CVIndependent

Sun03292020

Last updateMon, 23 Mar 2020 12pm

This morning’s announcement of the Coachella 2017 lineup was, per usual, met with a wide variety of reactions.

While I was not wildly impressed by the lineup (which you can see below), the online reviews have been largely positive. Esquire even went so far as to call the slate of performers—featuring headliners Radiohead, Beyoncé and Kendrick Lamar—“the festival’s best lineup in years.”

And … Hans Zimmer? The legendary film composer? He’s performing. Wow.

However, one band has received a lot of criticism—Radiohead. And that, frankly, is just not right.

When this band from Abingdon, Oxfordshire, England released its first album, Pablo Honey, in 1993, success in England came quickly, followed by popularity in the rest of the world, including America. The song “Creep” became an international hit, while “Stop Whispering” made the charts in the United States. Radiohead’s modest, “alternative” sound came at the perfect time in terms of rock-music evolution, and by the time new millennium started, Radiohead was one of the biggest bands in the world.

Now more than a decade and a half into the 2000s, Radiohead is still wildly popular—yet some have started to question the validity of their music, even labeling it as “boring.”

These criticisms are off-base. Radiohead, after all, has sold 30 million records while consistently selling out arenas. Yes, Radiohead still matters—and here are five reasons why.

1. Radiohead has a vital role in Coachella’s history.

Radiohead first performed at Coachella in 2004. At the time, the band was reveling in the release of top-selling albums OK Computer (1997; considered by some to be one of the best albums of all time), Kid A (2000), Amnesiac (2001) and Hail to the Thief (2003). In other words, in 2004, Radiohead was huge—while Coachella was still struggling. Radiohead, along with a reunited Pixies, and The Cure, helped Coachella sell out of passes for the first time. Coachella was considered an indie festival at the time, and Radiohead was a game-changer. Radiohead returned to Coachella in 2012 and was very well-received by attendees and the music press.

2. Radiohead’s lyrics are fascinating.

All of Radiohead’s albums include a lot of fascinating lyrical content. “Creep” is a ballad about a girl who frontman Thom Yorke was fascinated with; she actually showed up at one of the band’s gigs. The first song I ever heard by Radiohead was “Fake Plastic Trees” (1995). Amusing title aside, it was written by Yorke, while under stress from Capitol Records, as a follow-up single to “Creep,” and was inspired by a drunken night in Canary Wharf, a business district in East London that has a lot of … fake plastic trees. Believe it or not, plastic trees are a controversial subject, going back to an early 1970s essay written by Martin H. Krieger titled “What’s Wrong With Plastic Trees?” Meanwhile, Hail to the Thief was memorable because of the political climate at the time—the record title was a nod to George W. Bush’s presidency. Yorke penned the track “2 + 2 = 5” as a reference to George Orwell’s 1984.

3. Radiohead does a lot musically.

Radiohead’s first three albums have a rock sound—although other elements are included. Then came Kid A in 2000—showing off a Radiohead sound that had evolved to include more specific elements of classical music and electronic music. Thom Yorke told Chuck Klosterman during an interview in 2003, “Do people really think I like straight-ahead rock? There's an irony in that, because I’ve always been more interested in making sounds, which is why I gravitate towards Kid A material.” The way in which Radiohead layers its music is, simply put, fascinating.

4. Radiohead’s live performances are awesome.

Beyond the great music, Radiohead’s visuals and lighting during live performances is dazzling. At Coachella in 2012, Radiohead had different-sized video screens hanging above the stage, an LED screen behind the band, and a large video panel at the top of the stage that showed all five members at once. And the band’s still got it: Reviews of Radiohead’s performance at Lollapalooza in Chicago last summer were positive across the board.

5. Radiohead’s new album was one of the best of 2016.

To reiterate: Radiohead’s still got it.

A Moon Shaped Pool, released May 8 of last year, is Radiohead’s ninth album, and it shows the band is creatively pushing the bar higher and higher. The release has received near-universal acclaim while nabbing two Grammy nominations—for Best Alternative Music Album and Best Rock Song (“Burn the Witch”).

If you have never seen Radiohead before, make sure you don’t miss them at Coachella—no matter the preconceived notions you may have about the band. A lot of Coachella 2017 attendees were not even born yet when Pablo Honey hit record stories back in 1993—and how many other bands from that era are still going as strongly today?

Indio is the Coachella Valley’s largest city—and faces complex challenges due to the fact that it’s the home of Coachella, Stagecoach and Desert Trip.

In this year’s city election, seven people are running for two seats on the Indio City Council: Incumbents Glenn Miller and Lupe Ramos Watson, and challengers Joan Dzuro, Gina Chapa, Sam Torres, Jackie Lopez and Noe Gutierrez.

Joan Dzuro (right), a retired human resources consultant, cited a lack of both redevelopment funds and a concise plan for redevelopment as problems in Indio, due in large part to the state of California dissolving all redevelopment agencies back in 2012.

“One of the challenges that we have is the loss of the redevelopment funds,” Dzuro said. “… When those funds were removed by Sacramento, it became harder to find funding for that. I’m very encouraged by the hiring of (the city’s new director of economic development), Carl Morgan, because he’s able to come up with plans to talk to investors and businesses, and to try to work on options for some of that funding. You always need more funds when you have a fast-growing city. Public safety needs to be able to keep up with that, and it costs money.”

Dzuro said that her 35 years in corporate human resources give her much-needed experience.

“I’ve dealt with corporations from the business side and the employee side,” she said. “I think that’s the strength I can bring to the council, and bring in jobs and create businesses for the city, and have those businesses contribute new marketable skills to our unemployed and to the younger people graduating from college.”

Gina Chapa, a community organizer who worked for Congressman Raul Ruiz, said the lack of diverse commerce is a big issue.

“We’re struggling a lot with bringing in new businesses, supporting businesses, and actually having a thriving commercial area,” she said. “Also, I see that there’s a huge disparity between different populations in Indio. In order to feel like a complete city, we need to find a way to build bridges between the different communities in Indio. I feel that there’s a lack of ownership or participation. There’s a large population of disaffected or apathetic residents who feel disconnected to their local government.”

Chapa (right) said her roots are in Indio. “I’m a longtime community organizer and community resident. I was born in Indio and went to school in Indio. I’m raising my son in Indio, and I’m connected to various communities in Indio.”

Sam Torres, a former city councilman, said Indio’s slow economic recovery has caused problems.

