According to the company’s website, “DayGlo Color Corp. is the world’s largest manufacturer of daylight fluorescent pigments. We develop technologies that improve and enhance any color, from subtle specialty effects, to glow-in-the-dark pigments, to our classic range of fluorescents.” One might argue they not only improve and enhance any color, but also human beings – that is, if Ultra Music Festival is any indication.

Throughout the festival’s three-day excursion, which sets down on Bayfront Park in Miami each March, thousands upon thousands of festivalgoers brand themselves with the stuff. Anywhere else this style would be considered fashion suicide, but it’s posh within the festival’s confines. In fact, if you don’t have any sort of neon, sparklies, or what have you, it’s as if you’re not one of them. No kidding, they’ll probably think you’re a narc.

As kitschy as DayGlo appears to the layman, it adds an aesthetic that’s oddly futuristic in scope. It may seem uniform, but when everyone’s showcasing radiant blues, yellows, pinks, lime greens, et al., it’s hard to imagine you’re anywhere else but some other post-modern world. It’s like you’re in a live-action rendition of The Jetsons, only it’s really loud, everyone’s zoned out on alcohol or drugs, and even the robots are cute.

Of course, there’s more to this festival than just arbitrary fashion decor, but really, that’s the stuff you remember. The music’s great, with dozens of artists pushing their respective genres, but it’s the people and the friendly community within Ultra that separates it from anywhere else. Look, whenever I told friends or colleagues that I was attending Ultra, I was met with sympathetic eyes, as I was shipping off to war, or something really dangerous – clearly they didn’t know what they were talking about.

Photo by Cap Blackard

I’ve never encountered a more jovial crowd, one thrilled to be alive and away from society. Sure, there’s a likely chance the drugs were doing most of the talking for everyone, but at the end of the day, a happy soul is sure better than an angry one. Also, something dawned on me while I shuffled around the park in a glorious stupor: This is the future.

It’s easy to write Ultra off as an escape to “get fucked up and laid”, but when you’re dancing under thousands of intricate LCD lights, ricocheting an array of colors that somehow go with the extraterrestrial music that’s being pumped out on stage, and everyone’s just synched together mentally, there’s something rather spiritually intelligent about it all. It’s as if there’s this higher plain of existence here that’s being attained, and perhaps we’re the fools for missing out.

You don’t even need the drugs to get there; instead, you just have to lose yourself in the ether, and go in with a sense of humor. Otherwise, you’ll begin to really think hell is on Earth.

-Michael Roffman
President/Editor-in-Chief 

Friday, March 23rd

Neon Indian – Live Stage – 5:20 p.m.

Photo by Cap Blackard

“I feel like we’re at a seminar right now,” Neon Indian frontman Alan Palomo observed. “And I should have a Q&A about the effects of having a loud monitor.” After some frustrations with sound check, the chilly Texas indie rockers, with a penchant for ’80s New Wave, submerged in the warbly synths of “Local Joke” just as the sun began its downward shift. It was hot, it was sweaty, but it was fitting. With so many DayGlo enthusiasts everywhere, the band’s glossy, liquified jams (or, just its name alone) felt almost too choice for the scene. For a nighttime act, this daytime set did well enough to entertain the hundreds stalking about and soundtrack the thousands having a frustrating time getting in. Plus, who doesn’t want to dance to “Polish Girl” again and again? -Michael Roffman

Chris Lake – UMF Korea – 5:50 p.m.

Photo by Derek Staples

Located directly in front of the main entrance, the beats pulsing from the UMF Korea stage were impossible to avoid Friday evening. Just two hours after Ultra 2012 kicked off, tech-house DJ Chris Lake was already performing to a tightly packed audience. The UK-bred, LA transplant worked through early monitor issues to develop a double-edged set of beauty and beats. Driving four-to-the-floor tech movements were cut with lush, live female vocals – a body-swaying mixture to help ease revelers into the more foreboding sounds that the stage would offer Ultra Weekend. -Derek Staples

Loco Dice – Carl Cox & Friends – 6:30 p.m.

Photo by Derek Staples

Initially walking into the Carl Cox tent was like wrapping oneself in a blanket of lights and sounds. And if not properly monitored, the melodic tech mixes delivered by Germany’s Loco Dice would ease attendees into an open-eyed trance. Delicate sounds ran through a solid bottom end, like morning dew trickling through porous sandstone. -Derek Staples

New Order – Live Stage – 6:40 p.m.

Photo by Cap Blackard

Technically, without original bassist Peter Hook, this isn’t New Order. But those who gathered around the Live Stage at dusk didn’t care to notice. Dancing ensued from the start when frontman and guitarist Bernard Sumner, donning his own band tee, strummed straight into the stormy distortion of “Crystal”. Tight and kinetic, this UK collective remains a popular export for Americans, especially with still club favorites “Bizarre Love Triangle”, “True Faith”, and “Blue Monday”, all of which were performed with precision for Ultra’s dance-obsessed crowds. Throughout, a couple of the band’s gooey tracks fell flat (“The Perfect Kiss” and “Regret”), but the two-hit punch of “Ceremony” into “Bizarre Love Triangle” and the set’s eventual closer, “Temptation”, showcased an act that deserved a bigger stage and a proper set time. Still, Sumner remained in high spirits: “It’s great to be back. It’s been a long time since we’ve been here – I dunno why – probably because it’s too nice. We don’t do that sort of thing.” There’s that familiar spirit of Manchester eking out. -Michael Roffman

Richie Hawtin – Carl Cox & Friends – 8:00 p.m.

Photo by Derek Staples

He may not fill his set with bass drops, but very few DJs deliver with the same level of low end as Windsor’s Richie Hawtin. Atop of the continued floor-rattling bassline, Hawtin mixed in nearly non-existent tones, making you question if you were actually hearing the bleeps or if your brain was simply continuing his well-defined pattern. Hawtin showed no fear juggling the beat and tempo through the mixes. While most DJs rest on the repetitive kick or hi-hat, Hawtin manipulated polyrhythms for jarring transitions throughout the two-hour set. -Derek Staples

Miike Snow – Live Stage – 8:10 p.m.

Photo by Cap Blackard

Maybe it’s that they’re on the coattails of a sophomore LP (Happy to You – due out Tuesday), but Sweden’s own Miike Snow commandeered the Live Stage. They had the tools, too. With a center console stripped from ’60s-era Star Trek, Christian Karlsson and Pontus Winnberg (or, Bloodshy & Avant) constructed all the cherry-flavored hooks and lines that strangle the group’s latest material. Opening with the piano and harmony-led “The Wave”,  this became a set that just did not let up, and all of the new tracks were ready-made for festival crowds everywhere. In fact, with accompanying visuals, tracks like “Devil’s Work” and “Vase” felt rather claustrophobic in the amphitheater setting, and frontman Andrew Wyatt, with his grungy decor, appeared as if he were too contained. Basically, they exuded the confidence of a headliner, and depending on the festival, they may very well be ready. Oh, and has anyone grown tired of “Animal” yet? Doubtful. -Michael Roffman

Skrillex – Main Stage – 9:10 p.m.

Photo by Derek Staples

Just a few years ago, it would have seemed impossible for a U.S. bass DJ to grace Ultra’s massive Main Stage post-sundown, but that was before Skrillex went and won three Grammy’s this year for his West Coast Jump Up. Now having toured the world, Skrillex showcases more substance and control than his earlier drop-heavy bass assaults. With stage production equal to that of his recent Mothership Tour, he had the audience “Breakin’ a Sweat” with his Doors collabo. Skrillex then showed some respect for dub, with a subtle bass remix (for Skrillex, anyhow) of Damian Marley’s “Welcome to Jamrock”. He then worked Avicii’s “Levels” through the bass grinder, adding his signature, mechanical bass growl to the track’s lighter aesthetic.

To the surprise of many, Skrillex went with some straightforward techno mid-set with “Make That Booty Clap”. At one point, he brought the song to such a standstill that you could hear the crowd’s collective inhale waiting for the drop, but no drop was to be had until Skillex blew the crowd back with the newer Wolfgang Gartner collaboration “The Devil’s Den”. The performance may not have included sufficient hyper-drive bass for the die-hard Skrillex fan, but the hour-long performance showcased an evolution in his ability to produce a complex set for an educated, international EDM community – and still get peeps on their feet to rage. -Derek Staples

Kraftwerk – Live Stage – 9:30 p.m.

