When Jakobs Castle leaned into Sublime's "Garden Grove" at City Winery NYC, it was almost an involuntary response: you had to rise to your feet and chant every line. It certainly helps if you're a West Coast boy, like this writer, but on a winter night in Manhattan, everyone thawed.

Arguably, nobody except the Beach Boys so exemplified Southern California, or brought its sound to so many. While Sublime's songs remain eternal, the trio's run was cut short when  frontman Bradley Nowell — father of Jakob Nowell — died of an accidental overdose on tour in 1996. Jakob was just a baby and has no memories of his father, though Jakob looks, and especially, sounds like him — and addiction snared him too, badly. 

The young Nowell got clean and sober seven years ago; nicotine and caffeine are his only remaining vices. And at 28 — the age his dad passed — it was revealed that he was the new singer of the '90s reggae-ska-punk heroes. As this is Jakob's birthright, this is the true Sublime.

Unlike Sublime with Rome — an offshoot of the band with singer/guitarist Rome Ramirez — the reconstituted Sublime will not be releasing new music. "I think it's where Sublime with Rome lost me," the scruffy, super-smart junior Nowell tells GRAMMY.com. "I think it's jive when a lot of '90s bands come back and try to make a brand-new record, 'cause you're never going to recapture that old era."

Rather, Sublime's plan for now is to carry the torch live, and let audiences behold a beloved band that ended right as it was taking off. Bradley died two months before their enormously successful self-titled album was released in 1996.

*Jakob Nowell. Photo: Rowan Daly*

On April 13 and 20, 2024, Sublime will make their Coachella debut — a highly anticipated, though somewhat unexpected, reunion of sorts. And on April 12, Jakobs Castle —  his electronics-inflected pop/rock project — will release their debut album, ENTER: THE CASTLE, via Epitaph Records.

Ahead of his arrival on the Indio, California stage, Jakob Nowell shares what audiences can expect during his Coachella sets and shares his intention to revisit unreleased material from Sublime's original run.

This interview has been edited for clarity.

Let's start with Jakobs Castle. What's your live rig all about? It caught my attention.

I'm really proud of my Jakobs Castle setup, 'cause I've been in music for over a decade now with varying degrees of involvement in the gear side of things. But two years ago, when I decided to start my solo project, I was like, OK, I've got to buckle down and go down the rabbit hole and become my own sound guy.

And that's exactly what I did. Jakobs Castle is an electronic alternative rock band, like the Gorillaz or whatever, we use a lot of electronic sounds. And I can't hire a whole bunch of musicians, so that means tracks. But that's not to say we don't still jam or improvise. I still think we like to have the lifeblood and flow of a real band.

I have this big giant center console, this big rack mount that sits center stage. And standing on top of it's my computer. It's supposed to be like my DJ booth. And that plugs into a Loop Community track rig, which has eight XLR outs that I can send out to the house, so they have all of our tracks. I like to send out each different stem differently so it gets mixed better and you can hear everything a lot clearer.

But because I have this big thing sitting there, I'm like, Well, I got to do something with this. So I put a TV in it that's playing static, and I make it part of our bit. I call him Castlebot 9000. I'll be like,  "Everybody give it up for our in-house robotic DJ and bass player, Castlebot 9000. " Castlebot 9000 has 100% become the most important band member in my band, and it's all part of the act.

Wow. What happens from there?

From Castlebot, I send out all our tracks, and then I send the click to my drummer. Drummer is playing out of a four piece kit. It's all mic'd up. He doesn't use a drum pad or anything yet. We might do some sampling. And then I trigger all the tracks with Ableton. I'm playing out of a guitar that's being taken out of a DI. I don't like traveling with big amplifiers. I like to reduce our travel load as much as possible, because we travel in a Ford Transit van.

How did you learn all this technical know-how? Did you self-educate?

Yeah, it's definitely all just the internet. The internet's your friend. It's the great equalizer. When writing was invented, there's this story where f—ing Thoth is talking to the emperor of Egypt, of course. I can't remember his name. Man, I sucked in English class. And he is like,  "This invention of writing is going to make our people stupid. You're supposed to memorize everything. " And the Greeks had their own f—ing opinions about that shit, too.

And the same thing happens with the internet. Is it going to make people more stupid? Because they're supposed to write everything down to memorize it. But I think you take every single technological leap as it comes and it's like a cheat code. I always say that I'm not actually good at anything. I'm just really good at cheating. And the best form of cheating is practice. Practice and study is just cheating. No one's good at anything right off the bat.

A friend interviewed you and reported back that you're a literature buff. Are you a history buff too?

I wasn't in school, but I had to grow up a little bit to see its merits. But now I totally am. I f—ing love history and stuff. I just got done reading The History of the Peloponnesian War, and I figured I ought to start at the beginning if I'm going to get into history. But yeah, man. There's so many amazing things we can take from the past and stuff like that.

In my own personal journey, joining my father's band and trying to eke it out on my own as a musician, I see a lot of different parallels, especially coming into your own and having to hire people and getting involved in the politics of music..

Everyone's trying to get a leg up and stuff like that. So I think even though music is not like statecraft, there's a lot that can be taken from [history] to learn how to advance your position in your career.

You brought up your old man, naturally so. Was he pretty involved in the studio, as far as you know? Was he a gear guy?

I think about as much as I am. He definitely knew how to get the tones that he liked, but it's biting me in the ass because in that self-titled record that everyone loves so much, he passed away before they got to tour those songs. So we don't really know how he would play them live.

People don't realize all those amazing life-changing solos, that was the one take they got of him doing that perfectly. According to Paul Leary from the Butthole Surfers, who engineered it.

