapped extensive tours at the end of 2023 and, while Saturday closer Tyler, the Creator's only other 2024 festival date is at Lollapalooza, he did stage a large-scale appearance in 2023 at the Camp Flog Gnaw Carnival in Los Angeles. Still, it stands to reason that there are scores of fans who missed out on those tour stops, and Coachella would be an ideal chance to catch them in a particularly special setting. 

There's also the potential to see a slew of surprise guests (a long-standing Chella tradition) and much-hyped reunions. Coachella 2024 attendees will likely flock to see a reunited No Doubt and Sublime, the latter with a Nowell back at the helm (Bradley’s son, Jakob).

Then there’s the economic logic behind opting to see those bigger acts at a festival: for a price not much more than what you’d pay for an arena ticket, you get the bonus of catching dozens of other incredible artists while you’re at it. The diversity and quality of music throughout even the lower tiers of the Coachella lineup is staggering, so overall the price for a pass is quite the steal. Read on for the inside scoop on 10 of this year’s most exciting undercard performances.

Read More: Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More

Cimafunk

Cuban artist Cimafunk has been relatively quiet since releasing a third studio album, El Alimento, in 2021. But the success of that record — which garnered his first GRAMMY nomination for Best Latin Rock or Alternative album at the 2023 GRAMMY Awards — appears to have propelled him to new career heights. He will be the first Cuban-born artist to perform at the festival, kicking off a string of worldwide shows that begin with his appearance at Coachella on April 12 and 19. 

Read more: At Getting Funky In Havana, Young Musicians Feel The Power Of Cross-Cultural Connection

Cimafunk’s sole release since his last album was the December 2023 single “Te tango en salsa,” which expands upon his self-designated brand of Afro Cuban Funk with accents of disco and grooves filled with New Orleans-style horns. Though the track hasn’t been publicly connected to any upcoming EP or album, one might presume that his impending run of concerts is a precursor to a complete body of new music. Perhaps Coachella will function as a testing ground, and considering the inclusion on El Ailmento of prominent artists George Clinton, CeeLo Green and Lupe Fiasco, who knows what other surprises might be in store at the desert festival known for delighting audiences with plenty of guest features.

L’Imperatrice

Through the years following their inception in 2012, French pop band L’Imperatrice have played primarily in Europe and surrounding regions, so it’s no small feat that they’re poised to make their second appearance at Coachella in two years. They first played the fest in 2022, a makeup show for Coachella's 2020 COVID-19 cancellation. 

Their slots on April 12 and 19, stops on their just-launched Double Trouble Tour, follow the 2018 release of debut full-length Matahari and performances at prominent festivals like Austin City Limits and Outside Lands. Self-produced sophomore album Pulsar arrives on June 7, and its infectiously groovy and sensual debut single “Me Da Iqual” promises a Coachella set sure to incite emotional release among the masses — ideally during one of the fest’s famed golden hours to match the music’s euphoric vibes. 

Skepta

Regarded as one of the most influential rappers in the UK grime scene, Skepta is set to commence his latest return to stateside stages with appearances at Coachella on both Fridays, which marks his second time at the festival after lauded dual appearances in 2017. 

Following a semi-secret DJ set at Austin’s South by Southwest festival in March, these shows will preview a run of summer dates in the UK and Europe and the release of upcoming sixth solo album Knife and Fork. 

With that record’s release date still in question but imminent, it’s a good bet that he’ll introduce new material to build upon the January drop of lead single "Gas Me Up (Diligent)," which adopts a flow and melodic structure more akin to popular American rap. To that end, Skepta’s previous collaborations with U.S. rappers like Drake, Ye and members of ASAP Mob could lead to a loaded lineup of guests during his Coachella set. It has the potential to be a huge moment, though his reputation for high-energy and rowdy gigs are reasons enough to prioritize his performance. 

Read More: UK Drill Is An International Sensation. Will It Be Censored To Death?

Mandy, Indiana

English-French noise rock upstarts Mandy, Indiana make music that isn’t necessarily easy to digest. Minimalist and chaotic compositions, primarily from their widely celebrated 2023 debut album I’ve Seen a Way, resonate as tunes tailor-made for technically minded music nerds. Still, danceable moments emerge among the sonic helter-skelter, which combines experimental elements of industrial, classic house music and samples aplenty (think Death Grips with more palatable melodies and exclusively French lyrics). 