Photo by Cap Blackard

“Do you think they’re even really doing anything up there,” someone asked me early on during Kraftwerk’s impressive hour-long set. It’s an honest question because, really, the four stoic members that make up the German industrial collective don’t ever do much onstage – at least from what we can see. Instead, they let the archaic CGI animations behind them do most of the work. A minimalistic journey that would have Pixar in tears accompanied “Autobahn”, creepy, robotic dolls (something out of The Twilight Zone) burned into our nightmares during “The Robots”, and a Marxist-like montage sold the crowd on a “Computer World”. In a word, it was weird, but when each member – who, by the way, were dressed in minimalistic Tron-ready suits – exited the stage in procession, it all made sense. The homogenous nature of the four – that structured unity – is downright intimidating with its precise force, and it’s something you just have to witness live to make sense of. Color me jealous: Those sold-out museum shows will blow everyone’s fucking minds. -Michael Roffman

Dada Life – UMF Korea – 10:20 p.m.

Photo by Derek Staples

Olle Corneer and Stefan Engblom of Dada Life are a mirror of the enjoyment shared by their audiences. A pair of sweaty bodies onstage, the Swedish duo produced high-energy, saw-jaw electro-house. Combined with the bright hues of the tent’s massive L.E.D. screens, the continual bass vibrations and hard-splashing synths were a suitable follow-up to all those still ready to rage following Skrillex’s Main Stage performance. And forget hydration, the duo would much rather pop some bottles of champagne during the peaks of the set than be seen with some thirst-quenching water. If revelers wanted to leave with their brain and all body parts intact Friday evening, this set was definitely the one to avoid. -Derek Staples

Nobody Beats the Drum – UMF Worldwide – 11:00 p.m.

Photo by Derek Staples

In the shadows of Tiësto’s monster Main Stage setup, the future of Dutch dance music, Nobody Beats the Drum, took to the tight confines of Ultra’s Worldwide Stage. Sjam Sjamsoedin and Jori Collignon mixed hip-hop, breaks, heavy bass, and electro to appease a younger audience that is continually besieged by diverse types of audio. Equipped with a classic analog synth and a table full of gear, the duo continually made eye contact to keep the tracks progressing and the people bouncing across the grass. The only negative was that the experience wasn’t shared with a larger number of people, but my guess is that this won’t be a problem for long. -Derek Staples

Saturday, March 24th

Yousef – Carl Cox Cocoon – 2:00 p.m.

Photo by Derek Staples

As the resident DJ at Space Ibiza during Carl Cox’s weekly showcase, Yousef holds one of the most sought-after gigs in the business. He kept early attendees gyrating with soft-drop techno and sexy Mushroom Jazz-esque melodies. To add an element of improvisation, he often mixed in new tracks with live drum pad patters. In line with classic house, Yousef pulled in beautiful male and female vocal samples to add contours to the set and give the audience a bit of a breather. -Derek Staples

Skream + Benga – UMF Brazil – 3:00 p.m.

Photo by Derek Staples

Seminal UK Dubstep DJs Skream + Benga have accelerated the evolution of the genre since joining forces. Once known for their dark, grimy productions, Saturday’s performance was a clinic of Jump Up and bass-heavy electronica. The duo scrapped all melody for underground bangers, made even more raw by the hoarse vocal accompaniment of MC Sgt Pokes. For everyone who felt the U.S. had the market cornered on bass music, the performance opened many ears to the ultra-aggressive, half-time, UK Bass sound. -Derek Staples

Nadastrom – UMF Worldwide – 4:00 p.m.

Photo by Derek Staples

The leading ambassadors of Moombahton – Dirty Dutch slowed to the tempo of reggaeton – Nadastrom are a perfect fit for the sunny embrace of Miami’s Bayfront Park. Set against the backdrop of a pristine, blue sky and million-dollar yachts, Dave Nada and Matt Nordstrom kept the gorgeous international crowd dancing in a picturesque scene that seemed too surreal to actually be possible. West Coast Jump Up was a bit of a death knell to actual dancing in clubs, but Nada’s brand of bass music added mounds of sexiness back to the dance floor. -Derek Staples

Little Dragon – Live Stage – 5:00 p.m.

Photo by Cap Blackard

There are a lot of faces to Little Dragon – not literally, but sonically. They shift from tribal trip-hop to “audibly okay” synthpop to soulful electronica, sometimes in the same song – actually, almost always within each song. That’s an intriguing element to the Swedish outfit and an attribute that could work to their advantage onstage – not at Ultra, however. Blame it on the picture-perfect sunny day, or just an all too early time slot, but the genre-hopping collective just felt sort of staple. Frontwoman Yukimi Nagano exhibited the only energy onstage, playing well to a devoted audience, but her surrounding band remained tranquil throughout. The percussion-heavy jams stocking each track offered moments of interest, but overall, it just didn’t do anything for me. -Michael Roffman

12th Planet and Skrillex – UMF Brasil – 5:00 p.m

With so many DJs in one place during a long weekend, surprises were bound to happen. And few surprises could be any more explosive than a tag-team set by bass juggernauts 12th Planet and Skrillex. Not announced until the day of show, the UMF Brasil tent was packed to capacity with ravenous bassheads ready for a non-stop serious of drops and Jump Up electro-energy. The set included recent collab “Right on Time” and the raucous remix of Nero’s “Guilt”. The duo also managed to separate their individual aesthetics, 12th’s focus on the darker UK Bass and Skrill’s love for West Coast electro-house. With bass literally vibrating the room and two ill-advised drops reverberating in my headspace (Skrillex fans sure love to share), photographic evidence just couldn’t do the set justice. So, please enjoy the vid below courtesy of Bassmaxx. -Derek Staples

Metronomy – Live Stage – 6:00 p.m.

Photo by Cap Blackard

English indie pop export Metronomy crafts flavorful electropop. Sure, it’s a genre that busted at the seams half a decade ago, but the group offers a slight spin on it: The bass takes precedence over the synths. Bassist Gbenga Adelekan’s bevy of lines undulates behind Joseph Mount’s vocals, infusing this quasi-electro funk that’s been a longtime coming for the genre – at least successfully. Through catchy, bubbly tracks like “Heartbreaker”, “Some Written”, and “Everything Goes My Way”, the group offers a tangible, catholic collection of genre shake-ups. The latter track runs off vocals by drummer Anna Prior, whose purple getup sparkled in the evening’s setting sun. Later in the set, the Live Stage erupted with smoke and pyro, after which Mount exclaimed: “There’s nothing more shocking than pyrotechnics when you don’t know they’re gonna happen.” Yeah, their surprised expressions were about as priceless as that highly aggressive jam they segued into at the end. -Michael Roffman

Duck Sauce – Main Stage – 6:45 p.m.

Photo by Derek Staples

No duo seem to have more fun at the decks than A-trak and Armand Van Helden (aka Duck Sauce). Backed by a massive inflatable duck, the duo resurrected smile-instigating disco tracks, keeping the mood light in the late afternoon sun. After beginning the set with “aNYway”, the visuals went dark for crowd favorite “Big Bad W0lf”. Not only did the duo turn the mix all the way down to build a tension among the crowd, they actually managed to initiate a daytime howl from the entire Main Stage audience – one that held around until set end for the hysterical “Barbara Streisand”. None of these hijinks distracted the two artists, each masterful at mixing, track selection, and working in tandem to bring the most out of one another. -Derek Staples

Carl Cox – Carl Cox Cocoon – 7:30 p.m.

Photo by Derek Staples

No one owns the tables like Carl Cox. A behemoth of a man, Cox counts down the transition between tracks with exaggerated arm motions, then jumps into the decks for the mixes. Often playing four or five tracks at a time, the set was deeply layered with hard dance and techno, keeping both the mind and body busy. The sensory overload continued with a visual onslaught. Lasers, mass amounts of smoke, robots, and hypnotic screen images completed the experience that was Carl Cox. The repetition of most house sets makes two hours nearly unbearable for bassheads and electro-junkies, but pulling away from the dynamics 0f the Cocoon was almost impossible. -Derek Staples

M83 – Live Stage – 8:00 p.m.

Photo by Cap Blackard

It was a short-lived dream of an epic set that never was. After attracting a mammoth crowd (the weekend’s largest for the Live Stage, at least at the time), minutes inched past eight o’clock, and yet Anthony Gonzalez and his team couldn’t be found. Instead, technicians raced about the stage, fiddling with wires and looking horrifically scatterbrained. Oddly enough, the crowd livened up – no thanks to the onstage DJ, who was relegated to essentially “babysitting” the sea of souls – and dancing ensued. Ten minutes passed, then 20, then 30, and eventually 45 minutes, most likely when M83 would have stepped offstage. However, this was when Gonzalez & Co. finally were OK’d to go on, but only to perform two cuts: “Midnight City” and “Couleurs”. The situation altogether was disappointing, but the band slapped out more energy than any act all weekend. At one point during “Couleurs”, Morgan Kibby fell to her knees as her hands just laid waste to the keys floating above her head, while newcomer Jordan Lawlor climbed up on anything he could get his feet onto, demanding the claps from the crowd. It wasn’t a great first visit to Miami for M83, but the devoted thousands who remained only proved that they’re wanted back very soon. -Michael Roffman

Justice – Main Stage – 9:40 p.m.