When I'm up there on stage, I always tell fans I'm not my dad. They're like,  "He doesn't play the guitar the same or sing the same or do this. " It's almost like I'm not him, dude; I'm a different guy. My larynx just happens to be biologically similar, so sometimes it sounds similar. But I will play them genuinely and I'll have fun doing it, and that's all I can promise.

[That's] the best job I can do: Trying to portray these Sublime songs is just having fun with it, naturally. And I think that's what you can hear in the studio recordings:  a bunch of guys just having a really good time in the booth together.

I've been revisiting the Sublime catalog, and they sounded so good. Did you play with Bud Gaugh and Eric Wilson a lot before this got rolling?

No, I think we only jammed just once or twice. They've always been around in the tertiary wing of my life, but I've always considered them family. But as far as getting to jam with them now in these rehearsals, it's been fun, man. They're world-class musicians, like you said.

Sometimes I'm sitting there listening to f—ing Bud hit the drums and I'm like, Goddamn, this guy is so f—ing good. He's so articulate and interesting. He's got such a f—ing active right hand and the stuff that he does on the hi-hat, it is amazing. And Eric Wilson is just a machine, dude. The lines that he plays with such ease and he just makes it look easy, it's awesome.

Eric seems like a total nut in his middle age.

In the best way. They're a bunch of mad geniuses, that's for sure.

When you started to play with them more and more, what did you learn about how Eric thinks about the bass, or how Bud thinks about the drums?

it almost just seems like second nature to them. It's like seeing a carpenter at work, making an expert chair out of scratch. It's nice going from Jakob's Castle, so electronic, and then Sublime is just so raw and real.

The way your dad played guitar was so hip — very relaxed, yet precise, with so much breathing room. What was approaching the instrument like when you stepped into his shoes?

Oh, man. It definitely was its own challenge, trying to get that mix of [elements]. Because I treat this job like a job.I've done singing gigs before where you got to learn a bunch of material, and this has some guitar in it too, so I'm going to f—ing learn the guitar.

I think we all take our practice time very seriously. We try to be as rehearsed as possible, but then once we get up there on stage, it's like — let chaos reign. We're still just a f—ing punk rock band, just having a good time and it's going to be messy and wild and fun. But that's the allure of it.

I can't wait to see this. Are you just playing the hits? Throwing some deep cuts in there?

A good healthy mix of both. I think Bud and Eric are having fun with it 'cause they get to pick a bunch of songs they haven't played in a while, but we definitely want to play all the big singalongs and stuff that people know and love, the  "Santeria "s and  "What I Got "s of the world and that sort of thing.

I definitely need to brush up on my Spanish for songs like  "Caress Me Down" and "Chica Me Tipo," but we're getting there too.

You've mentioned that there are unreleased Sublime tunes ripe for reexamination. Care to elaborate?

A bunch of songs [ended up] on the cutting room floor that never made it on record. Sublime, currently, we don't have any plans to do a brand new album. I think it's where Sublime with Rome lost me. I think it's jive when a lot of '90s bands come back and try to make a brand-new record, 'cause you're never going to recapture that old era.

Sublime has always been this big collaborative thing, and now it's bringing all these people together. We would love to workshop some of that old stuff that was on the cutting room floor, unreleased material, and maybe bring in new modern day artists who have been influenced by Sublime and do a big collaborative process.

I think doing some singles like that could be really cool and give back some of the love to the people who've been inspired by Sublime over the years. So, I find that to be a pretty likely thing.

I'm sure you can't divulge too many details at this point, but is there anything you can say about them? What's the context? What era of Sublime are they from?

It's all from all sorts of different sessions, all the way from their last one, the live album to their very first stuff. I think it all still sounds like Sublime.

Some of them were unreleased 'cause they were just fun jams. And other ones were like, OK, there's a cool hook in there. I can't believe that one never saw the light of day. But they definitely all still have that classic Long Beach, SoCal rock feel.

Sublime obviously partied and messed around onstage, but they seemed to always take care of the music. What's your perspective on all that?

A hundred percent. It was just a bunch of guys having fun and being genuine and sharing their world with the rest of the world, almost without even meaning to.

Going through the catalog and learning all the lyrics and the guitar lines and stuff like that, you start to see this beautiful tapestry of a personality unfold before you. And that's been a very special process. Connecting with the lost loved one and getting to see a lot of who they are, that's all very there.

But as far as that devil-may-care, irreverent attitude, I want to bring that into this era of Sublime. We're trying to work out what the stage design's going to be like at Coachella. Coachella is so big, and the lights and the pyrotechnics and all this.

I think it'd be cool if we said f— it it to all that and just wheeled out a bunch of couches and tables and rugs and stuff and had a bunch of people kicking it with us on stage, f—ing smoking and drinking with their dogs.

I hope that can happen. Do you think that can happen?

I'm putting it out there right now because if it doesn't happen, people will know that this is what I was f—ing fighting for. Just almost make a big joke of the big pomp and circumstance of it all and make it seem like it's just like a f—ing little house party or something like that. I think the other dudes are down too.

The backup plan is just to have an army of strippers. Just an army with battle axes and flamethrowers. And if we're not using that idea, we'll use it for Jakobs Castle. [Grins.] Next question.

*Jakob Nowell. Photo: Rowan Daly*

Are there any misunderstandings of your dad that you wish you could correct?

No. I think that when you become a public figure, you have to trade a lot. There's pros and cons, just like the pros and cons of using technologies like writing or AI or the internet. You have to take the good with the bad.