So far, the dynamic four-piece hasn’t played much on this side of the pond — their debut shows at Coachella arrive on the heels of a handful of U.S. appearances in 2023 that included the SXSW Music Festival. Which means Mandy, Indiana’s sets on April 13 and 20 will mark relatively rare (and therefore must-see) chances to embrace their overtly wonderful weirdness in the desert among the more prominent pop-leaning artists on the roster.

The Last Dinner Party

If you’re not yet keen on British indie rock band the Last Dinner Party, it’s time to get with the program. With only one album under their belt, Prelude to Ecstasy (released Feb. 2) — which echoes various influences ranging from Siouxsie and the Banshees to Kate Bush and ABBA —the quintet has already earned multiple awards and accolades, including topping the UK Album Chart. To boot, they opened for the Rolling Stones in London’s Hyde Park two years prior to putting out their record.

The band’s performances are reportedly jaw-dropping, further evidenced by the complete sell-out of their current U.S. tour. That jaunt wraps with their April 20 appearance at Coachella (they also play during the first weekend on April 13), so, unless you want to pay ridiculous resale prices for one of their club shows, this is a prime chance to see them live with the added benefit of catching many more amazing acts while you’re there.

Young Fathers

Young Fathers are often categorized under the umbrella of hip-hop, but it would be wrong to pigeonhole them that way. True, one can pinpoint elements of a spitting, old-school style — especially on debut album Dead (winner of the prestigious Mercury Prize in 2014.. However, their sound spans the landscape of many genres, often weaving in threads of electronic, industrial, and trip-hop. It should be telling that they’ve collaborated multiple times with Massive Attack.

The music clearly resonates with a substantial audience. They’ve reached prime positions on the UK Album charts, their fourth and latest album Heavy Heavy (released Feb. 3, 2023) won them their third Scottish Album of the Year Award, and this year marks their second invitation to Coachella (catch them on Sundays: April 13 and 20). With a full year gone since putting out new songs, there’s no telling if they’ll serve up anything fresh. Regardless, fans of heavy-hitting experimental music, assuredly energizing at any time of day or night, should prioritize seeing their set.

Oneohtrix Point Never

It’s a wonder that Oneohtrix Point Never has never played Coachellal until now given his string of consistent releases since emerging in the early 2000s (with never more than three years between albums) and Coachella’s penchant for historically championing experimental electronic artists. Following the Feb. 29 release of his latest EP “Oneohtrix Point Never - Ambients,” he debuts in the desert on April 13, with his second weekend encore on April 20. 

The Massachusetts-bred beatmaker’s music swings from sparse to compositionally complex. It's not geared toward a typical EDM dance party, but always cinematic and hypnotizing, creating a space where listeners can truly lose themselves in the sonics. Given his style, it’s safe to assume he’ll occupy an evening time slot, so if you’re the type who prefers something a little more raw to the mainstream big-timers topping the bill, Oneohtrix Point Never might be just the ticket.

Mdou Moctar

If there’s one artist on this year’s Coachella lineup that will truly thrive in a desert setting, it’s Mdou Moctar. The Niger-based musician plays rock music steeped in the style of Tuareg, guitar-based blues-rock fusion that originates in the Sahara region. However, Moctar’s music decidedly transcends the traditional sound, often reverberating as sublimely psychedelic.

His performances in Indio on April 14 and 21 precede the release of his sixth album Funeral For Justice (arriving May 3). Based on the two singles made available from that record so far (title track “Funeral for Justice” and “Imouhar”), the people of Coachella are in for a true desert trip.

Atarashii Gakko!

When Japanese “girl group” Atarashii Gakko! make their Coachella debut on April 14 and 21, anticipate the unexpected. The four singers’ have a stated goal of “redefining what it means to be a girl group.” They’re technically categorized as J-Pop, but among the many catchy choruses, their music also incorporates shades of speed metal, trap beats and alt-rap à la Rage Against the Machine, all of which you can hear on their latest album ICHIJIKIKOKU.

What you can certainly expect is an outrageously high-energy show chock-full of nonstop, self-designed choreography performed in colorful sailor-fuku uniforms (essentially sailor suits worn by Japanese students in the ‘70s and ‘80s … think Sailor Moon but intentionally less provocative). If you need an adrenaline boost on the final day of the fest, look no further than Atarashii Gakko!.

Olivia Dean

Dear America, it’s time to give a proper welcome to an artist destined for stardom:  Olivia Dean. With only a handful of U.S. shows in the bank, the 25-year-old British neo-soul singer’s debut at Coachella on April 14 — arguably her biggest U.S. gig yet — will serve as the most well-deserved of receptions. 

