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| photo: Erik Voake |
Bentley and Chesney had played Stagecoach a few times before, while Twain made her debut appearance and premiered the first single from a long-awaited forthcoming album. All three put on stellar sets: Bentley brought Elle King onstage for their hit duet "It's Different for Girls" and their chemistry was undeniable. Twain's visuals and backdrop defied dazzling. She invited Kelsea Ballerini to assist on "Any Man of Mine" and their chatting afterward was like a mutual admiration society. Chesney was solid as always, with strong versions of "Young," "I Go Back," "Anything But Mine" and "Setting the World on Fire" (with a young female fan helping out) leading the pack and capping a weekend of eclectic sounds and fun times.
This was my ninth time attending the popular event, which drew more than 75,000 people and is one of the world's top festivals. It always does an expert job at spotlighting the
latest stars, rising talents, promising newcomers and legends in country music and related sub-genres.
Among 27 full or partial performances that I caught at Empire Polo Club, here’s
a six pack - and a few spares - that made the most memorable mark…
FRIDAY
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| photo: Michael Drummond |
Backed by members of veteran Canadian band The
Sadies, critically-acclaimed Americana singer/songwriter Justin Townes Earle previewed his impressive Mike Mogis-produced studio
album “Kids in the Street” (due May 26 on New West Records) by playing several tracks
off it.
“What’s She Crying For?” boasted a countrypolitan sheen with sweet
pedal steel, “15-25” had a strong New Orleans boogie woogie vibe (the
mild-mannered Earle dryly told the crowd “If I clap my hands, don’t
participate. This ain’t church,” then offered “apologies to Professor
Longhair”) and “Trouble Is” was propelled by a sinewy groove. But the
melancholy title track to 2012’s “Nothing’s Gonna Change the Way You Feel About
Me Now” fared best.
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| photo: Michael Drummond |
Also playing the Mustang stage that afternoon was Anderson East. The Alabama native and
his sharp-dressed band – complete with horns - brought to mind 1960s-era Memphis
soul during an exciting set featuring tunes from 2015 major label debut
“Delilah.”
On “Satisfy Me,” the raspy-voiced singer spun himself in circles and
grabbed his guitarist, jumped in the air during the buildup to ballad “All I’ll
Ever Need,” described “Devil in Me” as being about “fornicatin’ with the
preacher’s daughter” and did a sustained vocal wail at the end of last year’s
punchy “Learning.” Elsewhere, a cover of The Faces’ “Stay with Me” (where East
fell to the floor) and Johnny Nash’s “I Can See Clearly Now” proved a perfect
fit and Lynyrd Skynyrd’s “Gimme Three Steps” really got the crowd riled up.
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| photo: Everett Fitzpatrick |
Having heard raves from friends about The Zombies reunion shows, their festival appearance in Indio was a
must-see. People that flocked to the Palomino tent to see the wild card booking weren’t
disappointed.
The British Invasion group, led by original members Colin
Blunstone and Rod Argent, still nailed those masterful pop harmonies and
melodies, especially on “I Love You” (a 1965 single B-side), a cover of The
Miracles’ “You’ve Really Got a Hold on Me” and a trio of tunes from defining LP
“Odessey and Oracle” (big hit “Time of the Season,” “This Will Be Our Year,”
“Care of Cell 44”). Argent provided astute introductions and really proved his
mettle with fancy keyboard flourishes amid an extended “She’s Not There” and
“Hold Your Head Up” (from his own eponymous post-Zombies hard rock group).
Honorable mention: Elle King
SATURDAY
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| photo: Michael Drummond |
John Doe is no
stranger to Stagecoach, having appeared with X’s roots rock-oriented side project
The Knitters in the past. Here, with a tight backing band including X drummer DJ
Bonebrake and backing vocalist Cindy Wasserman, Doe opened with Kris
Kristofferson’s “Help Me Make it Through the Night,” which he first recorded on
a collaborative album with The Sadies.
Delving into last year’s fine solo
effort “The Traveler,” the musicians got into a sinister groove during “My
Darling, Blue Skies” and took things down several notches for though-provoking
ballad “A Little Help” (which Doe introduced by saying, “Whenever you eat a
piece of fruit, remember someone probably picked it with their own hand. This
is for the farmworkers”). Keeping on a similar reality check theme, “Drink of
Water,” also from “The Westerner,” featured a supple vocal blend between Doe
and Wasserman and he pointed out beforehand that “even though there’s a lot of
snow on Mammoth Mountain, the drought is still happening”).
Knitters fave “Call
of the Wrecking Ball” was feisty as ever. They also played hard
charging takes on X’s always timely “The Have Nots” and “The New World” (with a
snippet of The Beatles’ “Revolution”) and a lively version of The Rolling
Stones’ “The Last Time.”
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| photo: Everett Fitzpatrick |
Frequently recalling “Scarecrow”-era John Mellencamp, Kip Moore turned in a magnetic
performance at sunset on the Mane Stage.
With a hard rocking band, the healthy
dose of material from 2015’s criminally underrated “Wild Ones” was welcome. The
set included its atmospheric and rousing title track, “I’m to Blame,” the
unbridled sexuality of “Come and Get It,” riveting drama of “Running for You”
and “That Was Us.” The crowd responded enthusiastically to Moore’s regular
concert cover of Jimmy Eat World’s “The Middle” as well as “Beer Money” (the
catchy top 10 country hit from 2012).
Honorable mention: Tommy James & the Shondells
SUNDAY
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| photo: Erik Voake |
If anyone at Stagecoach had any preconceived notions about
actors trying their hand at music before checking out Kiefer Sutherland, they were quickly dashed at the Palomino Tent. The
veteran actor is the real deal as a musician. Drawing a large crowd,
Sutherland and his band (including Dada’s Michael Gurley on guitar and backing
vocals) played an energetic, authentic country set that wasn’t nearly long
enough at just over half an hour.
Most selections were taken from last year’s
debut album “Down in a Hole.” Sutherland said onstage that making it was “one
of the best experiences of my life” and co-wrote the songs with longtime music business
partner Jude Cole (they run the multifaceted Ironworks Music together).
Sutherland’s raspy voice bore a passing resemblance to Mike Ness of Social
Distortion. A very expressive performer, he hoisted his acoustic guitar in the
air, whooped and hollered at times and generally had a good ‘ol time.
Highlights included the raucous opener “Can’t Stay Away,” with Gurley’s wicked
slide work, the midtempo “Truth in Your Eyes,” an upbeat, spirited cover of Lone
Justice’s rootsy “Ways to Be Wicked” and the traditional-style country story ballad “Shirley
Jean,” for which a new video just debuted online. Before the latter – about a
man on Death Row writing a final letter to his love - Sutherland said he was a huge admirer of how Johnny Cash,
Waylon Jennings and others wrote about the dignity of people in prison. “I’ve
never been to prison; but I’ve been to jail,” he admitted. By the end, the band
pulled out all the stops on the dirty blues of the album’s title track. Graciously,
Sutherland told the crowd that playing Stagecoach “meant the world” to him and
it wasn’t an act.
Honorable mention: Los Lobos, The Long Ryders, Cowboy
Junkies, Thomas Rhett
All photos courtesy of
Goldenvoice
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