The desert didn’t slow down!
Day 3 at Coachella felt intense from the start. The heat was stronger than the first two days, sitting heavy on the fields at Empire Polo Club. You could feel it early. Still, that familiar cold breeze would cut through at the right moments and reset everything. It made the day feel alive instead of draining.
The crowd had a different energy. People knew it was the last day, and you could see it in how they moved. Less holding back, more staying in the moment. Groups that looked tired still found a way to keep going. There was a sense of not wanting it to end.
Sunday felt bigger emotionally. Not just about the sets, but about everything around them. Conversations felt longer, reactions louder, and even the quiet moments hit a little deeper.
As the sun dropped, the light turned softer but the energy didn’t. It stayed high, almost urgent. Day 3 wasn’t about pacing yourself. It was about giving whatever you had left and seeing where it landed.
GIGI PEREZ
Gigi Perez opened the day with a tone that felt personal right away. Her set leaned into emotion without feeling heavy. “Please Be Rude” and “Sleeping” set a soft pace, letting her voice carry most of the weight.
There was something quiet about the crowd during her set. Not silent, but attentive. People were listening. “At The Beach” and “In Every Life” kept that feeling steady, almost like a slow conversation instead of a performance.
“Fable” and “Girls Like Girls” added a bit more movement, giving the set some lift without breaking its mood.
Closing with “Sailor Song” felt right. It didn’t try to go big. It stayed honest.
LITTLE SIMZ
The English Simbiatu rapper and actress “Simbi” Abisola Abiola Ajikawo, better known by her stage name Little Simz, came in sharp and direct. No slow build. “Thief” and “Flood” hit fast, and the crowd reacted immediately.
Her control on stage stood out. Every line felt precise. “Venom” pushed the energy higher, while “Woman” brought a different kind of presence, more grounded but still strong.
She moved across the stage with purpose, never losing focus. It felt tight without being stiff.
Ending with “Gorilla” felt like a release. Loud, confident, and fully locked in.
WET LEG
Wet Leg brought a kind of chaos that felt controlled. The English indie rock band from the Isle of Wight consists of Rhian Teasdale and Hester Chambers. The band also includes Josh Mobaraki, Ellis Durand, and Henry Holmes. “Catch These Fists” opened with a punch, setting a playful but rough tone.
“Wet Dream” and “Too Late Now” had the crowd moving easily. Not forced, just natural.
There’s a loose energy to their set that works. It feels unpolished in a good way. “Chaise Longue” hit hard, with people shouting every word.
Ending with “Mangetout” kept that same messy charm intact.
MAJOR LAZER
Major Lazer, the live DJ set iteration of the electronic group Major Lazer, featuring Diplo, Walshy Fire, and Ape Drums, turned their set into a full party. No buildup needed. From the start, it was movement.
Tracks like “Whine & Kotch” and “Qué Calor” kept the pace high, while Tokischa joining on stage added another layer of energy. The crowd didn’t stop. Jumping, dancing, reacting to every drop.
Songs like “Cold Water” and “Temperature” kept things familiar but still fresh.
It felt less like a set and more like a shared moment.
FOSTER THE PEOPLE
Foster The People, the Los Angeles, CA band with founder and frontman Mark Foster and keyboardist Isom Innis, wasted no time. “Helena Beat” and “Houdini” came early, pulling the crowd in right away.
Their sound felt clean and direct. No extra layers needed. “Call It What You Want” and “Coming Of Age” kept the pace steady.
There was a strong connection with the crowd. People singing along, fully engaged.
Closing with “Pumped Up Kicks” brought everything together. Familiar, but still effective.
IGGY POP
The “Godfather of Punk” Iggy Pop didn’t try to match the energy around him. He set his own.
“T.V. Eye” and “Raw Power” felt raw and direct. No polish, just presence.
When “The Passenger” hit, the crowd responded instantly. Same with “Lust For Life.” Those moments felt big without needing anything extra.
He moved in a way that felt unpredictable but controlled.
Closing with “1969” and “Funtime” kept that same tone.