Sure, her nominations for the 2023 Mercury Prize (for debut album Messy) and 2024 Brit Awards (Best Pop Act, British Artist of the Year and Best New Artist) should merit attention enough for those who don’t know her. But even a few moments of listening to key album tracks “Dive” and “The Hardest Part” (don’t sleep on the alternate version featuring Leon Bridges) are the real deal-sealers. The richness of Dean’s recorded vocals are absolutely arresting, evocative of and equal to top-tier divas who preceded her. It’s thrilling just thinking about the impact she’ll make at Coachella — do yourself a favor if you have the chance and go witness it firsthand. 

The Taylor Swift Effect: 8 Ways The Eras Tour Broke Records & Shattered Sales

"All’s fair in love and poetry," Taylor Swift declared when she announced her 11th studio album, The Tortured Poets Department, at the 66th GRAMMY Awards. 

Taken from the proverb "All’s fair in love and war," the pop phenom gave us a fair warning: there’s no limit to what she’ll go through to achieve her ends. 

On the freshly released The Tortured Poets Department, Taylor Swift has a few things to get off her chest — so much that it required a surprise second record, The Tortured Poets Department: The Anthology, adding an additional 15 songs. The sprawling album is a masterclass in songwriting and so personal that it's analogous to performing a post mortem autopsy; The musical shapeshifter is here to exhume the tortured poets of her past and make peace with them. 

In an Instagram post, Swift called the record an anthology that reflects "events, opinions and sentiments from a fleeting and fatalistic moment in time - one that was both sensational and sorrowful in equal measure." With the release of Tortured Poets, "there is nothing to avenge, no scores to settle once wounds have healed…our tears become holy in the form of ink on a page." 

View this post on Instagram

A post shared by Taylor Swift (@taylorswift)

Describing Swift’s work as a collection of tracks about boys and break-ups has always felt underbaked and disingenuous, but much of The Tortured Poets Department is just that. In true Swiftian fashion, she plays on preconceived theories, opting to toy with the five stages of grief — denial, anger, bargaining, depression, and acceptance — after a break-up, bringing listeners along on a peregrination exploring the depths of her relationships and personal growth. 

Analyzing her feelings to craft songs is muscle memory at this point, but with every release Taylor Swift somehow does so with a refreshed and reimagined perspective. The stories she shares with her fans in TTPD might’ve made her feel like she died, but she’s a revenant no longer tortured by the whims and words of other poets.

With The Tortured Poets Department open for business, read on for five key points to consider when listening to Taylor Swift’s new album.

It's Much More Than A Break-Up Record

Although the record orbits around a break-up, The Tortured Poets Department demonstrates Swift's ability to shapeshift as a songwriter. A song about a break-up is layered, typically forcing Swift to unveil her own flaws while wearing her broken heart on her sleeve.

The fifth track on a Taylor Swift album is typically the most emotionally cutting, and "So Long London" is no exception. On the standout track, Swift views the loss of her lover and the breakdown of her relationship to Joe Alwyn through the lens of the city they once shared together. It’s a cathartic release for Swift who point-blank notes the pain they inflicted upon her and how, in turn, they ended up just as heartbroken as she is. 

The high-spirited "Down Bad" and subdued "The Smallest Man in The World" are two sides of the same coin. The former is hopeful that a love could be reignited, whereas the latter sees Swift at her grittiest, pointing the finger at her former lover. "Smallest" poses a series of questions, accusing her ex of being a spy who only wanted to get intel on her.

On piano ode "loml," Swift looks back at the "get-love-quick" schemes she first wrote about in "Why She Disappeared," a poem for reputation. The poem originally considered the death of her reputation and how its aftermath made her stronger while she was simultaneously nursing a new relationship. 

The track has a similar energy to fan favorite "All Too Well," but is even more accusatory — seemingly unlocking another level of her songwriting prowess as she teeters between seething rage and mourning with lines about picking through a "braid of lies" spewed by a partner who "claimed he was a lion" but is really a coward. While Swift is honest about never feeling a loss so deeply, she maturely accepts that the effort she put into keeping the relationship afloat was all she could do. It’s distinctly different from the battles she bravely fought in "The Great War," "Daylight" and "long story short."

She's Grappling With Fame & Owning Her Choices

That Taylor Swift struggles with her own celebrity and the public's perception is nothing new. On reputation’s album prologue, she stated, "We think we know someone, but the truth is that we only know the version of them they have chosen to show us." 