“We’re starting to see some signs of (recovery in) the last few years, but we haven’t seen the robust economy we thought we were going to have,” he said. “I think that there’s another issue, and that’s the fact we’re starting to see two Indios. One is the north side and the far south side along the polo fields. The south side gets a lot of attention and is a new and dynamic community. But we’ve been leaving out the communities that have always been here. The residents in these communities are the ones who were building this economy. If you look in those neighborhoods, you can see the decay.”

Why should Indio voters put Torres back on the City Council, two years after he lost a re-election bid?

“I know the job. Now I really know this city,” he said. “I tell the truth and tell it like it is: ‘This is the problem, and this is what it takes to fix it.’ I do not bow to special interests, because the city residents elect me, and I don’t have a scheme to make money off this city.”

Jackie Lopez (right), who works as the district director for Assemblymember Eduardo Garcia, said Indio’s largest challenge involves commerce.

“The No. 1 issue is places to shop,” Lopez said. “People spend their money outside of Indio. One of my main goals is better economic development. There are a lot of business owners struggling to make it. On the north side of Indio, we have a village market that could be a grocery store that’s sitting there. There are people who live across the street looking for places to shop that are walkable, and they’re getting to the point where they’re relying on their children and public transportation. Even though there are places to shop on the other side of the overpass, it’s too far for them. … I also feel that hotels are another concern with these festivals in our city; a lot of our tourists are staying outside of the area.”

Lopez said her work experience makes her a good fit for the City Council.

“I’m a lifelong resident here and have eight years working for the state Legislature,” she said. “I know how to get our money back from the state. I have worked on numerous pieces of legislation at the state level, (and worked) with our congressman to leverage funds for victims of the Salton Sea.” 

Noe Gutierrez—a behavioral health specialist, writer for CV Weekly and musician—said the city has not focused enough on small business.

“Downtown Indio hasn’t flourished like it should have,” he said. “I think smart growth is what we need—focusing on small-business owners and helping people get set up and started, as well as following them through. We all know the numbers of small businesses and when they open. Generally, they close within three years. We need to develop a plan we can follow.”

Gutierrez (right) said his experience in understanding people will serve him on the City Council.

“I grew up in Indio, and went to school in Indio, and I understand the backstreets, the different neighborhoods, the different types of people who live in those neighborhoods, and I understand their perception of things,” he said. “I have a huge amount of empathy given my background working as a social worker. My job is to put myself in other people’s shoes, so I feel I do a pretty good job doing that. … One thing I’m known for is gathering people together, getting them connected and establishing long-term relationships that are beneficial.”

The incumbents have had front-line experience dealing with Indio’s economic challenges in recent years. Glenn Miller said that while some newer areas of Indio—closer to Interstate 10—are fairly prosperous, the city’s downtown is suffering.

“Some of our older parts are taking a toll from the economic downturn,” he said. “It’s getting the actual funding availability, not only from the city of Indio, but also from our business community to invest into some of the areas that have been hit hardest due to the economic downturn, such as our downtown area.”

Miller, who has been on the council since 2008, has seen the city deal with hard financial times.

“When I first came on to the council, we had a structural $13 million deficit,” he said. “We burned through $35 million in reserves. Now we have a structurally balanced budget with over a half-million dollars in reserves, so financially, it is economically sound. But when you start talking about where you want the city to go when listening to our residents, one of the things they ask for is different kinds of shopping and business opportunities, education and investing in infrastructure.”

Miller said he should be re-elected because of his dedication to the city and the fact that he spends most of his free time working for a better Indio.

“I’m the most active and involved council member out of all the council members,” he said. “I’m very much engaged and spend all my free time working with our businesses, nonprofits and residents on what’s important to them.

“Indio will grow not only locally, but regionally. Not everyone who lives in Indio works in Indio. So the stronger the Coachella Valley is as a whole, and the more relationships we can build with College of the Desert and with our school district, it will be an advantage to the city of Indio, and I’m able to engage in those relationships.”

Councilmember Lupe Ramos Watson (right) said she’s concerned that Indio is losing out on sales-tax revenue.

“Our first and biggest challenge is to recapture some of the sales tax that is leaking out to other cities,” Watson said. “Several years ago, we conducted an economic-strategy analysis to figure out how much of our disposable income is being spent within the city boundaries to produce sales tax revenue, and how much was leaking out to other cities. We figured out that more than 50 percent of our potential sales tax revenue is leaking to other cities.”

Watson said she deserves to remain on the council due to the steps that she and her colleagues have taken regarding economic development.

“We just hired an economic development director a couple of months ago,” she said. “Because of the strategy we put together a couple of months ago, we have a plan for the downtown area that we’re completing to make sure the businesses that come into that area not only revitalize the downtown area, but add sales tax to our revenue and augment the opportunities as the ‘City of Festivals.’ With my background in planning in addition to development, I believe I’m a great asset to the city of Indio to help unfold these projects.”

We asked each of the candidates: What is the real identity of Indio?

“I believe Indio’s biggest attraction is that we’re a family-oriented city,” Dzuro said. “We emphasize our parks, the teen center and the Boys and Girls Club of America. We work together as a community with our festivals. The Tamale Festival and the Date Festival are family events. We really try to bring in the families to our community, and I think that’s what we emphasize more than anything.”

Chapa said that she feels the city government is not properly engaging with the older parts of the city.

“We know what it’s all called: ‘The City of Festivals,’” Chapa said. “That’s what it’s marketed as. It … doesn’t have just one identity. We know people understand Indio from the outside because of Coachella and the large snowbird community. As for the identity that it once had, there are many 40-plus-year residents living here who aren’t being included in the new face of Indio and the ‘City of Festivals.’ The identity is something we need to work on as a city, and (we need to) reach out to the community to build an identity so the people can feel like they’re part of the city, and that we can build our city together.”

Torres said Indio is not reaping the economic benefits it should be.

“The city of Indio is the ‘City of Festivals,’ but we used to be the second seat of the county, and we’re now in the backseat to Palm Springs,” Torres (right) said. “Any of the big events they have here, even at the casinos, they call it ‘Greater Palm Springs.’ We provide the neighbors and facilities, but the cash registers are ringing in the west valley. The local leaders have allowed that to happen and don’t have a plan to bring that identity back to Indio, and that’s where we made a huge mistake. It’s called the ‘’City of Festivals,’ but we’re really the ‘Greater Palm Springs Chamber of Commerce Backseaters.’”

Lopez said she wants Indio to once again be considered the hub of the Coachella Valley.

“We have so much potential, and we’re still growing,” she said. “On the other side of the freeway, I just found out we’re getting a Sonic and some other new places to shop and eat. The hope is to make sure we have a council member who will reinvest back into our community. We do pay taxes, and we’d like to see some of that money come back in infrastructure or attracting new places to shop and eat in downtown Indio—becoming the hub of the valley again.”

