Coachella 2025: Post Malone, Jennie, Megan Thee Stallion and Zedd among the highlights of Sunday in the desert ...Middle East

Post Malone didn’t bring out any country stars during his set on Sunday, but the influence of recent collaborators such as Morgan Wallen and Tim McGraw – and Malone’s love of the country genre in general – was clear in his headliner performance that closed out the first weekend of the Coachella Valley Music and Arts Festival.

He pulled about a third of his set from the 2014 album “F-1 Trillion,” which featured collaborations with Wallen, McGraw, Dolly Parton, Jelly Roll and more. Tunes from earlier albums tended to also have that country or country rock vibe.

Highlights included the honkytonk outlaw country of “M-E-X-I-C-O,” with its fiddle and lap steel soloing, and “I Had Some Help,” his song with Wallen which held the top spot on the Billboard 100 for the most weeks of any tune in 2024.

Older songs such as “White Iverson” fit neatly against the countrified stuff as did the final few hits of the performance “Rockstar” and “Sunflower.”

Before Malone closed out the main stage on Sunday, strong performances played out on other stages around the festival grounds.

On the Outdoor Stage, dance music producer Zedd drew a packed crowd for a set that featured guests including Bea Miller, Julia Michaels, and in the wildest moment of the set, singer-guitarist John Mayer. The set felt like a celebration, more like flipping through his greatest hits than a traditional DJ set — and the crowd loved every second of it.

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“If you came to see me, it’s a party with me,” he told the crowd, and he meant it. The surprises came fast: Bea Miller joined him for their recent collaboration, while Julia Michaels returned for an emotional rendition of “Daisy.” Then came the unexpected appearance of John Mayer, who ripped into “Automatic Yes,” their track from Zedd’s cinematic new album “Telos” and Mayer’s track “New Light.”

The set even included a drum solo from Zedd himself, proving his live chops go beyond the decks. Though the transitions didn’t always feel like one seamless mix, the spectacle was undeniable — especially with the “The Middle” brought to life by surprise guest Maren Morris. “And it wouldn’t be a proper Zedd set if he didn’t close it out with “Clarity.”

In the Gobi Tent, Australian punk rockers Amyl and the Sniffers roared through a charged, passionate set. Singer Amyl Taylor is a fiery sprite, whirling around the stage as she channels the kind of angst and attitude or Iggy Pop or The Runaways while looking like punk rock Dolly Parton.

Like many of the greats in the genre, she was also not afraid to get political. Taylor took a moment to call for peace in Gaza and Ukraine and for the protection of immigrants, the trans community, women, and everyone else who is feeling the brunt of the current domestic policies. The overall performance was a great way to wrap up the weekend and tent with uppity puck rock hits “Hertz,” “Chewing Gum,” and “Tiny Bikini.

In the Mojave Tent, a pair of electronic acts wrapped up things terrifically after a technical delay pushed back their start by 20 minutes. English electronic rockers Basement Jaxx brought heavy beats and a host of vocalists in groovy costumes. Their biggest hit, “Where’s Your Head At?” closed out the show with all the singers and a pair of people inside ape suits dancing while everyone on stage and in the audience sang the song’s title over and over joyfully.

After Basement Jaxx, the German electronic band Kraftwerk made their third appearance at Coachella but first since 2008. The set closely followed the pattern of the band’s eight-show residency at Walt Disney Concert Hall in 2024, Highlights included “The Man-Machine,” “Radioactivity,” and “The Robots.”

SEE ALSO: Coachella 2025: Lady Gaga, Missy Elliott, and the Go-Go’s with Billie Joe Armstrong among Friday’s highlights

Earlier on the main stage rapper Megan Thee Stallion ran through an array of hits, often mashed up into medleys, as she and her dancers delivered a clinking in the fine art of twerking. Highlights ranged from the medley of “Freak Nasty / Girls In the Hood / Where Them Girls At / Savage.” Later in the set, Meg brought out Queen Latifah for a pair of songs, including “Unity,” and then Victoria Monet for two more, including the live debut of “Spin.”

