Coachella's Weekend Two closes Sunday night on the main stage with Karol G at 10:10 p.m. Pacific, more than half an hour later than her Weekend One slot, according to the festival's YouTube livestream schedule. [1] BIGBANG's K-pop reunion — G-Dragon, T.O.P, Taeyang, Daesung, the group's first American festival set since 2015 — closes the Outdoor Theatre at 10:30. Kaskade closes the Sahara at 10:50. Karol G's Weekend One set on April 12 made her the first Latina to headline the festival; the announcement and the symbolism belong to that week, which the paper covered Saturday. Weekend Two is the replay.

The replay is also the ledger. Anyma's main-stage show on Friday went through without the wind that grounded him in Week One; Matteo Milleri's ÆDEN production finally played in full to its intended main-stage audience. [2] Sabrina Carpenter added Madonna as a Saturday surprise guest for "Vogue" and "Like a Prayer," a ten-minute production choice that Rolling Stone covered as the weekend's biggest piece of stagecraft. Olivia Rodrigo made her own surprise appearance during Addison Rae's Saturday afternoon set, performing "Drop Dead" live for the first time two days after its release and joining Rae on "Headphones On." [3] Kacey Musgraves was added to the Outdoor Theatre's Saturday bill on short notice. Jack White was added to Weekend Two on short notice too. The festival, in other words, worked its connections.

The pullouts stayed pulled. Rezz, who withdrew from Weekend One for health reasons, did not return for Weekend Two; Jack White's Weekend One replacement slot did not become Rezz's Weekend Two return. Lambrini Girls remained off the bill for both weekends — guitarist Phoebe Lunny's brain-injury announcement from Instagram held. [4] Anyma's production ran clean Friday night, but the Weekend One wind cancellation remains the weekend's most-discussed absence, since the production's eight-year buildup was built for two performances and got one.

Karol G's Sunday set will be, as it was in Weekend One, an argument. The Colombian pop star's Weekend One speech — "This is for my Latinos that have been struggling in this country lately" — was the most politically direct statement any Coachella headliner has made in years, and her warning in a pre-festival Playboy interview that she had been warned not to make anti-ICE statements for fear of visa implications made every line of the Weekend One speech read as calibrated. [5] The Sunday night set will deliver the same production — the opening cave monologue, the all-female mariachi band, Becky G on "MAMIII," Wisin on the reggaetón medley, the Bandida entrenada / OJOS FERRARI section that the Variety review called the set's peak. The speech will be the same speech. Whether she adds or subtracts a word is the only variable.

The pattern the paper has started tracking — what it has been calling, in its budget and its thread memos, touring economics at the artist-body level — is visible across Coachella's two-weekend run. Meghan Trainor cancelled her Get In Girl tour on Thursday. Rezz pulled Coachella for health. Anyma's Weekend One set ended in wind. Lambrini Girls pulled for brain injury. The Live Nation monopoly verdict on April 15 puts a dollar figure on what ticket buyers have been paying through the architecture of the company that books most of these acts. Four mechanisms, one week. The paper is running a separate story today on the Live Nation verdict and its predecessor context. Coachella, seen against those four mechanisms, is the industry's best showcase and its most expensive stress test.

What the livestream actually carries Sunday is Karol G at 10:10 closing the main stage, BIGBANG at 10:30 on the Outdoor Theatre, FKA twigs on Mojave at 8:45, Laufey at 8:45, Young Thug at 7:50, Iggy Pop at 7:10. [6] The livestream is the second product the festival sells. The attendance in Indio is the first. The attention on X is the third. All three move on the same evenings. The festival continues. The weekend closes. The industry it showcases is running, as they say in Hollywood, hot.

-- CAMILLE BEAUMONT, Los Angeles