Gutierrez also said the city does not capitalize enough on the ‘City of Festivals’ label.

“There are some blinders on us,” he said. “We’re known for Coachella, but we don’t really expand on that. We’re just the site for Coachella. … We can’t rely on one-time events where people come, hang out and then leave, and probably never come back. We need a continuous inclusion of all age groups, ethnicities and everything.”

As for the identity of Indio, Miller (right) feels it has a lot to offer culturally.

“It’s the ‘City of Festivals’ and the city of culture. The city also has a bright future,” he said. “I think people see that in our rich history and being the largest city, but … multiple art developments and art pieces are going up throughout the city by world renowned artists who want to be part of the city of Indio and its culture.”

Watson said that she feels the city’s identity as the “City of Festivals” ties everything together.

“We’ve always celebrated our culture through the festivals,” she said. “It’s a community of celebration; Indio is full of hard-working individuals who work through our seasons to fulfill every need of their families, and when it’s time to celebrate, it’s done through our festivals. That is … a hard working community that understands that we need to work hard and work together to build a community that meets our needs.”

Published in Politics

The area surrounding the city of Coachella is dominated by farms, ranches, orchards and the laborers who work on them.

As I drove to meet Armando Lerma at his Date Farmers art studio, I passed fields where migrant farmworkers were doing their jobs under the brutal summer sun. This is one of the places where Cesar Chavez and the United Farm Workers union fought for the labor rights of these migrant farmers.

Today, Coachella is becoming known for more than agriculture; it’s also getting more and more attention for its rising arts scene—and much of that attention is directly due to Armando Lerma and the Date Farmers studio.

When I arrived at the studio, which Lerma started with Carlos Ramirez (who was not present; he apparently avoids interviews), Lerma greeted me. Lerma’s two large dogs jumped around in excitement as he opened the door to show me the garden area out back as he explained what made him and Ramirez start the Date Farmers.

“It’s complicated,” Lerma said. “We try to keep the tradition alive of Mexican art—the culture and the traditions from the ancients to modern Mexican/Chicano art. That’s always been the inspiration. It’s something that relates to our community.”

Lerma said that when he began making art two decades ago, there wasn’t much inspiration to be found in Coachella.

“It’s kind of hard for us, because we weren’t taught those traditions and were kind of out here by ourselves,” he said. “We had to teach ourselves. Back in the ’90s, when I was in high school, there was no real art or anything that really talked to us. The art I remember that people would be talking about would be on El Paseo in Palm Desert in those galleries. I’d be looking and trying to understand whatever it was. I wanted to understand it, but I couldn’t—and I didn’t feel anything there.

“I met and talked with people who pointed me in the right direction and started teaching myself about the traditions. I found my way and the direction I wanted to take.”

Lerma said his initial ignorance of traditional Mexican art has made him appreciate art even more.

“No one in my family understood art. My parents had no clue and didn’t teach me about art,” Lerma said. “We had encyclopedias, and I remember going into those for art. Pablo Picasso, Vincent Van Gogh—all that stuff was cool. When I got a little older and started learning about Mexican history and people like Diego Rivera and all the Mexican muralists, I went deeper and deeper.”

He said a pilgrimage to Mexico helped inspire him and his works.

“I saw all the Aztec murals, the Mayan ruins and all that stuff,” Lerma said. “It’s a tradition that I wasn’t taught. That’s where I come from, and I had to teach myself, because the generations before me didn’t have time for that. Through my parents’ hard work, they were able to give me a good education. … I felt fortunate I was able to meet so many people pointing me in the right direction.”

Lerma said the collective’s name comes from the heritage of both his family and his hometown.

“That’s what established this community—the agriculture and farming,” he said. “My parents were migrant farmworkers and worked here in the desert. We had a date farm; my grandfather was a farmer, and my uncles are farmers.”


The Coachella Valley consists of nine different incorporated cities and various unincorporated communities, ranging from some of the richest areas of the country to the poorest. As he was growing up, this disparity confused Lerma.

“I felt stupid! I felt really dumb. For so long, I was like, ‘Why are things the way they are? I’m living in Coachella. I guess this is kind of cool,’” he remembered. “Back then, things were sort of junk (in Coachella) and not looking so nice. I went to school in Bermuda Dunes, and when you are going through Palm Desert, you can see the transition—and you don’t understand it. My parents didn’t know how to explain it to me. No one talked about it.

“When I came into my own and started understanding these things, I felt like that tradition (of understanding my community) was taken away from me. I should have known that stuff; I should have been more aware, and I should have been more self-confident and proud, but I wasn’t. I thought we must have been doing something wrong, because I didn’t know why we were in that position when I was growing up.”

Some other members of the Coachella Valley arts community believe this perspective has led Lerma to, at times, be over-protective of his community and his art. I reached out to a variety of people to discuss the Date Farmers—and almost none of them were willing to discuss the Date Farmers on the record. Off the record, some noted that Lerma can be eccentric, is often unafraid to state his opinions, and is overly suspicious and untrusting of anybody he views as an outsider.

However, almost everybody I talked to praised Lerma for being an inspiration to his community—and mentioned that he’s becoming more and more of an influence in the California art scene.

One person who was willing to talk to me is Freddy Jimenez, an artist and the drummer for the band Tribesmen. He has been working with the Date Farmers for years and has played various shows at the Date Farmers studio. He said he understands where Lerma is coming from.

“He doesn’t want anybody to just come in here, because this part of the desert has been neglected, and a lot of people have talked bad about it, especially from the west side of the Coachella Valley in Palm Springs,” Jimenez said. “Now all of a sudden, Armando is doing murals in the city of Coachella, and we’re doing shows here, and a lot of people are starting to recognize it and wanting to do shit out here. People just want to suddenly jump on the bandwagon. … You just don’t want to let everybody in. I don’t want to work with just anybody when it comes to throwing shows or doing art. We’ve been building this local scene up.”

As a result of the Date Farmers’ increasing influence, their pieces have been seen everywhere from the Ace Gallery in Los Angeles to the most recent Coachella Valley Music and Arts Festival—you know it simply as Coachella. Lerma said he’s happy to have his art in these places, in part because he feels people can learn from his art.

“With Mexican art in general, I think a lot of it has to do with teaching,” Lerma said. “If you take anyone’s art at the highest level, it’s teaching you something. That’s in Egyptian art, Chinese art—and you learn from it. It’s not just art for art’s sake.

