Here are 16 more Coachella 2026 performances you should definitely check out

Coachella 2026 is done, the dust has settled across Indio, and the YouTube archive is now the greatest free music festival on earth if you know where to look. While the headlines are still busy arguing about Justin Bieber's MacBook, the livestream captured dozens of sets that deserve more than a passing scroll. Here are sixteen performances from this year's festival that are worth your time, and possibly a rearrangement of your afternoon.

flowerovlove has been building something quietly brilliant for a while now, and a Coachella slot feels like the point where quietly becomes loudly. The London teenager's bedroom-pop-meets-R&B has a warmth and a confidence that belies her age, and 'breaking news' is the kind of track that sounds like it was always meant to be played to a field full of people.

Australia's finest purveyors of three-chord stupidity hit the desert with 'Pub Feed', which is a song about exactly what you think it's about. The Chats have made a career out of making deeply unserious music with deadly serious commitment, and Coachella is a better place for having them on the bill. If you've ever loved a band whose entire creative philosophy could be summarised by a shrug and a tinny, this is your set.

Jane Remover's evolution from hyperpop to something stranger and more expansive has been one of the more interesting arcs in recent American underground music. The 'leroycella mix' of 'Music Baby' suggests a Coachella set that leaned into the weirder, more textural end of the catalogue. The production sits somewhere between shoegaze and glitch, and the fact that it's being performed in a festival context rather than a dark basement is part of the thrill.

Sabrina Teitelbaum's Blondshell project has spent the last two years becoming one of the sharpest guitar-pop acts in America. 'Kiss City' is the kind of song that sounds like it was written in one take and then took six months to get the guitar tone right. Coachella suits her. The songs are big enough for the setting but intimate enough to feel like they're being played directly at you.

PinkPantheress has always understood something fundamental about pop music in 2026: that a song doesn't need to be longer than two minutes to rewire your brain. 'Stars' is PinkPantheress at her most distilled, all flutter and hook and breakbeat nostalgia, delivered to a crowd that grew up on the same internet she did.

The Sydney duo have had a year. 'say something' is the sort of loose-limbed, sun-warmed track that sounds like it was recorded in one afternoon and mixed in the back of a van, and that's a compliment. Royel Otis make music for the golden hour, and Coachella's desert light was presumably doing most of the staging for them.

Sombr's brand of bruised, atmospheric indie-rock has been picking up serious heat, and a Coachella slot is the kind of platform that tends to accelerate things. 'Homewrecker' is taut and moody, the sound of someone turning private feeling into public spectacle without losing the privacy. One for the late-night tent crowd.

Look. It's Interpol. It's 'Obstacle 1'. You already know. The opening bassline is one of those sounds that instantly locates you in a specific year of your life, and hearing it in a festival context twenty-plus years after its release is either a celebration or an existential crisis depending on how you're doing. Either way, the song hasn't aged and neither, apparently, have Interpol's suits.

Alex G's trajectory from Bandcamp bedroom project to one of American indie's most reliable headliners has been one of the quieter success stories of the last decade. 'Afterlife' sits in the sweet spot where his songwriting is at its most accessible without losing the off-kilter quality that makes everything he does sound slightly haunted. Coachella gets a lot of polished sets. Alex G is not one of them, and that's the appeal.

Our current cover star, playing the title track from her second album to a Coachella crowd. 'Cruel World' is Holly Humberstone at her most expansive, a song about looking at the state of things and deciding to feel it all anyway rather than shutting down. She's played big stages before, but there's something about hearing this particular song at this particular moment that hits differently.

Dev Hynes has spent the best part of fifteen years being one of the most quietly influential people in pop, and 'Champagne Coast' remains one of the finest things he's ever put his name to. It's silk. The kind of song where you notice a new detail every time you hear it, and a festival performance strips away some of the studio sheen and lets the bones of the thing show.

Asheville's Wednesday make the kind of noise-country that sounds like a beautiful day viewed through a cracked windshield. 'Bitter Everyday' is Karly Hartzman at her most gut-punch direct, all distortion and longing, played at a volume that probably registered on local seismology equipment. If you think guitar music is dead, Wednesday have some thoughts about that and they're going to share them very loudly.

Galway's NewDad have been steadily building one of the most interesting catalogues in Irish guitar music, and a Coachella slot puts them in front of the audience they deserve. 'Kick the Curb' is driving, melodic, and has the kind of chorus that sticks to you for days. They've been one of our favourite bands for a while. The rest of the world is starting to agree.

Joyce Manor have spent over a decade proving that a punk song doesn't need to be longer than ninety seconds to contain a lifetime's worth of feeling. 'Grey Guitar' is Joyce Manor doing what Joyce Manor do, which is making you want to cry and stage dive simultaneously. In and out. No fat. Perfect.

From the deep, dark, Southern Gothic heart of 'Preacher's Daughter', 'Ptolemaea' is Ethel Cain at her heaviest and most confrontational. It's a song that takes its time building to something enormous and then stays there, refusing to let you off the hook. Performing it at a festival is a bold choice. Hayden Anhedonia has never been short of those.

Every festival deserves someone who understands that pop music is supposed to make you feel everything all at once, CMAT. 'The Jamie Oliver Petrol Station' is a song with a title so good you'd forgive it for being about nothing, except actually, it's about everything. CMAT at Coachella is the universe working as it should. The funniest, sharpest performer in pop is becoming not only the best pop star on the planet, but eventually, hopefully, if we all keep up the noise, one of the biggest.