Just before that Jennie, the second of the Blackpink K-pop stars at Coachella this year – Lisa played Friday – drew a huge crowd to the Outdoor stage for her performance of 13 of the 15 tracks on her solo debut “Ruby,” its title also the vibe that influenced the color of the costumes she and her dancers wore. “Damn Right” prompted shouts of joy when fans realized that Kali Uchis, her collaborator on that track, had joined her for the song.

Before the desert sun dipped behind the mountains, Beabadoobee transformed the main stage into a floral escape, complete with cherry blossom trees and lush greenery that softened the edges of her grungy, ’90s-inspired sound. “Coachella, you have the prettiest eyes I’ve ever seen,” she said sweetly before launching into “Pretty Eyes,” her voice airy and rich as ever.

Born in the Philippines and raised in London, Beabadoobee (aka Bea Laus) has become one of the defining voices of Gen Z guitar rock, channeling the lo-fi melancholy of bands like The Cranberries and The Sundays while giving it a modern edge. The crowd swayed through “10:36,” shouted along to “Talk,” and melted during “The Perfect Pair.”

Before Bea, Shaboozey, the country-hip-hop artist, delivered his main stage set with an impressive production dubbed “Coachella’s Country Hour.” The set was designed to emulate a desert scene with cacti and brown, yellow, and orange plains projected on the screens. He performed “Blink Twice,” a new song, live for the first time, and a guest duet of “My Fault” with Noah Cyrus. He closed his set with his hit “A Bar Song (Tipsy),” which he performed at last year’s festival to a much smaller crowd.

About the same time the Canadian indie band Beaches rocked out in the Gobi Tent to an overflow audience. The all-female band had a sparkling sound on stage and lyrics with a fun point of view.“ One thing about Canadian girls, we love beer,” one band member said by way of introducing the song “Shower Beer.” At the end of the number someone in the crowd handed the guitarist a beer.

As always, the Sonora Tent offered a haven from the heat – it’s fully enclosed and air-conditioned, too – though the music within it on Sunday was anything but sedate.

Nu-metal and dream pop artist Wisp played a set that rippled with distortion-heavy guitars and airy vocals that felt haunting. “If you don’t know me yet, I’m Wisp,” she said to the packed tent, where heart-shaped fans bobbed in the crowd like a soft sea of devotion. Between fuzzed-out choruses, she asked fans to jump along, building a real-time connection. “I’ve been working on my album this past year,” she shared before introducing a brand-new, still-unnamed track. She closed with another unreleased single due out next week.

Outside in the hot afternoon sun, Meute, a techno marching band from Germany, had the crowd at the Outdoor Stage grooving to their brass-and-percussion arrangements of techno classics. With baritone and bass saxophones, and a tuba to boot, the low bass lines got your booty grooving, while trumpet, alto sax and a glockenspiel cut clearly through the high notes.

Back in Sonora, the U.K. punk duo, Soft Play, took over to a nearly packed crowd. While most of their music can be characterized as heavy, there is an element of groove that you can’t help but bop your head to. They’re also a lot of fun to watch, from jokes about writing music to the perspective on Keanu Reeves’ “John Wick” character and the guys making space for an all-girl mosh pit.

The energy aspect is also relentless, with Isaac Holman (lead vocals, drums) and Laurie Vincent (backing vocals, guitar, and bass.) At the end of the set, they brought out fellow English duo Bob Vylan, who joined them to perform “One More Day Won’t Hurt.”

A few hours later, Bob Vylan opened their own set in Sonora with only a drum set and vocals, but they didn’t need anything else to fully submerge the crowd at Sonora. Bob Vylan’s punk anthems are often geared toward their unapologetic flair of fighting racism, fascism and income inequality. The group performed “We Live Here,” “Hunger Games,” and “I Heard You Want Your County Back,” which got the crowd chanting back some of the lyrics in each chorus.

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