“In Mexican culture, it’s also ceremonial to teach the young people to hold to the traditions. We’re kind of like orphans culturally. My generation, my parents’ generation, my grandparents’ generation—there was no art, and it kind of stopped. They had to work and do what they had to do to survive. But the spirit is strong, and it came back. That’s how I see art and where we’re coming from.”

The Date Farmers’ piece that was on display at Coachella, “Sneaking Into the Show,” was sitting in the gallery disassembled during my visit. Lerma mentioned during an April interview with LA Weekly that the work symbolizes the disparity between Coachella, the city—low-income, working-class—and Coachella, the music festival.

Lerma told me he is not a fan of Goldenvoice, the promoter that puts on Coachella and the other gigantic festivals that happen at Indio’s Empire Polo Club.

“It’s not something that’s talked about: Even the politicians here don’t step up and say, like, ‘Hey, we’re right here!’” Lerma said of the disparity between the festival and the nearby areas. “The things Goldenvoice does, like stopping people from selling T-shirts, is something I don’t understand. As an artist, I feel the most important aspect is to be honest, and I think we’re lucky, because we can talk shit. (The piece) was about bringing people from Coachella into the festival.

“I have this cousin who’s very inspirational to me as a kid. He was a gangster, and he had the cholo tattoos back in the ’80s when no one had tattoos. He looked like a pirate back then or something. I remember looking at him back then and saying, ‘You’re never going to get a job!’ He didn’t have to worry about it, because he ended up in prison. But he was a bad-ass artist, and that’s kind of the artwork he did, that reflected his experiences and his friends and family. It inspired me how he used art to tell his own story. He passed away recently, and the piece was a nod to him, because he sort of started me off.”

Lerma is also outspoken about the bad rap Coachella gets in the media. Earlier this year, The Desert Sun published a piece titled “The Warlords of Coachella,” about the city’s gang problems. Lerma said the piece was not a fair representation.

“That’s all bullshit!” Lerma said. “It makes us look so bad when it’s on the front page. … There are gangs here, but I don’t see them as much as I did when I was a kid. There used to be a lot. I probably wouldn’t have come to a party in Coachella during that time. It’s changed, and it’s not like that anymore.

“We were at a City Council meeting, and there were some kids from Coachella Valley High School, and they took it upon themselves to do this video, asking people at their school: ‘Do you feel safe?’ ‘How do you feel about the gangs?’ Everybody was saying there were some knuckleheads, but there were mostly good kids.

“This is my community. I live here every day, and I don’t see the gangs anymore.”


The city of Coachella and the East Valley in general have not been embraced as vibrant arts communities. However, the Date Farmers are helping to change that perception.

The Crisalida Community Arts Project was designed to also help change that perception. The two year project, an effort of the McCallum Theatre, fostered connections with local artists of all types in the East Valley, and culminated in a showcase this past spring at the McCallum.

Lerma—ever territorial and opinionated—said that he was not a fan of the project, in part because he was not included in it.

“That was a bummer for me. David Gonzalez, who is from New York, came to our community, and the project was funded by the James Irvine (Foundation) through the McCallum Theatre. I don’t know what started their interest in coming out here, because they never came out here before. I’m a big influence on these young people doing art out here, and for them to just not even contact me—it was bullshit.”

Lerma was also displeased that the Coachella Valley Art Scene’s Sofia Enriquez painted a mural in Coachella as part of the Crisalida project. He said it did not sit well with him, in part because the Date Farmers were already working on another mural nearby.

“It’d be one thing if there was no mural project, but there was already something going on that we were working on,” he said. “Right now, we have 10 murals up, and we’re going to get some more up, but I was really pissed off with the Crisalida Community Arts Project.”

David Gonzalez was in Europe and unavailable for comment.

Lerma explained that art is not as simple as some people make it out to be. He said that art needs to be taken seriously, and should not just be made in an effort to achieve fame and fortune.

“You have to be honest with yourself. I get turned off by people acting like they’re artists,” Lerma said. “… Honesty makes good art. It doesn’t come easy, and there aren’t too many art geniuses. (Date Farmers co-founder) Carlos (Ramirez) is an art genius. He’s been drawing since he was out of the womb, and he knows how to draw. It took me a long time to learn how to draw and how to paint. With social media, it’s just so fast now, and that dedication to the craft isn’t there.”

The Date Farmers’ interest in art goes beyond what one would find in a gallery. In an area that is currently going through a resurgence of the house-party-style concert, the arts collective has been also focusing on music. During New Year’s Eve in 2015, Brant Bjork performed at the studio, and local bands including Tribesmen have played there as well.

“We’ve had a lot of music shows. We had parties on Friday and Saturday during Coachella,” Lerma said. “We can have 300 people in here, and they’re all mostly locals, and it’s kind of the way to give back to the kids who can’t go to Coachella. We go all out and throw a good party, exposing them to good music and art.

“They’re all cool art-type kids. When I was a kid, you’d get beat up for being an art kid.”

Jimenez, of Tribesmen, said that the Date Farmers’ music space is a throwback to the backyard scene that is now making a comeback in the Coachella area.

“Armando has provided a safe haven for the local East Valley scene,” Jimenez said. “It’s the same kind of feel and the same kind of passion that the backyard-music shows had. No other venue in the desert has the same kind of love. That studio makes it feel like you’re at home and shit. It makes you feel like you’re playing to people who actually care about the music as opposed to playing in a bar and people who are just there to drink and party.”

The Date Farmers studio is currently dealing with a financial setback, due to the bankruptcy and questionable financial dealings of Ace Gallery founder Douglas Chrismas.

“I should really be jaded with everything I’ve gone through as an artist,” he said. “We just finished working with the Ace Gallery in Los Angeles. They showed Andy Warhol and all kinds of big names. The guy who owned it, Douglas Chrismas, is notorious for being crazy, and he rips you off. It was all part of the experience. The business of art is why you can’t take the business so seriously—but then you do (need to take it seriously), and it’s a weird balance. It’s not easy.”

Lerma explained that there’s no grant money supporting the Date Farmers.

“We make money through making and selling art,” he said. “Most people never get to live off their art and have to do something else. We’re so fortunate to be able to sell artwork. But it hasn’t been easy, and people aren’t just throwing money at us. I don’t know where the money is going to come from, but I know that I have to sell some art. We don’t have the Ace Gallery anymore, so we have to find a new gallery to sell art through.”

Lerma is clearly proud of his hometown. He said that after dealing with the hustle and bustle of the Los Angeles art world, he’s happy to be home.

“After coming back here, I just want to start a garden and slow things down—slow it down as much as I can,” he said.

Published in Visual Arts

Great beer and excellent music go hand in hand—so it’s no wonder that craft beer is becoming a bigger deal each year at the Coachella Valley Music and Arts Festival, aka Coachella.