Photo by Cap Blackard

The French duo’s fan base arrived in full force Saturday. From painted crosses to already-fading band shirts, one couldn’t look around without seeing some sort of allegiance to Justice. So, yeah, the Main Stage was overstuffed and continued to fluctuate as the two issued their aggro-dance-y disco to much fervor. Now, it’s easy to toss around religious connotations – you know, because of the whole cross thing – but shuffling around with thousands of fans during an extended performance of “Audio, Video, Disco” might be enough to make an atheist a true believer. The track’s greasy arena rock standards delivered all the sensationalized giddiness that one reads about in retrospectives only it felt earnest. And for a crowd that held up shirts reading “Bitches Love Bass” or, um, an inflatable penis, this was the closest thing to church they’ll ever experience; there wasn’t an ounce of negativity in the air. Justice led the procession with blunt, minimalistic force, and they exorcised any and all demons. Also, chew on this: Who else could throw in a drop as long as John Cage’s 4’33″ WHILE offering (what appeared to be) The Black Panther Salute? Not even joking. -Michael Roffman

Dillon Francis – UMF Worldwide – 10:00 p.m.

Photo by Derek Staples

If this is the ADHD generation, Dillon Francis should be its musical figurehead. Francis continually switched between bass aesthetics – from a brain-jarring remix of “Right on Time” to a Luvstep take on Rihanna’s “You Da One”, complete with the slowed-up half-time of Moombahton. When not at the knobs adding the Moombahton flair to tracks like “Me & You” by Nero or Steve Aoki’s “Keep on Dancing”, Francis kept busy interacting with the crowd, pointing to the loudest fans and making funny, sometimes overtly sarcastic, banter behind the decks. In a show of great humility, Francis welcomed stage headliner, and BBC Radio 1 tastemaker, Annie Mac onstage during the close of his set and thanked her for helping him along in his career. -Derek Staples

2manyDJs – Live Stage – 11:00 p.m.

Photo by Derek Staples

2manyDJs are truly a multi-media experience. Dressed in crisp, five-piece suits Saturday evening, David and Stephen Dewaele worked their mashup skills on tracks such as MGMT’s “Kids”, 2 Unlimited’s “Let the Beat Control Your Body”, “Master of Puppets” by Metallica, and Blur’s “Parklife”, all with absolutely hilarious takes on their album covers. The visuals were taken to the extreme for a mashup of Boyz Noise and Erol Alkan’s “Lemonade”, where the cover seemed to actually be playing tennis.

The set ended as an absolute bash. After taking the crowd to “Out of Space”, the duo performed their take on Nirvana’s “Lithium”, while the famous baby from the Nevermind cover was barraged with trash from a rather grungy pool party. And nothing closes out a set like five straight minutes of confetti floating across the live stage. -Derek Staples

Avicii – Main Stage – 11:00 p.m.

Photo by Music Obsessed.com

The Madonna rumors started circulating early on. Whispers around the park hinted that the Material Girl would be appearing onstage sometime Saturday night. She spent the day in South Beach promoting her new LP, MDNA, so why wouldn’t she stop at that little electronic festival across the bay? As with anything nowadays, it became the worst-kept secret, and pretty much everyone knew she’d be appearing with Avicii at the Main Stage.

“I’ve been here in spirit for many years, but it’s good to finally be standing on the stage, looking at all you people who have come here from all around the world,” Madonna exclaimed, after observing the evolving blanket of flesh before her. ”In my world, the words ‘music’ and ‘dance’ are not separated. Electronic music has been a part of my life since the beginning of my career. I can honestly say that a DJ saved my life.” She gushed about Avicii some more, insisting she’s a “huge fan,” and then coquettishly asked, “How many people in this crowd have seen Molly?” It all felt forced and made even more transparent once Avicii opened his set with a remix of “Girl Gone Wild”, during which Madonna stood beside him wearing her MDNA shirt.

After the whole scheme, Avicii was left to his own vices. What’s odd, however, is how much of a promotional push Avicii received at Ultra, as well. Street teams handed out I Heart Avicii pins all day, while others wore shirts with the same logo. Also, regardless of the international acclaim, it felt odd that he followed Justice, who arguably closed the night proper. Still, the Swedish DJ (who probably had everyone swooning with his choice looks) had a pretty good night. Not only did he receive a resounding endorsement from Madonna, but he also had fireworks to end his set. Basically, you’ll hear more about him this year. -Michael Roffman

Sunday, March 25th

SBTRKT – Live Stage – 3:30 p.m.

Photo by Derek Staples

Having yet to see SBTRKT perform his self-titled album live, I was especially stoked for this set. However, after technical difficulties cut into the set time and extra time was shaved to set up for Flying Lotus, the set came and went in what seemed like 25 short minutes. SBTRKT (nee: Aaron Jerome) was joined onstage by Sampha, which was billed as SBTRKT Live, and the two brought tracks “Living Like I do”, “Pharaohs”, and “Wildfire” to life with the use of a table full of tools and a complete drum kit. Each track was edited from the album cuts, with “Wildfire” receiving a dark, two-step remix. Perhaps most surprising, other than the brevity of the show, were the vocal talents of Jerome, who performed and looped most of his vocals live. -Derek Staples

Flying Lotus – Live Stage – 4:40 p.m.

Photo by Derek Staples

Flying Lotus (born Steven Ellison) has always crafted a unique style of low-end-heavy, beat-driven, instrumental hip-hop. On Sunday, those beats received some lyrical flow courtesy of Brainfeeder’s Azizi Gibson. Flylo even showcased two of the tracks he produced for the up-and-coming emcee. The effort was noble, but Flylo’s production had enough depth and power on its own to outshine the freestyle attempts of Gibson. One unexpected bass drop alone had enough force to blow Gibson’s nonsensical verses backstage. Flylo continued to show some love for another young rapper, Odd Future’s Tyler, The Creator and his demented “Yonkers”. But Flylo didn’t just let the track play out, chopping the track up to add 8-bit elements and a boosted bottom end. To finish the set, Flylo went hard, cuing up Waka Flocka Flame’s ”Hard in da Paint”.

Minor note to Ellison: Fans understand the need to promote, but please leave Gibson in LA next time. Or just have him make a little less noise over the delicate, complex nature of your productions. -Derek Staples

Magnetic Man – Live Stage – 6:00 p.m.

Photo by Derek Staples

Following Skream + Benga’s high-energy Saturday performance, fans of the UK brethren just weren’t sure what to expect of Magnetic Man’s Sunday evening performance. Joined by producer Artwork, the set was exemplary of the more melodic side of UK Bass. Once again joined by Sgt Pokes, the emcee’s gruff vocals added harsh contrast to the project’s more atmospheric tones, especially during “Getting Nowhere”, which featured the vocals of John Legend. The three-piece settled into a trance-like dub production style until Pokes asked the audience if they wanted to jump, which sent Magnetic Man into a frenzy of darting synths and ratcheting bass lines. Magnetic Man saved their most recognizable tracks, “I Need Air” and “Perfect Stranger”, until the crowd reached full capacity nearing the ending of the set. To cap off the epic performance, Katy B joined the guys onstage and sang “Perfect Stranger”, complete with booming fan interaction.

Bloody Beetroots DJ Set – Live Stage – 7:20 p.m.

Photo by Derek Staples

The founder of the Bloody Beetroots, Sir Bob Cornelius Rifo, once publicly pondered on his genre, settling on the term Contemporary Electronic Dance Music. But when it comes to his DJ sets alongside Tommie Tea, the sound is simply clashing electro-house at its finest. Be it dancing, jumping, or moshing, it’s almost impossible to be still when SBCR is donning the black Spider-man mask behind the controller. With the sun setting, the redesigned stage setup took full effect for bangers “Warp 1.9″, “Push the Tempo”, and the metal-infused “Church of Noise”. After nearly an hour of mayhem, BBR changed course to end the set, jumping down from behind their wall of lights to spin the Isley Brothers and “Shout” with the audience. -Derek Staples

Chase and Status – Live Stage – 8:45 p.m.

Photo by Derek Staples

After 27 hours of electronic music, Chase and Status were like the deathblow to any remaining grey matter. Saul Milton and Will Kennard produce some of the darkest, most intricate drum and bass, half time, and drumstep around. Combine that with the abilities of live drummer Andy Gangadeen, the guitar skills of Milton, plus the vocal assault of MC Rage, and you have arguably the most entertaining live bass music outfit currently around. What separates Chase and Status is their ability as musicians, not simply producers. “No More Idols” had an amazing build and melody, and just when the song was about to reach its peak, we were blasted back into our seats with the intensity of the bass. As Milton joked, “This is the Unites States of Bass, and we salute you Chase and Status.” -Derek Staples

Armin Van Buuren – Main Stage – 10:00 p.m.

Photo by Derek Staples

Between 2007 and 2010, the Netherlands’ Armin Van Buuren held the crown as the world’s number one DJ. Through his “A State of Trance” podcast, Van Buuren has introduced countless electronic fans to the freshest in trance music and also helped shape the style of the genre. If Sunday night’s set was any indicator, lush, vocal trance is a thing of yesteryear, replaced by hard-hitting techno phrasing, periodic sub-bass lines, and the occasional sing-along vocal loop. To add to the communal nature of his music, nearly all of the words for the tracks were displayed across the L.E.D. panels of Ultra’s Main Stage. No track received a bigger rise from the audience than The Killers’ “Mr. Brightside”, which was accompanied  by a bright, yellow techno smiley face on the massive screens.

The set was not only a celebration of trance, but a massive party for the international electronic music community. Flags from around the globe could be seen with a simple turn of the head, “hellos” and “I love yous” were shared in a myriad of languages, and thousands of people danced like fools together as if no borders, feuds, or wars existed. During that one hour, people could lose themselves within those repetitive beats, content with the pure happiness that had settled over the massive Bayfront Park crowd. -Derek Staples

Gallery

Photographers: Cap Blackard, Matt Rainey, and Derek Staples

[Gallery not found]

Other notable acts include Skrilex, Duck Sauce, 2manydjs, Groove Armada (DJ Set), Flux Pavilion, Carl Cox, Armin Van Buuren, Kaskade, Bassnectar, Chase and Status, The Bloody Beetroots, A-Trak, Laidback Luke, Little Dragon, Neon Indian, SBTRKT, Flying Lotus, Miike Snow, and Pretty Lights.

Also on the bill are Fedde Le Grand, Knife Party, Steve Aoki, Magnetic Man, Zeds Dead, Porter Robinson, Sven Vath, Sander Van Doorn, Borgore, Doctor P, Metronomy, Jack Beats, 12th Planet, Skream! + Benga, Steve Lawler, Joris Voorn, Katy B, and more. Check out the entire first phase, broken down by day, in poster form below. And stay tuned to our Festival Outlook for additional lineup news and updates.

Three-day and VIP passes, priced at $299.95 and $599.95, respectively, are now on sale. Visit the festival’s website for complete ticketing info.

The sophomore installment of Ultra Music Festival Brazil hits São Paulo’s Sambódromo Anhembi on December 3rd, 2011. This year’s bill packs electro heavyweights like Swedish House Mafia, Duck Sauce, and 2manydjs alongside recently reunited post-punk outfit New Order and Canadian rock warriors Death From Above 1979.

Rounding out the bill are Laidback Luke, MSTRKRFT, Major Lazer, Soulwax, Diplo, Shit Robot, The Twelves, Nero, Alesso, DJ Marky, Life is a Loop, Renato Cohen, MIXHEII, Renato Ratier, and Rodrigo Viera. For any additional lineup news and updates, stay tuned to our Festival Outlook.

For ticket information and additional festival info, check out the festival’s website.

However, one quote stuck out at me while being a dork this year that truly captivated what this festival is all about. When people were all bickering over whether or not Jay-Z would be the third headliner (which he inevitably was), somebody stated something along the lines of, “Why would Goldenvoice get three contemporary headliners? They’ve never done this before.” Well, I wouldn’t necessarily say that, but Coachella was always known for having at least one headliner who had been around for awhile, but the reason this festival stands alone is because of the fact the bands on the bill are of such a high magnitude.

2010 marks the first true hip-hop headliner with Jay-Z, arguably one of the best rappers of our generation. Finally, Muse was called to the Polo Fields, after years and years of internet fans obsessing over the fact that the band needed to return with a higher spot on the bill. And the Gorillaz finally decided to make an appearance, which is something they rarely do anywhere, let alone at Coachella. Plus, they have written three of the best records in our time. Not to mention an amazing plethora of classic rock artists (Faith No More, Sly Stone, PiL, Echo and the Bunnymen) DJs (Deadmau5, Tiesto, Infected Mushroom), unique spectacles (Pavement, the Specials, Devo, and the USC marching band alongside Coheed & Cambria), the best in modern electo-pop (MGMT, Phoenix, Passion Pit) and finally one of the guys from Radiohead came back (Thom Yorke and his new band, Atoms for Peace). If this festival is too contemporary for people, they are clearly uninformed or misunderstand the definition of the word. This festival isn’t for contemporary music fans, it’s for people who love music. -Ted Maider

Friday, April 16th

Baroness
Mojave: 2:00-2:45 p.m.

The cool thing about Baroness is that the band members always come out and set up their own instruments before a gig. Coachella was no different. That being said, the sound never seems to falter when a band sets up their own instruments the only way they know how. With energy that I haven’t seen from Baroness in a long while, the band came out on stage and billowed through an almost hour long set that consisted of only the best from their Red Album and Blue Record.  John Baizley, lead singer, trudged and stomped his way around the stage and him and guitarist, Peter Adams, had many riff duels, back to back. This was one show of the weekend that should not have been missed. -Matt Rhodes

DJ Lance Rock
Sahara: 2:15-3:00 p.m.

Little children seem to love the television program Yo Gabba Gabba, a trippy Sesame Street that embraces modern day music to convey the same universal ideas of good living that children’s programming is supposed to teach. DJ Lance Rock brought this whole idea with him in his 45 minute show of bizarre monsters in an ecstacy explosion of infantile awesomeness. It didn’t matter how old you were, you could still rock out to a song about eating a healthy dinner. -Ted Maider

Avett Brothers
Outdoor Theatre: 3:20-4:05 p.m.

The Outdoor Theatre has become known for its technical difficulties throughout the years, and inexplicably, this year was no different. This is what plagued an otherwise fine Avett Brothers set. From the incessant buzzing on the right side of the stage to the fluctuating pitch of the mics, this set was doomed to never reach its potential. However, it had its highlights, including the rap portion of “Slight Figure of Speech” – fun despite setting back the White race about 20 years. -Harry Painter

Aeroplane
Sahara: 5:15-6:25 p.m.

These two nerdy looking air traffic controller types made some of the coolest airport techno to get you where you needed to go. Remember, music is the most quintessential part of any journey, and these cockpit party-geeks brought their audience to a new realm of dancing awesome. -Ted Maider

Dillinger Escape Plan
Gobi: 5:45-6:30 p.m.

When Dillinger Escape Plan took the stage, they took to it with a welcomed surprise: a tent packed with some of their biggest fans. The first couple songs were plagued with microphone problems but the band didn’t let that affect the bombastic set. Lead singer, Greg Puciato, climbed rafters and speakers and threw a microphone stand and himself into the crowd. Dillinger burned through songs spanning their whole career. They dove into newer material and even touched upon the oldies “43% Burnt” and “Sunshine the Werewolf”. Too bad Mike Patton didn’t come out to sing songs off of Irony Is A Dead Scene, though. Wishful thinking, I guess. -Matt Rhodes

The Specials
Coachella: 6:20-7:20 p.m.

Even after all these years, the Specials are still able to redefine the genre of ska even thirty plus years after its’ conception. Nothing beat the band’s dedication to the “rude boys and girls” as they blasted through “A Message to Rudy” as the sun set to just to the left of their already blazing set. This was the point in the day where everybody in the festival was skanking their hardest; except this time they wore sandals instead of checkered Vans. -Ted Maider

Passion Pit
Outdoor Theatre: 7:00-7:50 p.m.

With the California sun setting in the in the desert paradise of Indio, Passion Pit worked their crowed, as they are known to do. It truly just may be the way he speaks, but Michael Angelakos sounded rather intoxicated when conversing with the crowd. But as ever, Coachella witnessed spot on vocals from Angelakos and wonderful showmanship from the rest of the band. They played mostly Manners tracks, still plugging the re-release. Tracks included, but were not limited to: “The Reeling”, “Let Your Love Grow Tall”, and “Drive Me Crazy.” As the sun was in its last minutes of shining down of the enormous crowd, Angelakos asked the question: “The darker it gets here at Coachella, the more wild you’re gonna get, isn’t that how it works?” He couldn’t have hit the nail on the head harder if he were Lady Cleo. -Winston Robbins

Pretty Lights
Sahara: 7:50-8:50 p.m.

Sporting a lot of hype and – what else – some very pretty lights, Colorado electro artist Pretty Lights brought the energy to live up to the expectations. Those not drawn to the star power of Them Crooked Vultures or the even bigger hype surrounding Grizzly Bear one tent over were treated to a memorable, glitch-happy one-hour live set featuring Cory Eberhard on drums. “Hot Like Sauce” indeed. -Harry Painter

Them Crooked Vultures
Coachella: 7:50-8:40 p.m.

Imagine getting run over by an enormous truck of sound and you basically will understand what Them Crooked Vultures show was like. Dave Grohl smashing his drums with fury and grace, as he sweat out his entire body weight in a 50 minute set. Meanwhile Josh Homme pounded on his guitar like a madman as the band raged their greatest songs like “Mind Eraser”, “Dead End Friends” and a Phish-style jam on “Scumbag Blues,” which was dedicated to the entire crowd. Let alone John Paul Jones of Led fucking Zeppelin was sitting up there playing every instrument known to man and just absolutely killing it even 40 years after the band that made him famous got their big break (not to mention he sat down at a piano to play a beautiful piece, while Homme took a cigarette break in front of the whole crowd). -Ted Maider

Grizzly Bear
Mojave: 8:05-8:55 p.m.

A packed audience in the Mojave tent eagerly awaited the highly anticipated Brooklyn folk group. Starting off slow and building towards fresher material, Grizzly Bear gave their fans a taste of old and new. Of course we were all waiting for “Two Weeks”, and when it came it sealed their status as future headliners. The fact that all four members contributed to the vocals was awe-inspiring as every harmony recreated their albums seamlessly. The Mojave tent stayed dark throughout most of the set, further captivating the chill-factor that Grizzly Bear fans love to talk about. -Elias Newman

LCD Soundsystem
Coachella: 9:05-10:00 p.m.

A beaming James Murphy, clad in a sharp white suit, took the stage to uproarious fanfare. With the success of his previous two releases and the impending success of his upcoming (and possibly final) album This Is Happening, Murphy has evolved into a full-fledged legend. The LCD crew took no time leading us right into “Us v. Them” off of their transcendent 2007 release Sound of Silver. He expressed to us his sadness that he wanted to meet Them Crooked Vultures when they came offstage, but he found himself “stuck in the bathroom,” a shame indeed. Regardless of his disappointment, he soldiered on cheerily with new power hitter “Drunk Girls”. The remainder of his set would be largely from Silver, but he was intent on getting his new music heard. Apologizing for the “Faux pas of playing two new songs in a row”, he dropped the psyched-out anthem “I Can Change” followed by half monologue, half dance floor filler “Pow Pow”. He finished the night off with 11 minute crowd pleaser “Yeah” and funky love ballad “NY, I Love You”. One thing’s for sure, if this is truly Murphy’s last effort as LCD, he’s going out with a bang. Or a “Pow”, if you will. -Winston Robbins

Imogen Heap
Mojave: 9:20-10:10 p.m.

What made Imogen Heap’s set truly incredible was not just the music itself; her stage presence really made the late night set one of the best of the weekend. Speaking to the crowd as if they were old friends made for one hell of an intimate show. She even allowed us to learn and sing a song with her. Multitasking was her main theme of the night as she continued to play every single instrument on her own. She closed out the night on a keytar, finished on the baby grand piano, with her famous track “Hide and Seek”. -Matt Rhodes

Little Dragons
Gobi: 09:35-10:20 p.m.

After two appearances on Gorillaz’ Plastic Beach, Little Dragon has soared in popularity over the last few months. Swedish-Japanese singer Yukimi Nagano alongside her three-piece band is an amazing sight, and her presence dominated the Gobi tent. The absence of “Twice” was disappointing but understandable, as the song would have brought the fast-paced set to a lull. In between Nagano’s power and shrills was a glimpse of a girl who was still light-headed at the thought of playing Coachella. It was that innocence that made for a special performance from a blossoming band. -Elias Newman

Vampire Weekend
Outdoor Theatre: 09:55-10:45 p.m.

Talk about a band that blew the fuck up. Vampire Weekend played the Outdoor Theater two years ago to a crowd that had merely just heard of them and wanted to check them out, but this time they played the same stage and you couldn’t get near it if you didn’t get there in time. The band ripped up versions of “Run”, “A-Punk”, “Walcott”, and “Oxford Comma” to a crowd that was ecstatic to be in the same place as the newest indie East Coast sensation. -Ted Maider

Jay-Z
Coachella: 10:50 p.m.

A countdown engulfs monitors on both sides of the stage. 10 minutes… 9, 8, 7, 6, 5, 4:20 (cheers and smoke loom overhead), 4, 3, 2, 1. Hova rises from inside the stage, with his 10-piece band right behind him. Starting off with “Run this Town”, Jay-Z didn’t waste any time. He worked through The Blueprint 3 alongside Memphis Bleek with a backdrop of skyscrapers and New York City behind him. At one point President Obama came on screen, and as he brushed his shoulders off during a previous speech, “Dirt Off Your Shoulder” blasted through the outdoor theatre. The moment was as humorous as it was surprising, and shows how Jay is not just a rapper but an entertainer. A few more hits (“99 Problems”, “H to the Izzo”), and then there she is. “Come on out B!” Beyonce’s cameo included the rendition of “Forever Young” as fireworks flew above the Coachella stage. Witnessing the romance was truly magical, especially as their first child is rumored to be on the way. Leaving the audience only to return for “Encore” was predictable, but it didn’t matter. The Jigga Man used his whole arsenal Friday night, and did it bigger than anyone could have expected. -Elias Newman

Saturday, April 17th

Rx Bandits
Outdoor Theatre: 12:25-1:15 p.m.

Thanks to a volcanic cancellation by Frightened Rabbits, both Rx Bandits and Porcupine Tree had extended sets, much to the delight of early comers to the festival. Rx Bandits played a full hour (10 more minutes than second-billed Faith No More), and it was easy to see why 60% of the people in the crowd (allegedly) traveled from out of state just to see them at Coachella (allegedly). The band’s jammy pop-punk made for enough good vibes to last into the evening. Rx Bandits are in serious need of an additional vocalist though. -Harry Painter

Porcupine Tree
Outdoor Theatre: 1:35-2:25 p.m.

Steven Wilson is a genius and it showed during Porcupine Tree’s afternoon set. The group was welcomed to the stage by a big fan base and went on to perform one of the best 50 minute sets I have ever seen. They played mostly new stuff but the musicianship shown was undeniable. Wilson and company were meticulous. They are true music nerds and the connection between the group was felt by all. Finding a band that can perform their funky progressive rock and metal with utmost perfection is almost impossible these days. -Matt Rhodes

Craze & Klever
Sahara: 4:05-5:25 p.m.

In a year rife with no-shows, turntablists Craze & Klever pulled through after missing their scheduled performance at last year’s festival. They put together a solid set featuring a couple of MC’s, one much better than the other. It was nothing to beat yourself up over from one April to the next, but it was very good, despite alienating some of the Sahara’s typical dance-oriented crowd. -Harry Painter

Beach House
Mojave: 4:25-5:15 p.m.

Beach House came out playing music that sounded like the soundtrack to my death. The trio played a heavenly brand of material, mostly culled from this year’s remarkable Teen Dream, that lifted you up to the clouds from paradise on Earth as they rocked a mellow set  that smoothed over a good vibe in the overcast heat. If you were just trying to cool off, there was no place better than with Beach House. -Ted Maider

Edward Sharpe and the Magnetic Zeroes
Outdoor Theatre: 5:10-6:00 p.m.

Edward Sharpe announced his arrival onstage by tying his sweaty, white t-shirt around a guy in the front row’s face. That pretty much kicked it off from there as the band played to a devoted crowd in the hot air. Their triumphant brand of indie rock truly connected well with the masses at the Outdoor Theater that afternoon.  Edward Sharpe and his posse proved to the crowd that power could be expressed through an elegant performance. At the end he sang out, “Thanks for being alive!” and all I can say to them in return is, “You’re welcome and thank you for making me feel that way.” -Ted Maider

The xx
Outdoor Theatre: 6:25 p.m. – 7:10 p.m.

“The roof is on fire,” announced bassist Oliver Sim with an uncontainable grin, after the roof of the Coachella Stage was literally aflame during Coheed and Cambria’s set. These grins appeared repeatedly on Sim’s and guitarist Romy Madley Croft’s normally deadpan faces, perhaps due to the large and growing crowd they had at least helped attract. Sim is a rock star in the making, and his band The xx has the chops to back up the almost comical neo-goth image. -Harry Painter

Hot Chip
Outdoor Theatre: 7:35-8:25 p.m.

Unfortunately, this set was not as epic as I had intended upon it being. Not because they aren’t talented musicians who make some of the best electronic music out there right now, but because the crowd seemed so uninterested. Also because frankly, the song choice was strange, which may or may not have been their fault. They were just one in a long list of bands who deserved a longer time slot. The five-piece outfit from London left out quite a few of their big hits to play obscure songs from this year’s One Life Stand as well as obscurities from 2008’s impeccable Made In The Dark. Hot Chip hit hard with the first song “One Pure Thought”, and much to the crowd’s delight, Alexis Taylor had donned his iconic mustard yellow pants to rock the Outdoor Stage at Coachella. They went on to play old favorites “Over and Over” and “Ready For The Floor” as well as new favorites “Hand Me Down Your Love” and “I Feel Better”. However, mixed in with the favorites, they played oddballs such, “We Have Love” and “Hold On”. On the whole, they got the crowd pumped, but I came away with the impression that they were trying out for the part of LCD Soundsystem, Jr. (Insert remarks about Al Doyle being a member of both bands here). They left the stage after saying, “We’ll see you all at Devo!”, who was scheduled to play later in the night. -Winston Robbins

Faith No More
Coachella: 7:55-8:45 p.m.

Three words sum up this show sufficiently: more dates please. As great as it was to see Faith No More’s “Second Coming”, this particular portion of the second coming lasted 50 minutes and just wasn’t enough – for any band near the top of the bill, and especially a high-profile reunion like Faith No More. Not to mention the cooperative but indifferent crowd, which caused even hardcore Faith No More fans to shy away from “Epic” and “Midlife Crisis” sing-alongs. Mike Patton was right on target: “I know we look like we’re 80 years old, but give us a fucking break!” Patton won over some people with that kind of humor. He was never actually on the stage for more than three minutes at a time, and at one point found himself diving off a barrier into the crowd. All other bandmembers brought their share of energy to the stage as well, and really, you couldn’t have asked for anything more from the band – except maybe replacing the too-long “Reunited” cover that opened the set with a…er, real song – this was essentially Faith No More playing a show to clueless Muse’s fans. - Harry Painter

MGMT
Outdoor Theatre: 8:50-9:40 p.m.

Plenty of harsh fingers have been pointed in the New York electro-pop band’s direction recently due to harsh words about their latest effort, Congratulations. But would it hold up live? Fuck yes. MGMT opened with “Flash Delirium”, and the crowd was stoked as the ever-popular MGMT cranked out tunes onstage with new greats like “It’s Working” and “Song for Dan Treacy” alongside excellent renditions of “oldies” like “The Youth”, “Electric Feel”, and “Time to Pretend”. No “Kids”, however, which probably left some feeling dull. Nonetheless, this performance proved one truly remarkable thing; people actually like MGMT, not just the few singles. People are learning. -Ted Maider

Major Lazer
Mojave: 9:25-10:10 p.m.

One of the more interesting sets of the night, that of Diplo and Switch’s latest project Major Lazer, was one continuous, seductive dance party. The music literally did not stop for a single second and neither did the dirty dancing. The infamous tutorial on creative ways to dry hump one another video AKA Major Lazer’s “Pon De Floor”, made its presence known in Indio. Fronted by the man from the “Pon” video with the re-imagined Sisqo haircut, they nearly shook the Gobi Tent to its destruction. They played what seemed like every track from 2009’s Guns Don’t Kill People…Lazers Do, the crowd pleasers being “Jump Up”, “Hold The Line”, and “Pon De Floor” and remixes of Ace of Base’s “All That She Wants” and Benny Benassi’s “Sastifaction.” The designated Major Lazer dry-humper even pulled out the ladder and did the massive dive hump as featured in the video. Rarely have I seen a show summon this much energy. They impressed (and quite possibly aroused) all in the crowd. -Winston Robbins

Muse
Coachella: 9:35-11:05 p.m.

You hear all these claims about Muse’s live show and either don’t want to believe the band is that good, or you believe but can’t quite grasp it. Whichever side you’re on, you must watch Muse live at some point. God knows The Resistance isn’t a great album or even a noteworthy one, but the band just makes it fun live. Some of the new tracks slow down the show a little, but that may be because the crowd interaction slows along with it. This is to say that the sing-alongs throughout the course of a Muse set are nothing short of epic. Screaming “We will be victorious” over and over again is, like the glitter adorning Matt Bellamy’s guitar, a little silly but it feels right in the moment. Bellamy can shred though; it’s obvious he idolizes Tom Morello as much as he does Thom Yorke, and Bellamy can make even his silliest songs sound worth hearing – isn’t that what being a good live act is about? -Harry Painter

Les Claypool
Mojave: 10:35-11:25 p.m.

Les Claypool made quite an entrance, as he always does. He dubbed himself the “festival whore” and showed disappointment for not playing the Polo Fields in previous years. But the whore seemed to enjoy himself quite thoroughly while he did his usual bass thumping and crazy antics to a well-attended and quirky crowd. And nothing made it better than Claypool retreating from the stage to get his pig mask and finish off the night in true, weird Claypool style. Note: Oysterhead/Police drummer Stuart Copeland was spotted checking out Les in the front row at his set. -Ted Maider

Flying Lotus
Gobi: 10:45-11:35 p.m.

Despite conflicting times with Muse, The Dead Weather, and Les Claypool, Flying Lotus gathered a considerable amount of people to see his set in the Gobi tent. A set list would be hard to produce from this very crowded show for two reasons. A) A lot of improvisation goes into a FlyLo show and songs are hard to distinguish one from another, and B) His album Cosmogramma has yet to be released (May 3^rd, for those of you drooling in anticipation) and much of his set was devoted to debuting new tracks. The man of few words did play some old favorites including “Camel”, “Melt!”, and “1983”. The deepest, most secret part of my heart hoped that Thom Yorke would show up to do the vocals on the track he collaborated with Flying Lotus on for the new album, but that unfortunately never happened. Next best thing, however, FlyLo did an incredible cover/re-working of Radiohead’s “Idioteque” saying that “This one’s for my man, Thom.” He also did an impressive tranced-out re-working of Lil’ Wayne’s “A Milli” that got the crowd all kinds of riled. -Winston Robbins

The Dead Weather
Outdoor Theatre: 11:05-12:00 a.m.

Only the truly deserving (or blessed) get the chance to say, “How you feeling, Coachella? Good to see you again,” and Jack White took this opportunity before transitioning into “Hang You from the Heavens” Saturday night. He’s now had three appearances at Coachella, each with a different band. While The Dead Weather is the worst of White’s projects, the band is certainly capable of rocking, and while it couldn’t follow Muse, the band sure as hell rocked the Outdoor Theatre. Frontwoman Allison Mosshart and White have pleasing onstage chemistry and were a joy to sit back and watch after a long Saturday. -Harry Painter

Die Antwoord
Sahara: 11:35-11:55 p.m.

South African internet sensation Die Antwoord is no joke. When I first saw the video for “Enter The Ninja”, I was under the impression I was watching this year’s “Chocolate Rain”. I was as terrified as I was entranced. Something about them seemed less gimmicky than most internet spread musicians. And on night two of Coachella, my suspicions were confirmed. Die Antwoord is for real. Despite their extremely short 20 minute set, they destroyed their U.S. debut by playing “Enter The Ninja” “Beat Boy” and two other previously unheard tracks. Expect to hear more from and about this up and coming South African trio as the days go on. It was quite a spectacle to witness their fearless debut in the United States. -Winston Robbins

Tiësto
Coachella: 11:40 p.m.

Tiësto is the king of DJs, hands down. His next Coachella Main Stage installment was just as epic as his performance in 2007. Tiësto once again threw down some of the tightest produced techno in modern day music as a huge crowd rage on around him. This was the biggest party of the weekend with a full house packing in at the most expansive portion of the festival while techno lit up the night. The final number of the performance was a remix of the Platoon score, which brought tears to ravers’ eyes as they danced their hearts out under the stars. -Ted Maider

Devo
Mojave: 11:50-12:45 a.m.

As anyone at the Devo autograph signing Saturday will tell you, the guys that make up Devo are either out of their minds or very good at pretending they are. This point is illustrated very well by Devo’s live show, featuring cheesy songs supported by cheesy visuals and, of course, cheesy hats. Of course, Devo has always reveled in this sort of cheese, and that’s why the band was not to be missed closing the Mojave Saturday night – because it’s kind of brilliant. -Harry Painter

2ManyDJs
Sahara: 12:05-12:55 p.m.

Choosing between Sia, Devo, and 2ManyDJ’s late Saturday night was difficult, but I couldn’t imagine a more enjoyable time than that offered by the Dewaele brothers. The pair took the stage and took the audience on a journey of remixes and mash-ups, documented with moving album artwork displayed on two screens. Guns N’ Roses, MGMT, and even The Clash had the neon crowd dancing for the entire hour. They’ve played almost identical sets at other festivals, but the repetition had no effect on the chemical-induced audience. Whether they go by Soulwax or 2ManyDJ’s, the Dewaeles have mastered the art of putting on a good time. -Elias Newman

Sunday, April 18th

The Middle East
Outdoor Theatre: 12:15-12:55 p.m.

Likely due to Delphic’s volcancellation, The Middle East didn’t show up on stage until about 1 p.m., inadvertently pissing off some of the reasonably-sized audience. Luckily for the band, there wasn’t much early competition, since the Hypnotic Brass Ensemble didn’t show up. Luckily for everyone else, The Middle East was quite good, putting on a set ranging from soft folk rock to energetic post-rock. It’s not hard to imagine we’ll be hearing more from this band in the future. -Harry Painter

The Soft Pack
Mojave: 12:55-1:40 p.m.

Starting around one in the afternoon, The Soft Pack was one of the best early-birds. Saving “Mexico” and “Answer to Yourself” for last, they kept the intimate crowd alert throughout the entire set. Lead singer Matt Lamkin is no Alice Cooper, but his overall blasé attitude on stage worked well with the band. He even told the crowd to go drink a Heineken, and then admitted to earning a whopping 50 bucks for the advertisement. Not exactly professional, but damn funny. An excellent start to day two. -Elias Newman

King Khan & The Shrines
Mojave: 2:05-2:50 p.m.

The experience was religious. With a six-piece band behind him, King Khan brought soul music to a new level. No shirt, headdress, and a cape. How about that for an outfit. He had us screaming, burning money, and then crying at the end. Add the Yo Gabba Gabba crew and DJ Lance Rock to the mix, and you have one of if not the most insane act of the entire weekend. Seeing The Shrines live is not an option, it is a necessity, and apologies to anyone who missed the King himself. -Elias Newman

Owen Pallett
Outdoor Theatre: 2:25-3:10 p.m.

He may not have been the best violinist performing Sunday (see Yann Tiersen), but with apologies to Thom Yorke, no one used a loop pedal to better effect than Owen Pallett. The artist formerly known as Final Fantasy was brilliant, constructing beautiful songs by himself out of parts that could easily have taken all of Arcade Fire to perform separately. The downsides: geeky chuckles after every song, and he closed the set with an awkward inquiry to his guitarist about cornholing. -Harry Painter

Deerhunter
Outdoor Theatre: 3:35-4:20 p.m.

It was a mellow afternoon at the Outdoor Theater when Deerhunter took the stage sometime early in the festival. People sat down as the cool breeze sent chills down their spine, along with Deerhunter’s epic and melodic music, while the soothing notes began the final hours of the festival. Deerhunter played a great selection of lazy afternoon tunes and closed with a “jam medley” that was inspired by Echo and the Bunnymen’s performance from Friday night. -Ted Maider

De La Soul
Coachella: 3:50-4:40 p.m.

Hip-hop was certainly in the house on Sunday when De La Soul took the Main Stage on Sunday afternoon, turning the festival’s most happening spot into the biggest afternoon party. The group had a live band accompanying them, and spent no time messing around with single verses of popular songs, but blasted through tracks off all the old LPs that spanned their entire career. If you wanted to get funky on Sunday afternoon, this was the place to be. -Ted Maider

Julian Casablancas
Mojave: 5:35-6:20 p.m.

Donning a studded leather jacket and some scorching hot, red pants, Julian Casablancas makes no secret that he’s cooler than you’ll ever be. As he strutted about the Mojave stage, The Strokes frontman whisked through a number of solo tracks — “11th Dimension”, “Out of the Blue”, and the now-crowd favorite cover, “I Wish it Was Christmas Today”– which all but solidified his status to the crowd that he is the brains of modern day rock music. Contrary to what you might expect, Casablancas wasn’t too shy about cranking out a few Strokes tunes, which he did and to which the crowd enjoyed immensely. Nothing like hearing some of our generation’s best rock tunes. -Ted Maider

Charlotte Gainsbourg
Gobi: 5:40-6:30 p.m.

Charlotte Gainsbourg’s set was a rare event; she never tours, so the chance to hear live renditions of songs from her 2009 album IRM was enough of a sell for a guy who had already seen Jónsi with Sigur Rós. Well, okay, plus the Beck rumors and everything. IRM has some great songs on it, but Gainsbourg just isn’t much of a singer, and that becomes painfully clear in a live setting, as did the absence of Beck’s vocals on “Heaven Can Wait”. The band was very tight though, unlike Gainsbourg’s shirt. -Harry Painter

Jónsi
Outdoor Theatre: 5:55-6:45 p.m.

Thousands gathered to see what the long-time frontman of epic Icelandic post-rock band Sigur Rós would produce as a solo artist. What they got was first of all, not in Icelandic, but English, which surely threw some listeners off. People began to leave minutes into his 45 minute set, which is a real shame because it was beautiful. Jónsi has one of the most unique, beautiful voices on God’s green earth and he flaunted it in every way during his set. The peacock pageantry that is prevalent in his album artwork and solo videos made its real life manifestation on the Outdoor Stage at Coachella on Sunday. His set ran a bit short, and was in the middle of the sun, which stole from the atmosphere he was going for, but he played songs from his impeccable Go flawlessly. He hit especially high highs during the subtle “Grow Till Tall”, the enlivened “Animal Arithmetic”, and the centerpiece of his album “Boy Lilikoi”. And while we’d all rather see him with Sigur Rós presenting a new album, this is surely the very next best thing. -Winston Robbins

Phoenix
Outdoor Theatre: 7:10-8:00 p.m.

Phoenix took the stage at sundown to see a mammoth crowd awaiting their musical remedies. And I will personally assure you that not one person in that monstrous crowd left disappointed. A band like Phoenix is so fun to watch. Everything is organic, and it all rides on sheer talent. And they are writing some of the best Pop-Rock music in the world today. Not only are they some extremely talented musicians, but they’re fronted by Thomas Mars, who seems to be right at home while entertaining a crowd. As he looked out at the crowd he commented, “You guys are forever! I can’t even see the end of you!” Despite the number of watchers, he sang the songs note for note and moved with an easy swagger that made Phoenix so much fun to watch. “He implored us to enjoy the sunset and enjoy the music” as they jumped right into Wolfgang Amadeus Phoenix hits “Lisztomania”, “Lasso”, “Rome”, and “Fences”. They visited their past music with songs such as “If I Ever Feel Better”, “No Consolation Prizes”, and “Long-Distance Call”. They closed up with an explosive “1901” and left the crowd screaming. -Winston Robbins

Pavement
Coachella: 7:45-8:55 p.m.

Nothing was cooler than seeing the Stockton, California quintet back together for their first American performance. The group of pals was right where they left off 11 years ago at the first Coachella, except this time they weren’t at one another’s throats. A “Silent Kid” opener was met with a couple sound glitches, but even that couldn’t silence the band as they melted everyone’s faces with “Shady Lane”, “Summer Babe” ,“Cut Your Hair”, and a very memorable rendition of “Grounded”, one that hypnotized every member of the crowd. Coachella made a band that was never supposed to be overtly glorious into something to remember for ages to come with this performance. -Ted Maider

Yann Tiersen
Mojave: 7:55-8:45 p.m.

It was one of the best sets of the weekend, and almost no one saw it. No one should have seen it, had Yann Tiersen been in his original slot opposite Gorillaz, but Gary Numan canceled, making it actually possible for people to watch the Amelie composer. The Amelie crowd got its fix with a gorgeous solo violin performance of “Sur Le Fil” (and a not-immediately-recognizable brooding version of “La Valse d’Amelie”), but the dark post-rock that made up the majority of Tiersen’s set was a perfect lead-in to Thom Yorke’s gig. -Harry Painter

Thom Yorke/Atoms for Peace
Outdoor Theatre: 9:00 p.m.

Let’s be honest – Coachella had four headliners in three days; everyone was at Thom Yorke right before everyone was at Gorillaz. And Yorke’s was a headline-worthy show. He and his band, Atoms for Peace, played his 2006 solo album The Eraser from start to finish, complete with out-of-control bass explosions by Flea. The Eraser has always gotten better with each listen, and Atoms for Peace’s versions of the album’s tracks work because they highlight instead of negate the strengths of The Eraser. Never before have I considered dancing to any song on The Eraser, but I didn’t have to think twice about it at Coachella. Yorke was quite the dancer himself, consistently goofy and having the time of his life. The inevitable encores were worth sticking around for; the first was a three-song solo bit that included new song “Give Up the Ghost” and a couple acoustic Radiohead tracks, while the second cued Atoms for Peace back on stage to end the show. Also of note: Yorke dedicated the song “Atoms for Peace” to Pavement. -Harry Painter

Gorillaz
Coachella: 10:30 p.m.

This may have been the first time in Coachella history that 99% of eyes at Coachella Sunday were on the headliner (the other 1%, of course, being on 2010’s most predictable train wreck in Sly Stone). That large majority of eyes saw a spectacle, and it was almost everything it was cracked up to be. Almost, that is, because some expected names like Snoop Dogg, Mos Def, and Shaun Ryder were no-shows. However, this was but a slight blemish in a wholly captivating experience, the first full-blown show supporting new album Plastic Beach. Damon Albarn, along with guitarist Mick Jones and bassist Paul Simonon of The Clash, and several other guests, performed selections off Plastic Beach and Demon Days with precision and funk. Bringing the most funk was Bobby Womack, who completely botched his first line in “Stylo” to the point of embarrassment (Albarn even gave him a dirty look), but redeemed himself by the end of the night by nailing “Cloud of Unknowing”. Booty Brown was on point during “Dirty Harry” and De La Soul kept the energy up during its appearances. The highlight may have been “Empire Ants”, however, with Yukimi Nagano of Little Dragon nailing her part at the peak of the set. In fact, this was a dream Gorillaz set for those more inclined toward the cartoon band’s mellow output. -Harry Painter

Conclusion

And so ends another memorable year at Coachella. Does time fly by or what? 2010 was filled with bearable heats, sold out crowds and one of the best line-ups the festival has ever seen. Thanks to the changes in ticket sales, camping truly felt like a communal experience and whether or not you partied in the campsite all weekend, danced in the Do-Lab or saw all of the wonderful headliners, your time at Coachella should have been some of the best spent. I actually felt terribly sad to be leaving Monday morning and wished it could have been just a couple days longer. Signing a decade-long renewal contract obviously shows that this was one of the best years Coachella has ever seen.

So now it’s back to the message boards to argue and debate and make false rumors of who is going to be at Coachella 2011. Lives do revolve around this one amazing weekend and I am sure all of you are already looking forward to next year. So until then, “good morning, good afternoon, and good night” all of you “Coachellians.” -Matt Rhodes

Afters months of guesses and leaks and a week-long word puzzle, we finally know who will be playing the 2010 edition of Lollapalooza.

This year’s festival, set to take place from August 6-8 at Chicago’s Grant Park, will be headed by what is currently the first scheduled performance for the recently reunited, iconic grunge outfit Soundgarden. Legendary punk rockers Green Day, pop superstar Lady Gaga, influential indie outfits The Strokes and Arcade Fire, and French sensations Phoenix are all set to top the lineup.

Other notables acts include Erykah Badu, Social Distortion, MGMT, Devo, Cypress Hill, Spoon, The National, The New Pornographers, Wolfmother, Gogol Bordello, Grizzly Bear, Yeasayer, Hot Chip, Drive-By Truckers, Dirty Projectors, Metric, Cut Copy, AFI, and the legendary Jimmy Cliff.

As we scroll further down, names such as Mavis Staples, Minus the Bear, Frightened Rabbit, The xx, Blitzen Trapper, Fuck Buttons, Switchfoot, The Temper Trap, The Dodos, Jamie Lidell, The Cribs, and Raphael Saadiq can also be found.

The bottom tier of the lineup features up-and-comers like Mumford & Sons, Cymbals Eat Guitars, The Soft Pack, The Morning Benders, Warpaint, The Antlers, Freelance Whales, Jukebox the Ghost, and These United States.

Finally, this year’s bill will once again feature Perry’s, a dance-oriented stage. Among those scheduled to appear include 2ManyDJs, Empire of the Sun, Digitalism, Tiga, Felix da Housecat, Rusko, Flosstradamus, Wolfgang Gartner, Joachim Garraud, Peanut Butter Wolf, and a DJ set from Cut Copy.

As it stands now, the current 2010 bill looks like this:

Soundgarden, Green Day, Lady Gaga, Arcade Fire, The Strokes, Phoenix, Social Distortion, MGMT, Jimmy Cliff, Hot Chip, The Black Keys, The National, Spoon, Devo, Cypress Hill, Cut Copy, The New Pornographers, Erykah Badu, Slightly Stoopid, Grizzly Bear, Gogol Bordello, Chromeo, Wolfmother, Yeasayer, X Japan, Mutemath, Metric, Dirty Projectors, AFI, Mavis Staples, Matt & Kim, The xx, Drive-By Truckers, Blues Traveler

Edward Sharpe & The Magnetic Zeros, The Temper Trap, Jamie Lidell, Frightened Rabbit, Fuck Buttons, Deer Tick, Blitzen Trapper, Stars, Raphael Saadiq, The Cribs, Minus the Bear, Switchfoot, The Walkmen, Mumford & Sons, Wild Beasts, Rogue Wave, Los Amigos Invisibles, The Big Pink, The Dodos, Hockey, Cymbals Eat Guitars, B.o.B, Dawes, Warpaint, The Antlers, The Soft Pack, Rebelution, Balkan Beat Box

Wavves, American Bang, The Ike Reilly Assassination, Company of Thieves, Nneka, Harlem, The Constellations, Miniature Tigers, Mimicking Birds, The Kissaway Trail, HEALTH, Javelin, The Morning Benders, Foxy Shazam, Violent Soho, Royal Bangs, Neon Trees, Freelance Whales, Semi Precious Weapons, Dan Black, The Band of Heathens, Dragonette, My Dear Disco, Shawn Fisher, Neon Hitch, Skybox, The Ettes, Jukebox the Ghost, These United States, MyNameIsJohnMichael

Perry’s DJ stage lineup:

2ManyDJs, Empire of the Sun, Digitalism, Perry Farrell, Tiga, Felix da Housecat, Rusko, Erol Alkan, Kaskade, Flosstradamus, Wolfgang Gartner, Joachim Garraud, Mexican Institute of Sound, Caspa, Peanut Butter Wolf, Dirty South, NERVO, Cut Copy (DJ Set), Beats Antique, Steve Porter, Didi Gutman of Brazilian Girls, Ancient Astronauts, Ana Sia, Team Bayside High, Dani Deahl, FreeSol, DJ Mel, BBU Vonnegutt, Only Children, Lance Herbstrong

Additional acts, including the lineup for this year’s Kidzapalooza stage will be announced in the weeks ahead. The day-by-day schedule will likely be revealed in June.

Three-day passes are currently priced at $190 and can obtained here. Once that allotment sells out, the price will raise to $215. VIP passes and travel packages are also available.

Update: For those looking looking to get their scheduling freak on, it appears that Lady Gaga and The Strokes will be playing Friday, Green Day and Phoenix on Saturday, and Soundgarden and Arcade Fire on Sunday. Here is the day-by-day breakdown, which is TOTALLY UNCONFIRMED, per the Lollapalooza message board:

Friday, August 6th:
Lady Gaga
The Strokes
Jimmy Cliff
Hot Chip
The Black Keys
Devo
New Pornographers
Chromeo
Dirty Projectors
Mavis Staples
Matt & Kim
Drive-By Truckers
Jamie Lidell
Fuck Buttons
Raphael Saadiq
The Walkmen
Los Amigos Invisbles
The Big Pink
Cymabalks Eat Guitars
B.o.B
Balkan Beat BOx
Wavves
American Bang
The Constellations
Javelin
Foxy Shazam
Semi Precious Weapons
My Dear Disco
The Ettes
Jukebox The Ghost
These United States
2ManyDJs
Tiga
Erol Alkan
Caspa
Peanut Butter Wolf
Cut Copy (DJ)
Ana Sia
FreeSol
BBU Vonnegutt

Saturday, August 7th:
Green Day
Phoenix
Social Distortion
Spoon
Cut Copy
Erykah Badu
Slightly Stoopid
Grizzly Bear
Gogol Bordello
Metric
AFI
The xx
Blues Traveler
Edward Sharpe
Deer Tick
Stars
Wild Beasts
Rogue Wave
Dawes
Warpaint
The Soft Pack
Rebelution
Harlem
Mimicking Birds
Kissaway Trail
Morning Benders
Royal Bangs
Dan Black
Dragonette
Skybox
Mynameisjohnmichael
Empire of the Sun
Perry Farrell
Rusko
Kaskade
Wolfgang Gartner
Joachim Garraud
Beats Antique
Steve Porter
Ancient Astronauts
DJ Mel
BBU Vonnegutt
Only Children
Lance Herbstrong

Sunday, August 8th:
Soundgarden
Arcade Fire
MGMT
The National
Cypress Hill
Wolfmother
Yeasayer
X Japan
MUTEMATH
The Temper Trap
Frightened Rabbit
Blitzen Trapper
The Cribs
Minus THe Bear
Switchfoot
Mumford & Sons
The Dodos
Hockey
The Antlers
Ike Reilly
Company of Thieves
Nneka
Miniature Tigers
HEALTH
Violent Soho
Freelance Whales
Band of Heathens
Shawn Fisher
Neon Hitch
Digitalism
Felix da Housecat
Flosstradamus
Mexican Institute of Sound
Dirty South
Nervo
Didi Gutman (Brazilian Girls)
Team Bayside High
Dani Deahl

Taking place on Halloween night (October 31st) at a yet-to-be-announced, brand new location (so long the Forum!), this year’s event will feature the likes of Justice, Basement Jaxx, both of which will be performing DJ sets, as well as Deadmau5, Crookers, Major Lazer, Buraka Som Sistema, Steve Aoki, and others.

Tickets are currently available via Fla.vor.us.