So, if people are going to view him one way, then I can't change that. If people are going to view me one way, then I can't change that. Everybody's opinion of me or my father is none of my business, really. That's their right to think that, whether it's something I agree with or not.

I think that he was a man who was widely loved and respected by his friends. He was a human being like anybody else. He was varied. He had good days and bad days.

But I think we have to just take everybody's character based on their actions and what they produced and created in the world. And I know that his music helped a lot of people, and I just feel so grateful to get to be involved with and get to interface with it like that.

He seemed to be a lovely, intelligent fellow.

Yeah, that's what I've heard, man. It's been really nice getting to put together the gestalt to who he was 'cause I never met him personally, but all his different friends and family and the fans, they each have a little piece of who he was, and he seemed to be a very multifaceted and interesting man.

G. Love On G. Love & Special Sauce At 30: Revisiting A Classic Document Of The Hip-Hop Blues

After 25 years, Coachella is like a live music holiday. Every year, thousands of people from all walks of life descend upon the Empire Polo Club in Indio, California to enjoy artists whose music is as diverse as the crowd assembled. No matter what style anyone prefers, an artist they love is playing at Coachella.

This year alone, attendees can enjoy the classic Britpop sounds of Blur, trendy house music beats from John Summit, a reunion of the ska-punk icons, Sublime (featuring the late frontman's son, Jakob Nowell), and a headlining set from enigmatic rapper Tyler, The Creator.

Coachella also offers the opportunity for audiences to see artists they may never see elsewhere, like a rare American performance by the jazz-house master St.Germain, a shared set from the now-defunct dance music supergroup J.E.S.u.S. (Jackmaster, Eats Everything, Seth Troxler, and Skream), or pop legend Jai Paul’s first live show ever. 

Then, of course, there are the Coachella sets that will live in infamy: From Daft Punk’s debut of The Pyramid, which is largely credited with launching the popularity of electronic music in the United States, to Tupac’s resurrection in hologram, to Beyoncé's marching band of HBCU students soundtracking a reunion of Destiny’s Child.

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The people of Coachella revel in these eclectic and epic offerings. Approximately 125,000 people per day touch down on the grass at the Empire Polo Club, and upwards of 100,000 have been reported to gather for a single set. And while hundreds of thousands of people are on the ground worshiping the music, 40 million people are watching the magic through YouTube, wishing they were there.

Coachella is a spectacle. So often the people who went one year bring their friends or family the next, and those people become obsessed. Others meet people at the festival and become best friends, family, and lovers — relationships born from a shared reverence for live music. 

With its massive popularity, it's easy to assume influencers and celebrities have taken over the polo grounds. A key moment in Billie Eilish’s documentary, Billie Eilish: The World's a Little Blurry, the young pop sensation meets her lifelong hero, Justin Bieber, for the first time at Coachella. But any long-time attendee will tell you, that the celebrities and influencers don’t engage with the true Coachella.

"The Kardashians are having one experience, and I’m having a different experience out in the field," says Ashton Aellarose who’s attended Coachella 12 times in eight years. "If you don’t want to be that, then you don’t see that…there’s the real Coachella for real people."

Real fans of Coachella stay all day and night, braving the heat and the dust, to engage with the epic performances and their fellow music lovers. Alaskan Alex Rodriguez creates an Artist of the Day post on the Coachella Reddit, posting every day from when the lineup drops until the festival. He flies in from the Last Frontier because Coachella provides something that other festivals simply can’t.

"Whether it be over-the-top productions, unexpected guest appearances or simply the chance to let others hear your unfamiliar sound to others, Coachella invites performances that you simply won’t see anywhere else," Rodriguez tells GRAMMY.com via email. 

Coachella’s community is built on the idea that music is the universal language. Whether you’re coming for the first time or the 25th time, whether you’re a senior citizen, a new parent, or a college kid on spring break, Coachella is a space for live music fans to celebrate what they love more than anything, and celebrate each other. GRAMMY.com spoke to five Coachella die-hards — attendees who count Coachella as an annual, important part of their year — to learn what Coachella means to them.

From Fan To Music Industry Professional: The 25-Year Attendee 

Josh Brooks DJing in 2011┃Josh Brooks

Name: Josh Brooks

Number of Coachellas attended: 26

Favorite set: The Chemical Brothers, 1999

Josh Brooks has attended every year of Coachella since the first edition in 1999, and credits the festival for his career in music. To date, he's worked as a booking agent, tour manager, and DJ who has played Coachella on several occasions. In 2023, he played a slot during the after-hours silent disco in the campgrounds. 

Back in 1999, Brooks had just started college at UCLA and was studying physical science, geology, and geography. He went to Coachella on a whim because tickets were $50 per day to see Rage Against The Machine, Tool, Beck, Morrissey, and the Chemical Brothers. Everything in his musical life snowballed from there. 

"[Coachella] really opened my eyes to this whole world of music that I didn’t know existed," Brooks tells GRAMMY.com. "I’ve played music my whole life. I played clarinet, trumpet, and saxophone. I was in the California Young Musicians Orchestra for a year in high school. Music has always been really important to me. But that’s where I really started to find myself musically." 

In 2011, Brooks found himself as a part of Coachella. That year, Global Inheritance — the nonprofit that organizes all of Coachella’s sustainability efforts —hosted a human-powered stage called the Energy Factory. Brooks submitted a DJ mix as part of a contest to play a slot on that stage, and he won. 

"I just played at the festival that I have been enamored with for the last 12 years. I just made a dream come true," Brooks said.

A year after that, he got laid off as a high school science teacher, and he’s been working in music ever since. Currently, he’s the booking agent and tour manager for respected house music artist Sacha Robotti, and revitalizing their SLOTHACID brand. But in between his workload, he’s still taking time for a trip to the desert for some live music. 

The Fan That Made Coachella A Family Affair

The Glazer family┃MIkey Glazer

Name: Mikey Glazer

Number of Coachellas attended:  16

Favorite set: M.I.A., 2008

Every year at Coachella, you see a handful of parents celebrating live music with their children. In fact, there are meetups for families at the festival. Among this somewhat unusual sight, you'll find Mikey Glazer and his 5-year-old son, Axwell. 

Glazer has been attending Coachella since 2003, and used to be one of the festival's more typical attendees (a 20-something attending for the party and the tunes). Now, at age 47, Coachella has become his yearly family vacation. Glazer and his wife, Melissa, brought Axwell to the festival four times: three in the flesh, and once in utero.

During the pandemic, Mikey, Melissa, and Axwell listened to music as a family. Especially electronic artists like Skrillex and Tiësto. (Axwell is also the artist moniker of one of the members of the GRAMMY-nominated electronic trio Swedish House Mafia.) When the family went to Coachella together, they saw Axwell express that love of music in full force.

"Seeing a DJ and the visuals, he just loved it. To see it through his eyes is absolutely amazing," Glazer says. "Nobody who doesn’t have kids would ever want to have a kid with them at Coachella. But when you spend every day with your kid, you’re going through new music Friday; he’s picking out songs he likes, and you listen to music together every day; when you get to Coachella, to see him enjoy it is great."

Ranking Coachella: The Fan Who Listens To Every Single Artist 

Brian Downing (second from right) with friends from Cincinnati┃Brian Downing

Name: Brian Downing

Number of Coachellas attended: 4

Favorite set: Madeon, 2022

For decades, Brian Downing has been ranking all the live artists he sees. He saw hundreds of artists the year he turned 50, and condensed all of them into a top 20 list.

When he comes to Coachella, he does the same thing, except instead of creating a list over the course of a year, he does it for three days. In the weeks leading up to the festival, he listens to every one of the 150 artists performing at the festival and gives them all a ranking.

"There are so many acts I don’t know going into it," Downing says. "Someone else might look at [the lineup] and go, ‘Oh my god, this is so overwhelming.’ I look at it and go, ‘Oh my god, I get to rank so many things’."

He ranks every artist on the lineup 1–10 and organizes the rankings on a spreadsheet that he shares with his friends who come to Coachella with him. A 10 is reserved for someone he is going to see, no matter what; one signifies someone he’s going to skip. That way, his group will know who they may or may not enjoy as well. 

Brian also frequently adds commentary to each artist. Here’s what he has to say about the drag-ready pop star Chappell Roan, who is performing on Friday at Coachella this year:

"I do loves me some Chapell Roan! She is an indie pop darling, and for good reason. Red Wine Supernova is an absolute bop! But she has so many other great songs too that haven't been hits yet. Don't want to miss this fun show! Side note: Remember to learn the entire H-O-T-T-O-G-O dance. You’re gonna thank me later. 10’s all day, baby! - 10."

The Fan Who Would Spend Eternity At Coachella 

At Coachella 2011┃Ashton Aellarose

Name: Ashton Aellarose

Number of Coachellas attended:  9

Favorite set: Postal Service, 2013

Throughout her life, Ashton Aellarose has lived in many places: Northern California, North Carolina, Colorado, even a few extended stints abroad. But no matter where she was residing, Aellarose would see the Coachella lineup in copies of SPIN magazine and dream of going somewhere with such vast musical offerings.

Now she’s attended nine Coachellas, and Coachella is the one place she calls home. Simply put, her life wouldn’t be the same without Coachella.

When she attended in 2014, Aellarose worked at an on-site lemonade stand. Not only did the experience lead to her working in festival vendor management for a time, but Aellarose met her best friend during her very first shift at the stand. That same friend introduced Aellarose to her boyfriend, whom she brought to Coachella for the first time last year. 

When she brought him, she showed him all the traditions she’d developed over numerous editions: Picking up last-minute camping supplies at the Wal-Mart in Indio; watching the first sunset performance of the weekend (one of her favorites was Violent Femmes in 2013); enjoying her favorite foods like the spicy pie and the arepas.

"It’s nice to have this place that’s so spiritual and consistent in such an inconsistent world," Aellarose says. "I thought it was cool when Skrillex said during the TBA set [in 2023], ‘This is the biggest party in the world right now where you’re at.’ I say that every year."

Coachella is such an important place for Aellarose, that she would like it to be her final resting place: "When I die, I want my ashes thrown around Coachella. No joke."

Creating Community With Beer & Cheer: The Fan Who Learned To Love At Coachella 

Joe Stamey and friend┃Joe Stamey

Name: Joe Stamey

Number of Coachellas attended: 16

Favorite set:  Beyoncé, 2018

At 1:32:14 in the Coachella documentary, Coachella: 20 Years in the Desert, Joe Stamey says:

"I come because I genuinely love music. I’ve seen more music here than I’ve seen in my entire life in other places. I see acts here that I will never see at the other festivals all over."

The filmmakers followed multiple attendees around the festival in 2019. Stamey is the only one who made it into the documentary. His love of music is a significant factor in why.

But more than his love of music, he genuinely wants everyone at Coachella to have an amazing time enjoying the live music like he does. Before our call is over, he even offers me to stay at his campsite. 

"​​I meet people that are my friends now forever because of things that I've done like that. Caring for people," Stamey says. "The festival did that to me."

Every year, Stamey organizes a beer chug at 10:40 a.m. on Friday in the campgrounds through the Coachella subreddit. Mikey Glazer (who you met above) attends every year as well. 

"It's literally just hundreds of people sitting around chugging beers at 10:40 a.m. And I just give everyone I can as big a hug as I can," Stamey says. "It’s a huge friend reunion. I run into so many people from 15 years of my life, and I love them all."

Coachella Weekend 1 Recap: 20 Surprises And Special Moments, From Billie Eilish & Lana Del Rey, To Olivia Rodrigo With No Doubt

While every headliner at last year’s Coachella held some sort of historical cultural significance, Coachella 2024’s roster instead represented a series of graduations from opening slots and side stages to top-tier main stage titan status.

Friday featured Lana Del Rey, whose sole previous Coachella performance was at the Outdoor Theatre in 2014. Saturday was capped by Tyler, The Creator appearing for the third time in Indio (his last appearance as runner up to Haim and Beyoncé on the main stage in 2018). And on Sunday, Doja Cat occupied the uppermost spot after her penultimate main stage appearance in 2022.

Yet Coachella Weekend 1 this year’s attendees got astronomically more bang for their buck than they counted on, due to a surprise-guest-heavy lineup. The bulk of those special moments came from  A-list talent, from Billie Eilish with Lana Del Rey to Olivia Rodrigo with No Doubt, Justin Bieber joining Tems, Kesha with Reneé Rapp, most of the Fugees performing alongside YG Marley, Will Smith performing "Men in Black" with J Balvin … the list goes on. 

When all was said and done, the diversity, quality and impact of the weekend’s performances were tremendous. Even without elite bonus appearances, there were plenty of performances — quite a few of them newcomers, recent buzzbands and imminent breakthroughs — that made this year’s Coachella more than worthy of an early accolade for one of the first-rate fests of 2024. Read on for seven of the best sets from Coachella 2024.

Faye Webster Thrills Loyal Fans With Supreme Confidence

Underneath the shaded canopy of the Mojave Tent, Faye Webster held her sprawling audience in the palm of her hand during her Coachella debut on Friday. Deafening cheers rang out at the start of every song, which seemed to infuse the 26-year-old singer/songwriter with a level of energy unparalleled up to this point in her career.

Webster deftly worked her way through 11 tracks, each one received with wild cheers from fans, who sang with such gusto that they often nearly overpowered her own vocals. The crossroads of her confidence and creativity fully manifested during closing tune "Kingston," which saw her pausing to let the audience belt out the remainder of the line, a beckoning gesture that exuded self-assuredness. 

Notably, three of six new songs ("Wanna Quit All the Time," "He Loves Me Yeah!" and "Lego Ring") from her recently released fifth album Underdressed at the Symphony were live debuts. The fact that Webster saved them for Coachella showed a clear intention to ensure the set was extra special. Beyond any shadow of doubt, she succeeded. 

Lana Del Rey Taps Billie Eilish, Jon Batiste & Others For Standout Friday Set

With her notoriously downtempo demeanor, Lana Del Rey wasn’t the obvious choice for a Friday headlining spot on the main stage, but when all was said and done, her 20-song set delivered plenty to position her as a standout performer. 

Dressed in an elegant baby blue gown, her entrance — a slow ride on the back of a motorbike through the lanes of the crowd all the way to the stage — worked wonders to build excitement. And her first three song choices, a shortened version of "Without You" (not performed since 2014) and two more gems from the vault — "West Coast" (debuted 10 years ago to the day at her first Coachella appearance) and her superb cover of Sublime’s "Doin’ Time" — signaled her intention to make this show a truly special occasion (neither of the latter two tunes have appeared on a setlist since 2019).

From there it was a parade of hits culled from her robust catalog, as the GRAMMY-nominated singer waltzed her way across the expanse of a fairytale palace stage production, at several points venturing up flights of stairs to a towering terrace. Four of her 10 albums feature production from Jack Antonoff (who played with Bleachers on Saturday), so it was unsurprising when he took the helm of the white grand piano toward the end for a strikingly serene duet with a hologram Lana on "Hope is a Dangerous Thing for a Woman Like Me to Have — But I Have It."

Jon Batiste (who performed his own set on Saturday) also assisted on piano for an alluring take on "Candy Necklace," but the pinnacle moment arrived during performances of "ocean eyes" and "Video Games" alongside surprise guest Billie Eilish. Sitting side by side atop a balcony, the two harmonized through much of those tracks, and the occasions when Lana sat back to let Billie sing several sections solo were absolutely arresting. The two superstars stared adoringly at each other throughout, clearly just as awe-inspired by the unprecedented collaboration as the audience, which erupted with rapturous applause that rivaled the decibels of the set’s glittering fireworks finale.

Raye Races Toward Superstardom During Emotional Debut

After just one song of Raye’s Saturday afternoon performance, there was no question that her Coachella debut would be remembered as one of the most striking in recent years. The British songwriter and chanteuse, who shattered the record for most wins and nominations in a single year at this year’s BRIT Awards, poured every ounce of her soul into her 45-minute set. The crowd inside the Mojave tent hung on every note and went absolutely berserk all the way from the sultry intro of "The Thrill is Gone" to gloriously anthemic closer "Escapism."

Backed by a powerhouse band of eight backup singers, three string players, four brass aces and the standard guitar, drums and bass, each song was a showstopper. Without question, the most impactful moment came on "Ice Cream Man," which deals with her own experience with sexual assault and rape.

"I want you to know it’s not an easy song to sing," she started. And before she could continue, the audience released a loud roar of support, to the point that the singer shed tears. When she composed herself, she continued, "But it’s important to be loud .. and to be brave. This allows me to be loud about something I’ve been quiet about my entire life. I am very f—ing strong."