Not only did the Craft Beer Barn delight beer fans for the third year in a row; this year’s festival included a smaller rare beer barn, craft beer cocktails and a cabin speakeasy by the Houston Brothers.

Also present were all three of Coachella Valley’s local breweries, including La Quinta Brewing Co.—just weeks before taking home a gold medal at one of the world’s biggest beer competitions. (More on that later.)

As I enjoyed the second weekend of the festival, seeing all of the great beer together with all of the renowned musicians got me thinking about pairings: Which brew goes best with which music?


Prince

Prince was at Coachella in spirit, after passing away on April 21, the day before the second weekend of the festival began. Coachella’s palm trees were awash with Prince’s trademark purple hue. Ice Cube even wore a purple bandana and purple sneakers in tribute.

Before LCD Soundsystem performed, the three massive main-stage screens played the entirety of Prince’s version of Radiohead’s “Creep,” recorded in 2008 on that very stage.

Prince’s music crossed genres; he was a master architect of funk, rock, R&B and pop. He went against the grain and refused to bow to big record labels during his nearly 40-year history of artistry.

Because Prince is such a legend, it’s virtually impossible to pair him with just one beer. However, the brewery that comes to mind is Stone Brewing. The 20-year-old San Diego brewery has gone against the grain since unleashing Arrogant Bastard Ale upon the world in November 1997.

Fast-forward to 2014, when Stone announced plans to become the first American craft brewer to own and operate a brewery in Europe. Much like Prince refused to bow down to big business, Stone’s founders just announced a project called True Craft—an effort to invest in craft breweries which are dedicated to remaining true to the definition of craft beer, as an “alternative to being bought or pushed out by Big Beer.”


LCD Soundsystem

The icons offered tribute to Prince by leading off their set with a joyous, funky version of “Controversy,” lifting both spirits and feet off the ground. The anti-cool—yet infinitely cool—electro-rock group also played “Daft Punk Is Playing at My House” and “Dance Yrself Clean,” creating a grin-inducing dance party. James Murphy’s Brooklyn demeanor, electro-rock dancing and serious singing all contributed to what was a triumphant return. Murphy proved his comedic talent as well when, over a simple drum beat, he cavalierly proclaimed that he was present at every key moment in underground music.

I found myself memorized and swaying aggressively when a young, dreadlocked hipster came up beside me. His eyes were wide, overwhelmed by the sensation of the beautiful music. “I didn’t know about these guys; they’re amazing!” he said.

I giggled. “Yes, yes they are.”

Pair with: The Bruery’s Confession. Not quite beer, not quite wine, this unique and effervescent wild ale is perfect for the wild and collaborative band. Confession is a sour blonde ale that is blended and fermented with juice pressed from Riesling grapes.

While LCD Soundsystem may be best known for the effect the band has on the dance floor, Confession is best known for the effect it has when flavors reveal themselves on the tongue.


Disclosure

This electronic music duo is definitely one of the cleanest stage acts you’ll see live. Disclosure wowed the crowd by welcoming AlunaGeorge singer Aluna Francis to the visually brilliant stage. “Moving Mountains” and “When a Fire Starts to Burn” brought awesome roars from the audience. Simply put, Disclosure was the ultimate crowd-pleaser.

Pair with: El Segundo Citra Pale Ake. Nearly every craft-beer-drinker I know loves this beer. With notes of guava, grapefruit peel, mango and peach, what’s not to love? It’s refreshing, bright and taste-bud-pleasing.


N.W.A.

The Coachella lineup simply listed Ice Cube. But after he asked, “Is there a doctor in the house?” the surviving members of N.W.A. performed together for the first time in nearly 30 years.

Before Dre arrived—wearing all black with the Prince symbol on his shirt—Ice Cube had the N.W.A. vibes in full force with “Fuck tha Police” and “Straight Outta Compton.” It was loud, aggressive and totally awesome.

Pair with: Three Weavers’ Hops Needs Friends. With a bold emphasis on hoppy bitterness, this IPA from the Inglewood brewery (not far from Compton) is loaded Idaho 7 and Azacca hops, giving it bursts of pineapple, orange and strawberry flavors—loads of “California Love.”


Guns N’ Roses

I would blast GnR in my Walkman in the mid ’90s as I got ready to swim the 100 freestyle at my high school’s swim meets. Therefore, I was beyond excited to see this large-than-life band.

Sure enough, many 35-to-55-year-olds rocked like it was 1987. Duff played his powerful licks from a white bass adorned with a purple decal featuring Prince’s symbol. He sang The Damned’s “New Rose”—which was extra-cool, since the psychedelic punk legends had just played before GnR.

But it was Slash’s astounding guitar solos and Axl’s wailing falsetto that really drew in the crowd. Despite Axl being confined to a throne due to a leg injury, the band members delivered a mind-blowing set—and, of course, Axl dedicated it to Prince.

Guns N’ Roses didn’t need a special guest, because the band made sure the night ended with a bang.

Pair with: Faction Brewing’s Something Different IPA. This IPA is hopped with Centennial, Citra and Experimental 07270 varieties. With aromas of pine resin and notes of grapefruit, spice and tropical fruit, this beer is highly rated. Another pairing option: Try pairing GnR with Modern Times Infinity Beach, a sour IPA with grapefruit zest coming in at 7.2 percent alcohol by volume. This is a special-release beer that is kettle-soured with three lacto strains before fermentation with Modern Times’ Brett blend, resulting in loads of flavors and in-your-face, citrusy awesomeness.


La Quinta’s Big Medal

La Quinta Brewing brought the Sundaze Session IPA and Poolside Blonde to Coachella—but it was another beer that would earn the Palm Desert-based brewery one of the beer world’s highest honors a couple of weeks later.

On May 6, La Quinta won the gold medal in the Wood- and Barrel-Aged Beer Category at the World Beer Cup for the Bourbon Barrel Aged Koffi Porter. It bested a whopping 66 entries to take top honors.

The brewery takes its popular coffee porter and ages it in bourbon barrels for approximately four months. The coffee used is from local icon Koffi, roasted in Rancho Mirage.

I chatted briefly with Skip Madsen, who is now the brewmaster at La Quinta Brewing. He lived in Seattle for more than 20 years and brewed at Pike Brewing, Boundary Bay Brewing, Big Time Brewing, American Brewing Company and his own company, Water Street Brewing.

Madsen started brewing in the desert in January. Since then, he’s introduced the new Even Par IPA, which comes in at 7.2 percent ABV—pun intended, as 72 marks even par at many golf courses. The beer is brewed with Mosaic, Simcoe and Citra hops.

