The cowboy-boots-sporting, rowdy sister of fellow Goldenvoice desert festival Coachella, Stagecoach has long been the toast of the country music live experience, set apart by what Stacy Vee, Executive Vice President at Goldenvoice/AEG, who has been booking the festival since 2015, calls a “California sound.” Stagecoach is known for its immersive three-day experience and genre-spanning spunk, with this year marking nearly 20 years of the evolving festival, the 2026 lineup dancing between worlds of country, Americana, rock ‘n roll, EDM, and rap music.
On day one, I found myself in the Toyota Music Den for Noah Cyrus, an artist that reflects that Stagecoach soft-borders ethos, having found her way to country music via a few genre detours. Impressed by her surprise guest performance with Midland last year for a glimmering performance of “Put The Hurt On Me” at the Mane Stage, I knew I couldn’t miss her set this year. In 2025, I’d heard rumblings of Cyrus’ intention to pivot to country music, but it was her beaming smile and tangible joy on stage with Midland that made me believe it. Her gentle, Southern belle tone buoyed the track in such a way that I even preferred it over the trio’s studio version, and to see her make her bona fide Stagecoach debut with a soaring set all her own Friday evening of the festival, with such sincerity and unmistakable gratitude, made clear just how dedicated she is to making her mark as a country artist.
After missing Counting Crows’ set (Yes, I’m still heartbroken I wasn’t able to sha-la-la-la live among my fellow “Mr. Jones” devotees), I found respite at the Mustang Stage for The Red Clay Strays. Singer Brandon Coleman dresses like, sounds like, and even holds his axe: a custom, 1950s cigar box-inspired guitar, like a time traveler. I’ve never before seen a singer with such unshakable, ‘holy-spirit’ self-assuredness, to the point that his crowd commentary between songs felt not unlike a sermon. Coleman is a vocal advocate for mental health, and shortly before performing a fiery, choral version of “Devil In My Ear,” he offered a message of hope, reminding the audience that support is never far. Apart from the band’s indisputable ability to spellbind musically, I found myself most struck by the endearing contrast that such an old-fashioned appearing singer has such modern empathy.
By far and away, the most electric moment of day one was the end of Dan + Shay’s Palomino Stage performance, where simply teasing the beginning of “Tequila” ignited the crowd into the loudest call-and-response of the weekend. Fans were transfixed, at Dan + Shay’s will, and it was obvious that the two of them were just as electrified as the crowd in one of those rare moments where an artist and an audience enter symmetry, allowing for the mystic to materialize in the space between them.
Despite the high winds lifting relentless dirt and hay in the air on day two, it all fell away for me during Teddy Swims’ evening set at the Mane Stage. As a ‘70s and ‘80s zealot, Teddy bringing out David Lee Roth to duet “Jump” by Van Halen was a major highlight for me (especially considering Roth’s signature rockstar outfit, as if no time had passed since 1983). Teddy closed his set with his mega hit “Lose Control,” his timeless, rich tone reverberating with the winds, somehow sweeter live than on record.
Goldenvoice is known for its unparalleled skill in curating festivals, made most clear by their remarkably intentional marketing that extends beyond pre-promotion. Stagecoach, in particular, has a lengthy history of booking acts in relation to their upcoming releases and tours, allowing the festival itself to uplift an artist. During Charles Wesley Godwin’s
set, shortly after he brought out Willow Avalon, he announced that he had a new single coming out soon, called “Better That Way,” featuring Luke Combs. Godwin then revealed that the Stagecoach festival speakers were playing the studio version all weekend, despite it being unreleased.
Similarly, later in the night, Gavin Adcock introduced his upcoming single “Wannabe” by triumphantly announcing to the crowd, “There’s no better place to play a song live for the first time than Stagecoach!”
Both moves by both artists drive listenership, interest, and presaves in a way that Godwin and Adcock would otherwise not have had, had Stagecoach not coordinated booking with their releases. In both cases, Stagecoach was the only place on earth you could hear either unreleased song that day. It’s strategic, marketing-arm moves like this that set Goldenvoice and Stagecoach apart, and keep the festivals and their chosen artists growing, year after year.
In the history of Stagecoach, the festival had never been forced to evacuate until Saturday night. At Gavin Adcock’s set, the band had just blazed through the first-ever live performance of “Wannabe,” when suddenly his mic was cut off. Adcock and Co. attempted to go on, but soon the screens were taken over by emergency notices, and beers and food were being thrown on stage like a disgruntled crowd reception in the ‘70s. It felt like I’d stepped back in time again.
However, the swiftness with which Goldenvoice worked to keep attendees safe was anything but vintage. The festival managed to fully evacuate for about two hours, reopen, and, sunshine woman, headliner Lainey Wilson, still performed, as did late-night star Pitbull — I remember thinking what an impressive turnaround; unprecedented and unheard of at this scale.
As the sun set on day three, Third Eye Blind took the Mustang Stage. Following a boisterous live version of “Jumper,” the band fell quiet as they transitioned to the next song; guitarist Kryz Reid playing a stray, quick, two-chord, all-too-familiar combo. Excitedly having recognized the chords, immediately I turned to my friends, yelling, “ARE THEY ABOUT TO PLAY ‘HEROES’ BY DAVID BOWIE?!” My volume garnering the attention of strangers, all of them soon facing me instead of the band. When Third Eye Blind indeed started playing “Heroes,” all stared in disbelief, many clapping and throwing a thumbs up my way. Now, one of my favorite live Bowie covers, singer Stephan Jenkins’ own reverence for the Starman peaked when he adoringly belted “and we kissed, as though nothing could fall,” covered in golden desert afterglow.
As of this weekend, Post Malone is now, deservedly, the first-ever artist to headline both Coachella and Stagecoach. Those who know little about his career might see his country transition as a surprise or cash-grab to go after trends, but Austin Post from Texas has dreamt of a career in country since he was posting Bob Dylan covers on YouTube at age 17. His successful pivot from rap to country with such resplendence is not achieved without his stellar band, who expertly reimagine his earlier hits like “Rockstar” and “Circles” for country-leaning live shows; the former transforming completely to rock ‘n roll by way of menacing electric guitar work (courtesy of guitarist Justin Richards), bolstering the chorus. Halfway through his set, shivering underneath a kind stranger’s jacket, I was awed as Post Malone honored late country icon Toby Keith with “Courtesy of the Red, White and Blue,” a choice that brought many attendees around me to tears. If there were any doubt in a sea of pure country fans of a ‘rapper’ on stage, in that moment, Post Malone proved himself true (red, white, and) blue.
As Goldenvoice/AEG Executive Vice President Stacy Vee has said, Stagecoach is about the people. From the crowd itself, full of people that actually say “excuse me” as they pass, and strangers who would offer a shivering girl their jacket, to the way the festival is booked and marketed, where lesser-known acts are given a chance, believed in, and later go on to return, playing the Mane Stage — their aim is true, and masterfully attained, even in chaos.