That moment — which culminated into a big band-style belter that evoked the power of Amy Winehouse and Billie Holiday — likewise drew tears from many in the audience. Further, it defined Raye as an artist destined for superstardom on the merits of genuine talent, an infinitely infectious spirit, and incomparably hard work ethic. To that end, it should be no surprise she’s the songwriter behind tunes from GRAMMY-winning artists including Beyoncé, no big deal. 

Sublime Revives Their Definitive Sound Alongside Jakob Nowell

Though many were referring to Sublime’s Saturday afternoon appearance on the Coachella main stage as a "reunion" in the days leading up to the festival, new frontman Jakob Nowell — son of the band’s deceased original singer Bradley Nowell — made it abundantly clear that wasn’t precisely the case.

"My name is Jakob Nowell and this is Sublime," he said following the conclusion of opening song "April 29, 1992," gesturing toward the beloved Southern California ska-punk band’s surviving members bassist Eric Wilson and drummer Bud Gaugh.

Read more: Sublime's Jakob Nowell On Leading His Father's Legendary Band & What To Expect At Coachella

His resistance to co-opt his dad’s legacy was admirable, which was an issue for some when Rome Ramirez joined Wilson and Gaugh in 2009 to form Sublime with Rome, a chapter that ended for those original members when Gaugh left the band in 2011 and Wilson subsequently exited in February. With all the pieces in place, the next hour played out as a fantastically fun alliance of old and new.

Jakob sounded strikingly like his dad during most moments, though he asserted his own spin on the classic sound by adding a hardcore-esque growl at various points in the set. Among the 14 songs, they revived early-era material that hadn’t been played live since the mid '90s, including "Date Rape," "Badfish" and "Doin’ Time." One cut, "Romeo," had not been performed live since 1988. The band likewise included tunes that Bradley never got to perform from the band’s final self-titled album, including some of their biggest commercial successes. Tracks such as "What I Got" and "Santeria" were sung by thousands, a chorus oozing with celebratory mass catharsis. 

By the end, there could be only one conclusion: the most definitive version of a revived Sublime has arrived and, should they choose to continue on, they’ll be received by fans with open arms. 

No Doubt Snatches Headliner Status During Jubilant Reunion

Though the reunion of No Doubt was billed as the runner-up to Tyler, the Creator’s Saturday night finisher, it’s absolutely valid to argue that the beloved Southern California outfit — playing their first show since 2015 — was the evening’s true headliner. The eye-popping expanse and unerring enthusiasm of the audience (the largest of the weekend), combined with the group’s sheer joy and explosive energy, drove the feeling home.

Every member of the core group — bassist Tony Kanal, guitarist Tom Dumont, drummer Adrian Young and frontwoman Gwen Stefani — emanated pure exultation, wide grins plastered permanently on their faces. Stefani was especially fired up; after the band powered through five treasured tracks — including opener "Hella Good" (performed at the end of long catwalk), "Ex-Girlfriend," and "Different People" (featured for the first time since 2009) — the singer stopped to address the sea of screaming fans.

"Wow … you showed up to Coachella Saturday night 2024 to see No Doubt play together on this stage for the first time in nine years. Are you crazy?!" Stefani said. "If I could just somehow explain the amount of love [we feel] and how much I wanna slap the s— out of you guys tonight!"

The sentiment was meant endearingly, but every song did hit intensely. In particular, a rendition of "Bathwater" featuring special guest Olivia Rodrigo — as hyped as Stefani with her never-ending spinning and bouncing antics — left a lasting mark. For old school fans, the Return to Saturn single was a special treat, and with Rodrigo in the mix, it elicited equal exuberance from younger audience members.

For the finale of the 16-song setlist, the band fulfilled the promise of euphoric nostalgia with a hard-hitting trio of tracks off 1995 breakthrough third album Tragic Kingdom: "Just a Girl," "Don’t Speak" and "Spiderwebs." The timeless tunes incited a sudden surge of fans toward the stage, and one would’ve been hard pressed to spot anyone not participating in the jubilant singalongs. It was a moment of multi-generational unity and unbridled joy — unquestionably unforgettable, and hopefully just the precursor to a triumphant new era of No Doubt.

Olivia Dean Enters the Stateside Festival Scene With Humbling Authenticity

Watching the first few moments of British neo-soul singer Olivia Dean’s Sunday afternoon performance in the Gobi tent, you’d never know this was her first American festival appearance. And what an incredible debut, at one of the States’ most prestigious festivals with only one album under belt (2023’s Messy) to boot. The 25-year-old stunned with utmost finesse and confidence, working the stage like a long-established diva and immediately eliciting rapturous applause after each of the first two songs, "OK Love You Bye" and "Echo."

While it can sometimes be off-putting when an artist introduces every song with a tidbit explaining what it’s about, this method had the opposite effect for Dean. Her context made each moment feel intensely personal, and the audience reaction was overwhelming. One of many tunes with a distinctly Motown bop, "The Hardest Part," was prefaced with the remark that it "recently changed [her] life," and spoke to the process of overcoming grief. After the final note was sung, she received a deafening standing ovation, prompting her to endearingly cover her face in response. And there was so much power in her anecdote before "Carmen," a tribute to how her grandmother made everything possible for her. 

"My granny came to London when she was 18 … had never been on a plane … left her life behind and had my mom, and my mom had me," she said, already being drowned out by cheers before the final remark: "This song is for my granny and anyone brave enough to move and any immigrant in the crowd right now."

As she wrapped up her short set with the bewitching single "Dive," the sun broke through the clouds, illuminating her with the loveliest natural spotlight to complement a performer who already naturally, effortlessly shines on her own.

Doja Cat Exudes Total Command & Flawless Flow For Sunday Finale 

It cannot be overstated: Doja Cat’s fest-closing performance on the main stage was a visionary masterpiece, and the strongest headlining set of the first weekend. That wasn’t certain from the stripped-down beginning moments when the GRAMMY-winning singer/rapper appeared on a circular b-stage mid-audience, dressed in a hazmat suit and encircled by a black and yellow biohazard pattern.

But excitement built steadily as she bombastically delivered opening song "ACKNOWLEDGE ME," which, even in an abbreviated format, lived up to its title and created a palpable air of anticipation. From there, she strutted back toward the main stage via a connected catwalk, meeting briefly in the middle with South African quintet the Joy (set to release their self-titled debut album on June 21) offering up fiery raps amidst the group’s arresting a cappella.

Shortly after, Doja appeared on the main stage dressed in a knee-length platinum blonde weave, flanked by an army of dancers who all wore matching getups covered in the same synthetic hair. The effect when they all converged, their movements completely in sync, created an optical illusion of one enormous hairy creature moving across the stage to punctuate the ferocity of "Demons." 

That was just the first taste of a breathtaking series of visual sequences over the course of the 70-minute show, each profoundly enhanced by cinematography that created the effect of watching a top-quality music video on the main stage’s massive screens. If you witnessed the camera work during Beyoncé’s Homecoming show back in 2018 or Rosalía’s production in 2023, you’ll understand the aesthetic. 

Other key moments when the video work was utterly astonishing arrived during the live debut of "OKLOSER" (one of five first-time song features) where the previously smooth camera went rogue, shakily weaving through the gang of dancers to create the effect of maneuvering through a chaotic house party; again during "Attention" as the lens wove through dancers in fur coats wielding Cruella de Vil-inspired cabrioles until it settled on Doja at the end of the line; and finally during closing track, "Wet Vagina," where Doja and her dancers rolled and writhed (in perfect choreographed unison) on the b-stage filled with brown mud, the sequel ending in a stunning birds-eye shot. 

Backtracking a few moments earlier, maybe the most jaw-dropping production element came on "WYM Freestyle" in the form of a giant T-Rex skeleton following Doja down the catwalk while flames erupted from the stage behind her. The precise reason for that wasn’t evident, but it certainly boosted the ferocity of her raw rap delivery.

The unending visual feast only served to amplify Doja’s already flawless flow. She never missed a vocal mark, whether singing or rapping. She didn’t even once pause to banter with the audience, creating the effect of total focus and command. Big bonuses: 21 Savage materializing mid-set to serve up "n.h.i.e.," Teezo Touchdown’s cameo on "MASC" and A$AP Rocky (who likewise performed with Tyler, the Creator on Saturday) swooping in for "URRRGE!!!!!!!!!!" before Doja dazzled with super-hit "Paint the Town Red."

When all was said and done, Doja Cat more-than-earned her graduation to festival headliner, and while she’s already set for an arena tour this year, she’s clearly destined to stun at stadiums not far in the future. 

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"Santeria" and "What I Got" are ska-punk classics, giving Long Beach-based Sublime a prominent place in rock history.

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Tragically, the death of singer/guitarist Bradley Nowell in 1996 came right before Sublime were poised for a big breakthrough. The Long Way Back: The Story Of Todd "Z-Man" Zalkins, a new documentary to be released on Vimeo on Oct. 17, will share insights on the band's addictive behaviors, the later addiction of Nowell's son and what it takes to travel the road back to sobriety and wellness.

Todd "Z-Man" Zalkins, a childhood friend of Nowell's who was part of the group's entourage, is the focus of the film, candidly speaking about how Nowell's passing affected him and his own 17-year addiction to Oxycontin.

"When Brad died, I thought that would be a wake-up call," said Zalkins. "It was the exact opposite — stuff ourselves with whatever substances we can to numb the pain and act like we're still having fun."

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Additionally, the film spotlights Zalkins' attempt to help Nowell's son, Jakob Nowell, recover from his own battle with drugs and alcohol. As Zalkins puts it, "You constantly tell somebody tomorrow is going to be better, hoping it's better, because oftentimes tomorrow isn't better — tomorrow hurts just as much or maybe even more."

Despite its dark subject matter, the film offers a ray of hope. Zalkins now believes his past addiction "is the biggest asset that I have, because it's enabled me to help a lot of people."

Watch: First Look At New George Michael Documentary

Contemporary music is filled with artists who have transitioned from social media stardom to serious streams and even Music's Biggest Night. Kenia Os is proof of this trajectory: After building a massive following on YouTube, Instagram, and TikTok, she established as one of Mexico's top pop stars. 

Kenia Os' ability to pivot successfully is also apparent in her music. Her 2022 debut album Cambios de Luna leaned into trap and reggaeton, while follow-up K23 fully embraced Latin pop with elements of EDM. Her "Universo K23" netted Kenia Os her first Latin GRAMMY nomination for Best Long Form Music Video. 

On her latest album, Pink Aura, the 24-year-old seamlessly blends her worlds of Latin pop and urbano music. "I feel very comfortable making pop," Kenia Os tells GRAMMY.com.  I also love Latin urban music and reggaeton, especially reggaeton Mexa that's blowing up…I wanted to make music in that style as well." 