On The Tortured Poets Department, Swift has never been more honest about her feelings towards those who claim to know better than she does. On "But Daddy I Love Him," she doubles down on these frustrations, taking aim at self-righteous "vipers" and "judgmental creeps" who condemn her choice of a lover. Swift holds nothing back, declaring "I'll tell you something about my good name/It's mine alone to disgrace."

Swift stated that her life sometimes feels like a public autopsy with people psychoanalyzing her every thought and feeling. Following the release of Midnights and her larger-than-life Eras Tour, Swift’s been in her "glittering prime" despite experiencing her long-term relationship ending and the media hysteria around it would make anyone feel the opposite. "I Can Do It With A Broken Heart" confirms fans' theories that the GRAMMY winner was indeed putting on a brave face.  

On "Clara Bow" — a song named for the silent film actress whose public life was so scrutinized that she admitted herself into a sanatorium — Swift sings "Beauty is a beast that roars/Down on all fours/Demanding, 'More.'" Again, Swift plays with the double-edged sword of fame, comparing herself to a performing circus animal — something she sings about in "Who’s Afraid Of Little Old Me?" 

Taylor Swift Gets By With A Little Help From Her Friends

Swift has always looked up to and honored the greats in her music and art, and Tortured Poets is no exception. She recruits rock icon and songwriter Stevie Nicks to help build TTPD’s world, and Nicks penned a poem featured in Swift’s physical album. Written in Texas, the poem is "For T and me..." and tells the tale of two ill-fated lovers. (Swift also namedrops Nicks in "Clara Bow," touching on the comparisons made between Clara, Nicks and herself.)

There are two additional guest appearances on TTPD: Post Malone appears on "Fortnight" and Florence Welch of Florence + the Machine is featured on "Florida!!!" (a surprisingly toned-down lead single). Swift particularly shines when paired with Welch, and the soaring "Florida!!!" sees their intertwined vocals creating a sound as infectious as the "drug" they sing about.

J.M. Barrie’s Peter Pan inspired Swift on "cardigan" ("Tried to change the ending/Peter losing Wendy") but now the Lost Boy gets his own track on The Anthology’s "Peter." The ever-inquisitive Swift pleads, "You said you were gonna grow up/Then you were gonna come find me" and confronts this man who wouldn’t grow up. She even puts herself in the shoes of Wendy who waited for Peter Pan to return but has grown tired of waiting.

TTPS Is All Quill And Fountain Pen Songs

A few years ago, Taylor Swift categorized her songwriting according to three writing devices: glitter gel pens for fun tracks, fountain pens for songs using modern imagery and lyrics, and quill pens for tracks with flowery, figurative language. Although devoid of the glittery gel pen songs that comprise many of Swift's hits, TTPD and its accompanying anthology are steeped in fountain and quill writing. 

Most of The Tortured Poets Department are fountain pen tracks — thanks to 2024 Producer Of The Year Jack Antonoff’s sleek pop production and synth use. Tracks like "Fresh Out The Slammer" and "My Boy Only Breaks His Favorite Toys" are sharp, snappy, tongue-in-cheek tales of love affairs about to begin and coming to an end with the same sonic exuberance of past Swift & Antonoff songs, like "Out of the Woods" and "Getaway Car."

Tracks on The Anthology, mostly produced by Aaron Dessner, are stripped-back, folk-tinged quill songs brimming with sorrow and harrowing thematics and dives even deeper into her chaotic psyche. "The Prophecy" sees Swift beg to change a prophecy that has been laid out ahead of her — likely stemming from the pressure of being a global superstar when all she wants is to be loved.

This Is The End Of An Era (Or A Chapter)

To her occasional disdain, Swift's highly personal songwriting has created a global obsession with her inner life.  Although she's tired of the "public autopsy," Tortured Poets offers her time to reflect on the "events, opinions, and sentiments" over a time that was equal parts transient and transformative. 

From her growth from the country-twanged teen singer on her self-titled debut to woman who is fearless in her pursuit of happiness, love, and peace, Swift has transformed time and time again. By viewing her work in eras — or, in this case, a chapter in a book of her life — it’s clear that Swift sees this current chapter of her life coming to a close, turning the last page and no longer longing to look back. 

One could argue that Swift is an unreliable narrator, only ever presenting her side of the story. But she says that while considering the pain described on TTPS, many now-healed wounds turned out to be self-inflicted. With these stories immortalized, Taylor Swift has spoken her saddest story and is now "free of it." The tortured poets and poems will no longer take up space in this next chapter of her life.

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon