Swedish House Mafia and the Weeknd closed the first weekend of the Coachella Valley Music and Arts Festival with a headlining set that managed to both attract the festival’s biggest crowd and disappoint at the same time.
Of course, you could say Coachella was blessed with a Sunday night headliner after Kanye West, or Ye as he’s now known, abruptly pulled out two weeks before he was scheduled to. occur.
The Swedish House Mafia were still scheduled to play at the festival, but as late night electronic dance music after Harry Styles headlined on Friday night.
The Weeknd, who came no closer to a Coachella scene than sitting on his couch watching the live stream on YouTube until it went live, and reportedly pledged a hefty sum of money, to fill the Ye-sized hole in the lineup.
Details of what was to happen were scarce, although we knew it was supposed to start at 10:20 p.m., but didn’t actually start until 10:55 p.m.
Swedish House Mafia, the Swedish supergroup of DJs Axwell, Sebastian Ingrosso and Steve Angello, performed first, with the trio standing in the shadows atop a platform behind a table and their gear.
EDM artists are often not the focus of their shows, with DJs leaving the abstract videos on the screens around them to carry the visual interest. And that’s no problem for the tens of thousands of fans on the ground who erupted in delight as each track climaxed before the bass dropped and released all that musical tension.
I’ll admit I’m a minority opinion on how enjoyable their 40 mins were – not particularly in my opinion. To be fair, it went wonderfully, or danceably, with the vast majority.
The arrival of The Weeknd injected more personality into the show, although he was also a bit of an aloof figure as a performer. The Swedes also only gave him 25 minutes to perform before the midnight curfew thanks to the length of their set and the time wasted getting things started.
For her first two songs, live debuts of “Sacrifice” and “How Do I Make You Love Me?” were both made with the Swedish House Mafia. From there, he moved on to more well-known hits, such as “Can’t Feel My Face” and “Blinding Lights”, both of which sounded great.
By then, however, a stream of fans were heading for the releases, skipping songs such as “The Hills” and “Party Monster” which followed, the finale, “Moth To A Flame”, featuring Swedish House Mafia one more time.