“I like to do all kinds of styles, but I’m known as an IPA guy,” he said.

This marks Madsen’s third World Beer Cup medal—and La Quinta’s first.

Up next for La Quinta: Some new beers and possible bottling of the now-renowned Bourbon Barrel Aged Koffi Porter, likely around the holidays.

Published in Beer

In 2013, I covered Coachella and Stagecoach for the first time for the Coachella Valley Independent—but I had concerns about doing so. In the fall of 2011, I suffered a serious back injury. As a result, I am unable to stand or sit for long periods of time.

Thankfully, while on site during Coachella in 2013, I discovered the services of Goldenvoice’s ADA department, which is in charge of accommodating guests with various disabilities. Three years later, the department is doing an ever-better job of doing so.

If you’ve attended either Coachella or Stagecoach, you may have seen Austin Whitney, of Accessible Festivals. Austin, in his wheel chair, is seemingly everywhere, and always with his service dog, Ophelia.

When I went to meet Whitney at one of the ADA platforms near the Mane Stage on Saturday evening during Stagecoach, he was handling an issue with an ADA wristband holder—with a smile on his face. As we went to find a place to chat, he talked to me about being from Berkeley, Calif., and about how seeing Rancid perform at Coachella was a highlight for him. As we made our way through the grounds, many people screamed his name—and a whole lot of people asked if they could pet Ophelia.

“I was in a car accident when I was 18,” Whitney said. “It severed my spinal cord and paralyzed me from the waist down. That really changed my life dramatically. At the time, my world was turned upside down. I had been very active in sports before that, and all my friends went off to college. My whole college plan was messed up. I was going to go to the University of Michigan, and there was no way after an injury like that.”

Despite the injury, he was determined to attend Coachella in 2008, because Roger Waters, of Pink Floyd, was performing.

“It was the greatest show I ever saw in my life,” Whitney said. “At that show, it was one of the first places I found myself smiling. I was consumed by self-pity and hopelessness, and I felt that my life was over. Sitting in that crowd, enjoying that show, I didn’t think about my disability, and I didn’t think about this anxiety that consumed me about my future. I was living in the moment and being happy.

“I started going to a decent amount of music festivals after that. Having that to look forward to every two months throughout the season gave me something to look forward to when I needed something to look forward to during the first one to two years that were the roughest.”

His experiences led him to start working with festival promoters. He wanted to see them go above and beyond the legal requirements of the Americans With Disabilities Act and focus on creating a truly enjoyable experience for those who had disabilities. He worked with Goldenvoice in 2011 and 2012, and he returned in 2016.

“(The year) 2011 was my first year at Coachella, and I started working for different promoters, and it kind of dawned on me: There’s a lot that could be done in terms of accommodations and people with disabilities. Other people I had been working with, they weren’t taking them into mind. I started law school at UC Berkeley at that time, and I was the only kind of person who had a legal background with that. The legal stuff doesn’t really matter: What I aim to do is really welcome people with disabilities and go beyond what’s considered ADA-compliant. It’s a very low bar with restrooms, parking and all of that stuff. I wanted to help promoters build events that people with disabilities could enjoy, and not have anxiety when they purchase a ticket.”

The department has to handle some complex and sensitive issues.

“We help everything between a 15-year-old with a broken foot to a 90-year-old with every conceivable health condition and an oxygen tank. We help folks who are hard of hearing, those who are deaf, those who are blind, those who are in wheelchairs, and (those with) various ailments and diseases. We deal with cancer and complications that come from illness, including skin conditions. Pregnancy isn’t a disability, but our services are helpful to a lot of folks, including those with late-term pregnancy; we put that under our umbrella and have a lot of patrons who are pregnant and offer our platforms to them—especially to those who go to Coachella because there are no chairs allowed.”

Whitney said Coachella and Stagecoach attendees noticed that the ADA team was a lot larger this year.

“It’s almost twice the size of the team we had last year,” he said. “These are people who love their job. One of the core elements of how we operate is to connect with people on a very human to human level—and that’s how you diffuse situations when they do arise. We also gave twice the amount of shuttle rides each weekend than were done last year. We have more carts going; I have eight or nine carts going right now. I have more people here to dedicate to what needs to get done.”

Whitney also added LED signs at each platform, making it easier for patrons to spot them. Doppler Labs was onsite offering patrons who are hard of hearing a pair of earplugs that can take in audio and be controlled with smartphones. Whitney said his team was offering guided tours to those with visual disabilities to help them make a mental map of the festival. A dietician was onsite to help those with dietary disabilities navigate among the food vendors. Finally, the department had a hotline phone number set up for the first time, which rang directly to Whitney or members of his staff—which took 160 calls a day.

At one point during Coachella, I watched as Whitney helped deal with chaos just before Ice Cube’s second-weekend performance. Both ADA platforms at the Coachella Stage were full—yet there was a huge line of attendees with ADA wristbands

“That was pretty crazy!” Whitney recalled. “We had 35 people who wanted to get on that platform before Ice Cube when Disclosure was performing. It was already pretty full—and then I had 35 people in line. If we didn’t help people get up there, they weren’t going to see the show.

“I know what it’s like if you can’t stand. If we can help, we will. If that means companions having to give up their seats and stand up, so be it. We got everyone on there, and that was a highlight for me and a personal accomplishment. I got awarded for that too, so it was great.”

Whitney said Goldenvoice has been supportive regarding those with disabilities, and he thinks things will improve even more during future festivals. He conceded there’s a lot of work left to do.

“Right now, we still have capacity issues on the platforms, and it’s crazy out there,” he said. “We have to work on viewing areas. We have the screens with the monitors with American Sign Language, but it has to be dialed in a lot more. I put a lot of attention during weekend 1 and 2 of Coachella doing disability-etiquette-training for security guards, and a huge amount of time is spent fixing mistakes out there with the security staff. They don’t need to be disability experts, but they need to understand when to reach out to us. Those are probably the big (changes) that we’re going to see. Also, (we’re working on) locking down our systems a little bit more and figuring out more innovative ways to get information out there for those with disabilities, whether that’s through social media or the packages with the wristbands that get sent out. After this event, I’ll do a full debrief with my staff to see what we can improve on.”

What advice does Whitney offer to those who are disabled and want to come to Coachella or Stagecoach?

Go to a music festival,” Whitney said with enthusiasm. “I’ve seen some folks who have more serious medical conditions than I can comprehend. I can find a solution to almost any accessibility issue if I know in advance. It’s a little more difficult if they just show up onsite. But if somebody has a specific concern, reach out to us. I’m fairly reachable by phone or e-mail, and this is what I do all the time. I can figure out a solution if there is a concern. I wouldn’t let someone’s disability stop them from experiencing something awesome like that Ice Cube show.” 