Pink Aura sees Kenia pushing pop into new territory — with the help of some friends. Puerto Rican singer Álvaro Díaz is featured on the futuristic, drum 'n' bass-infused "Bobo," while Puerto Rican trans rapper Villano Antillano appears on the euphoric "VIP." Argentina's La Joaqui helps Kenia Os meld reggaeton with cumbia on the freaky bop "Kitty." Reggaeton Mexa, or Mexican reggaeton, artists Yeri Mua and Ghetto Kids join Kenia for the sensual banger "Mamita Rica." Elsewhere, Os also links up with another influencer-turned-singer Bella Poarch for the fierce "F* OFF."

In an interview with GRAMMY.com, Kenia Os opens up about overcoming the stigma against artists coming from social media and the empowering meaning behind her Pink Aura album. 

This interview has been edited for clarity.

How would you describe the experience of making the jump from YouTube and social media to becoming a pop star?

It's been incredible. It's been an adventure that I've been on for three or more years. 

At the start, and even now, it's still been a bit difficult to get respect from the music industry. Since day one when I started making music, I've always taken this very seriously, making great music with good producers and my record label. I feel very confident about this new album that we've put out and I feel fulfilled as an artist.  

As someone who did come from social media, what did your Latin GRAMMY nomination mean to you last year?

That day I cried all day. I couldn't believe it. I was very happy. It made me think about all the effort I’ve put in these past few years, and those times I was tired in the studio and thought about quitting. There were times I told myself, I don’t want to keep doing this because it’s very tiring to prove [to people] the artist that I am. I felt like everything was worth it. The hard work that me and my team have put into this over the years has been worth it.  

An artist that has a similar career trajectory to you concerning social media is Bella Poarch. I can imagine that you probably bonded well with her while collaborating on the song "F* OFF."

Working with Bella was an incredible experience. Sometimes when you do collaborations, there's artists that are very much artists. You know what I mean? They love music, but they don't know a lot about navigating social media or what works in that space. 

With Bella, what happened was that we could record TikTok videos and create content for social media. It was very natural and genuine. We shared ideas with each other like, "We'll make TikTok videos this way or you go here and I go there." [Laughs.] It was very genuine how we developed the content for marketing our collaboration. It was very beautiful. It's a very different experience to work with someone who also understands social media.

Tell me about the title of this new album — is there a story behind it?

My fans have asked me, "Kenia, why do you have everything pink? You have said before that you hated the color pink." It's not that I hated pink, but I had always said I didn't want pink in the background of my interviews, in my outfits, or anything. 

The other day I was with my mom, looking at photos from when I was a little girl, and I saw everything in my room was pink. I was thinking about when I started fighting this color. I realized I started to hold back that feminine energy to be able to face the industry, to be the person in charge of my family, and keep up that livelihood. For me, this album was forgiving that feminine energy, embracing it, and healing myself, and above all, letting it shine. 

You’re bridging the gap between Latin urban sounds and pure Latin pop on this album. Was that what you hoped to accomplish with that kind of fusion?

I feel very comfortable making pop. I love pop and it's the genre I enjoy the most. Every time I'm in the studio, I'm writing with my co-writers and producers, and we always make pop. 

I also love Latin urban music and reggaeton, especially reggaeton Mexa that's blowing up. We have artists in that scene who are becoming very big. I feel very proud and I wanted to make music in that style as well because I like going to the clubs and I like to hear myself within that genre. 

You collaborated with one of the top female artists in reggaeton Mexa, Yeri Mua, in "Mamita Rica." How would you describe the experience of working with her?

That was very beautiful. We went to the studio together and there was her whole team. There were her co-writers. 

We were all surprised because you would think that she puts effects on her voice, but no, that's how she really sounds. As we say, she sounds very sexy and makes noises like meowing. [Laughs]. It was very fun! It felt very great to work with her. 

All the reggaeton Mexa that's coming up in Mexico makes me so happy. I believe it was time with Mexico making more noise globally through música mexicana, reggaeton, and pop, and above all, with a sound that's very unique to us. 

You’ve always supported the LGBTQIA+ community throughout your career. On this album, you collaborated with Villano Antillano, who is breaking down barriers for queer artists in Latin music. How did the song "VIP" with Antillano come together?

It's very beautiful to know that I have a lot of fans in the LGBTQIA+ community and that they identify with my music and feel supported by me. It's very important for me to be someone who can speak up for them; it's important for me to support them as well and spread their message through my music, what I say, and with what I do. I stand with them and I'll support them in any way that I can.

Villana is one of my favorite artists. I love everything that she does. When she jumped on this track and we heard it, I almost wanted to cry. The song was perfect for her. When I met her, it was incredible because we connected a lot as friends. We were laughing the whole time while making the music video. We have the same ways of saying things. I love her so much. I loved getting to know her and I got a great friendship out of this collaboration.  

What do you want people to take away from the 'Pink Aura'?

I was telling my girlfriends the other day that this album is perfect for when you're getting ready [for a night out]. When you're in your room getting ready and putting on creams, perfume, and makeup. Then you have a little drink before going out to party. 

This was made so people can enjoy it and connect with it in their room, in their cars, and in the clubs. It was made with a lot of love and the most pink side of myself and feminine energy that I hope resonates with girls and boys too. I want to heal that part of us that we sometimes hide or put to the side in order to face certain situations in life. 

What do you want to accomplish next with your music?

I want to go global. I love my country and I love that my concerts in Mexico are always very full. The people of Mexico love me a lot, but I want to take my music to other countries. I want to be an artist that is internationally known. 

I love pop and I see myself doing pop all my life, but I want to experiment with more genres. I would love to do another reggaeton song and then a corrido tumbado song with guitars. Above all, I want to hold the flag of my country high up wherever I go.

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