TOMORA
Tomora, the collaboration between Tom Rowlands (of The Chemical Brothers) and AURORA, created a different kind of space. The lighting and movement shaped the set as much as the music. Also joining as backing vocalist was Amalie Holt Kleive, who added power to their hypnotic performance.
Tracks like “Please” and “Ring The Alarm” felt layered, building slowly.
There was a hypnotic rhythm to everything. Not overwhelming, just steady.
“Eve Of Destruction” and “Come Closer” carried that feeling forward.
Ending with “In A Minute” felt like a soft landing.
LAUFEY
Laufey, the Chinese-Icelandic singer, composer, and multi-instrumentalist, slowed the entire field down. In a good way. The blend of jazz, pop, classical, and torch-song vibes turned Coachella into an intimate evening.
“Lover Girl” and “Falling Behind” felt warm and simple. Her voice carried across the crowd without needing much else. There was a stillness during her set. People sitting, listening, taking it in.
“From The Start” brought a stronger reaction, with people singing along softly.
Ending with “Sabotage” felt gentle but complete.
SUBTRONICS
Jesse Kardon, the electronic music producer and DJ from Philadelphia, known more by his alias Subtronics, flipped the energy completely. Loud, fast, and intense.
The visuals stood out right away. Screens moving, colors shifting, everything synced with the music.
“Black Out Days” hit hard, and the crowd reacted instantly. Jumping, shouting, fully letting go.
When Inéz Schaefer joined for “Crystallized,” it added a different layer to the set.
It felt overwhelming at times, but in a way people wanted.
BIGBANG
BIGBANG walked into Coachella like they never left. From the first seconds of “Bang Bang Bang”, the field snapped into focus. Pyrotechnics lit up the stage, but the real pull was the presence of G-Dragon, Taeyang, and Daesung. They didn’t rush. They let each moment land.
“Fantastic Baby” kept the pace high, with fans shouting every word like it was second nature. Then came “Sober” and “A Fool Of Tears,” which shifted the tone just enough to show range without losing momentum. What stood out was how comfortable they looked. No overthinking, no trying to prove anything. Just control.
When “Haru Haru” and “Lies” hit, the crowd reaction changed. Louder, more emotional. You could feel the history in those songs. It wasn’t just hype, it was connection.
They closed with “Bae Bae,” “We Like 2 Party,” and “Still Life,” which felt like a full-circle ending. High energy mixed with reflection. It didn’t feel like a comeback. It felt like a reminder of why they still matter.
KAROL G
Karol G closed Coachella with a set that felt complete from top to bottom. After the shortened set the weekend before, this one had no gaps. From “Latina Foreva” into “Un Gatito Me Llamó” and “Oki Doki,” she set a bright, steady rhythm that never dropped.
The stage looked alive. Colors, dancers, movement everywhere, but she stayed at the center of it all. “Tá OK” and “Tropicoqueta” kept things moving, while “Papasito” added a playful edge.
The guest moments pushed the set into something bigger. Peso Pluma showing up for “Qlona” hit exactly how people hoped. Becky G joining for “MAMIII” brought another wave of energy, and when J Balvin and Ryan Castro came out for “Ay Vamos / Ginza” and “Mi Gente / In Da Getto,” it turned into a full celebration of Latin music on that stage.
Still, the core of the set stayed with her. “Tusa,” “Bichota,” and “Si Antes Te Hubiera Conocido” had the crowd fully locked in.
Ending with “Provenza” felt calm in the best way. After all the movement, it gave the night a soft landing. A strong, confident close to the weekend.
Day 3 felt like a release. Not just from the weekend, but from everything building up to it. People gave more, stayed longer, and reacted louder.
The heat pushed everyone to their limit, but no one really stepped back. The breeze helped, but the energy came from the crowd.
There was a sense of closure in the air. Not sadness, just awareness that it was ending. That made every set feel a bit more important.
What stood out most was how different sounds lived together without conflict. Soft sets next to loud ones, quiet moments next to chaos. It all worked.
We can’t wait to do it all over again next year. Coachella 2027, wait for us!