It is unbelievable how far the band The Flusters has come in such a short amount time.

Last Saturday at noon, the members of the band crossed an item off their bucket lists when they stepped onto the Outdoor Stage at Coachella. Each year, a local band or two gets the coveted, albeit difficult slot. There’s usually not much of a crowd on hand at noon, but many locals—including Ian Cush of the Coachella Valley Art Scene, Matt Styler of the Hive Minds, Giselle Woo and some devout Flusters fans turned out—turned out to watch the band play, as did a handful of Coachella early birds who did not know The Flusters.

While the Flusters were playing, Goldenvoice founder Gary Tovar appeared onstage and took some photos and video of the band with his phone.

Shortly after the impressive show, frontman/guitarist Doug Van Sant, guitarist Danny White and new drummer Daniel Perry appeared in the press tent. Doug Van Sant mentioned Coachella was on their bucket list—but he had no idea it would happen this year.

“No, not at all,” Van Sant said. “It was a big fat no. We hoped for it. We tried to remain in sight and plain view of those who are connected with Coachella and selecting local acts. We did the best, and we did everything we could. When Brightener went on for last week, we said, ‘Well, that’s this year’s local band.’ If there was another local band we wanted to see do it, it was Brightener. Will (Sturgeon) has worked with us, so we thought it was good for them.”

Danny White said the experience of playing Coachella was highly rewarding.

“I think it was one of the greatest feelings I’ve ever had,” he said. “… The blood, sweat and tears—to have it pay off in the way that it has, and this is only the beginning—it’s only going to grow. There’s going to be a lot more hard work put in, and this is going to continue to get better.”

Van Sant mentioned when Independent readers voted for The Flusters as the Best Local Band in 2015.

“When CV Independent readers named us as the best band for 2015, the first thing I said to the guys is, ‘We won; what’s next?’ That’s the way we have to live our lives and go through our careers as artists. Same with this: Coachella is done; what’s next? How we can we use this experience to better our future and our music? That’s where my head is at right now. What is next?”

So, what is next?

“We’re focusing on recording an album, and we’re focused on getting some booking and representation,” Van Sant said. “We’re looking to poke our heads into SXSW next year. We’d like to open for some bigger acts in the greater Los Angeles area. We’d like to get our EP distributed in the widest way possible when that releases this summer—and have a kick-ass release party.”

The Flusters’ audience has grown subsantially since the group’s genesis a little more than a year ago. Many people have taken an interest in this indie-surf band from the desert, and the crowds get bigger each time it plays in local venues. During the “In-Betweener” on April 20 at The Hood Bar and Pizza, the place was packed with many familiar faces from previous Flusters shows—as well as many new people who came to check The Flusters out.

“It just shows we have the love of our fans, and they respect us as much as we respect them,” said Daniel Perry, the newest member. “It’s such an experience to see people love what you do as much as you love it yourself. It is one of the greatest feelings to know people are enjoying it.”

Perry explained how he joined the band after The Flusters parted ways with former drummer Chris O’Sullivan.

“About two or three months ago, Mario (Estrada), our bassist, had just sent me a text message asking me if I wanted to jam. I said yes one day, hung out, played some stuff and had some fun. We were just talking, and he told me The Flusters were looking for a new drummer. He asked me if I was interested in auditioning for it. For me, 2016 was the year for change. … I jammed with him and Danny once, and they gave Doug the final go. After that, we had a couple of practices, did a couple of shows, and it was great chemistry from the start. When I first started, I felt like I had been in the band the entire time.”

Van Sant said Perry has made needed adjustments in a short period of time.

“We didn’t know in the beginning,” Van Sant said. “He hadn’t found his sweet spot with us yet. We were rushing him, and he was scrambling, and I told him, ‘We need control; we need to hear what we’re doing, and we don’t need rushing tempos.’ I pulled him aside when he got it under control and I told him, ‘I want you to arrive now. I need you to arrive.’ A switch clicked on, and we got our set together for Coachella, and he’s been great.”

Van Sant said he’s touched by the love he and other local musicians have received.

“I have to say: Coming from Philadelphia, there’s a lot of hater mentality out there,” Van Sant said. “It’s not really hater mentality, but they’re out for themselves and their own projects. Coming out here and having this happen, I got personal texts from several local artists such as the guys from Monreaux, the guys from the Hive Minds, all the other guys from Brightener, and the guys from the Yip Yops. People were so happy for us and supportive. It’s also been coming from the Coachella Valley Art Scene, CV Independent, and all these wonderful people in the scene—it means a lot to us. I’m not used to that.”

Pappy and Harriet’s hosted the final in-between Coachella show last Thursday, marking the end of three days of great performances.

Before the scheduled 8 p.m. show, I met a couple from Echo Park who gave the impression that they spent most of their formative years in the Echo and Echoplex—legendary Los Angeles spots for music. I also met a younger gal from San Diego who was at the show after spending three days at Coachella’s first weekend. The best part of these in-between shows: They attract real music fans who want to see a performance—they’re not present to be seen.

Opener Bob Moses is a partnership between Tom Howie and Jimmy Vallance—melding a DJ with original rock. The result: very danceable beats, especially on the dirt dance floor of the outdoor stage at Pappy’s.

Miike Snow, the indie pop band from Sweden that played Sunday night at Coachella, had me hooked before even playing one note: The group had to be desert cool. After all, the band has a jackalope graphic on the album Happy to Know You, along with T-shirts featuring the iconic desert mythological creature. I never knew the jackalope also existed in Sweden.

Lead singer Andrew Wyatt’s skills on the keyboard were a delight. He would move to a microphone at the center of the stage and then back to the keys. “Genghis Kahn” was very addicting tune that made many spectators smile and scream. Wyatt was in good spirits, saying, “Oh yes, the grooves just keep on coming.”

The show moved at a rapid pace, highlighted by the song “Paddling Out,” and also featuring favorites such as “Billie Holiday” and “Burial.”

A few minutes after Andrew Wyatt walked off the stage, the band reunited onstage for a two-song encore. “Sorry for the long absence,” Wyatt said as the audience cheered.

As the group concluded with “Animal,” Wyatt noted: “If you guys stuck around this long, you know the lyrics of this one.”

Find more from Guillermo Prieto at www.facebook.com/irockkphotos and irockphotos.net.

Published in Reviews

On Sunday night at Coachella, Major Lazer proved there’s not a stage big enough for the group.

I was fortunate enough to see Major Lazer’s Coachella appearance in the Mojave tent in 2013, so I had some idea what to expect. That show was epic—and drew a crowd so large that there was no escape.

When I took my place at the ADA platform on the lawn about 100 yards or so away from the Coachella stage on Sunday night, I knew that this year’s Major Lazer performance was going to be big: Major Lazer’s crowd made Ice Cube’s crowd the night before look small in comparison.

Diplo, Walshy Fire and Jillionaire performed in typical Major Lazer fashion, combining their talents as producers and DJs to amp up the crowd—with some help from their female dancers. At one point, they had the crowd jump and then run to the right and then to the left. Yes, they asked the huge crowd, packed in like sardines in many places, to run.

Major Lazer utilized the Coachella Stage’s visual walls better than any other group I saw over the weekend. The visuals were awesome, and included scenes from the group’s cartoon television show, images of retro television sets, trippy designs and a “PEACE IS THE MISSION” flag. Of course, Peace Is the Mission happens to be the title of Major Lazer’s latest album.

However, the show’s most epic moment, by far, came when Major Lazer paid tribute to Prince by turning the Coachella Stage purple all the way across—and then announcing special guest Usher, who performed “I Would Die 4 U.”

It was the best tribute to Prince I witnessed through the weekend. Mavis Staples discussed her friendship with him and sang the chorus to “Purple Rain,” while Pete Yorn sang a few lines and the chorus of “Nothing Compares 2 U” at the beginning of his set. Mario Estrada of the Flusters wore a purple handkerchief in his front suit pocket, and many performers mentioned Prince’s name and their sadness over his passing. Big names like Guns N’ Roses and Ice Cube even dedicated their performances to Prince. But Major Lazer and Usher certainly did it best. 

Photos below by Kevin Fitzgerald; scroll down to see more from Sunday at Coachella.

Published in Reviews

After he was announced as part of the Coachella lineup, Ice Cube said his goal for the performance was to get N.W.A. back together.

It didn’t happen during Coachella’s first weekend. But on the Saturday night of Weekend 2, he managed to accomplish just that.

Last weekend, both DJ Yella and MC Ren joined Ice Cube—but there wasn’t a doctor in the house. But this weekend, Dr. Dre was announced—and the crowd went insane.

While it was late in Ice Cube’s set, Dre joined Yella, Ren and Cube for a shortened version of “The Next Episode,” as well as “California Love.”

Other guests included The Game and Kendrick Lamar. Cube teased the audience a bit when graphics flashed for Parliament Funkadelic. Some people in the crowd thought George Clinton himself might come out and sing “Bop Gun (One Nation),” a 1994 collaboration between Ice Cube and Clinton that sampled Clinton’s original “Bop Gun.” Alas, Clinton was nowhere to be found—but nonetheless, the song was fantastic.

When Ice Cube began the show, he appeared on a throne of fingers shaped like the West Coast hand gesture. Cube then made it known: “Gangsta Rap Made Me Do It.” This made me wonder: Did gangsta rap make him appear in all of thise family films and horrible comedies?

The set included a lot of Ice Cube’s greatest material, such as “Check Yo’ Self” and “Gangsta Nation,” as well as N.W.A. hits “Dopeman” (performed with Little Easy-E., son of the late Eazy-E) and “Fuck Tha Police” (performed with Ren and Yella). He closed out the show with “It Was a Good Day.”

Given that Ice Cube had made good on his promise to get the surviving members of N.W.A. back together, it indeed was a good day. 

Scroll down to see more photos from Saturday at Coachella, by Kevin Fitzgerald.

Published in Reviews

When the original lineup of Guns N’ Roses (or what was left of it) fell apart due to acrimony in the mid-late 1990s, it seemed that Axl Rose would never again play with the other men who made the band legendary.

Well, Axl made good with Duff McKagan (bass) and Slash (lead guitar) for a reunion at Coachella—their two weekends as the Saturday headliner have been pretty epic.

While the band sounded great during the Weekend 2 show—although Axl’s voice is not as powerful as it once was, and he was sitting on Dave Grohl’s “broken leg throne,” as Axl is nursing a leg injury—and the band performed all the hits, the show felt less exciting and more nostalgic.

As the band opened with “It’s So Easy,” it was obvious that the production budget was quite hefty. The new Coachella Stage, with visuals all the way across, flashed interesting images throughout the set, including raining liquor bottles, rotating guns, raining bullets, Guns N’ Roses’ classic logo, and so on.

Duff McKagan paid tribute to Prince with the legendary logo on his bass guitar, while Slash wore a sleeveless Bad Brains T-shirt. “Welcome to the Jungle” was played early in the nearly three-hour set, along with “You Could Be Mine” and the infamous cover of Paul McCartney’s “Live and Let Die.”

After “Live and Let Die,” Axl complained that being on that throne was a drag, and he didn’t care for it too much—although the upside was he could belt out some vicious screams.

Speaking of covers, just as Pinch, of The Damned, predicted in my interview with him, the show included a Damned cover—“New Rose,” sung by McKagan.

As for a rumored tribute to Prince … it was not to be. Axl mentioned a tribute to Prince would have been nice if they’d had the time to rehearse, before adding he owned a copy of the film Purple Rain on LaserDisc.

Charming. At least he dedicated the entire set to Prince.

Of course, numerous GNR classics were played during the set. “November Rain” was epic; Axl moved to a piano, and a lot of the distracted crowd members suddenly began running back toward the stage with camera phones in the air.

The band closed with an encore of “Don’t Cry,” “Used to Love Her,” a cover of The Who’s “The Seeker” and “Paradise City,” finishing with a massive pyrotechnics/fireworks display.

While it was a triumphant performance, one has to wonder what’s next. Will there be a new record? Will Axl make it through an entire GNR reunion tour while also committing to lead vocals with AC/DC? Will Slash go back to his solo career or even revive Slash’s Snakepit?

Angus Young from AC/DC did not make a guest appearance as he did last weekend—in fact, there were no special guests at all. The only big surprise was that the band was nearly on time and performed the entire show, something the members had a hard time doing when they were riding high (in multiple ways) on the “Use Your Illusion” tour in the early ’90s.

This reunion could have been amazing about 10 years ago, when Slash, Duff and former drummer Matt Sorum were ending Velvet Revolver with the late Stone Temple Pilots frontman Scott Weiland. (Slash has a reference to Velvet Revolver tattooed on his forearm; it was clearly visible through the entire performance.) Also, I would have loved to see Axl run around and be the frontman he was was—but broken leg or not, I don’t think that’s possible anymore.

Scroll down to see more Saturday Coachella images by Kevin Fitzgerald.

Published in Reviews