The trio of Latina women weaving their way through the crowd, dressed in matching cow-print vests and denim mini-skirts, felt a sense of belonging for the first time at this year’s Stagecoach Country Music Festival.
“We feel like (Stagecoach) veterans at this point,” Theresa Martinez of Sacramento laughed as she and the group of friends headed toward the Bud Light Backyard stage. “After the first night, when we got back to our hotel, all dirty and tired, we had a moment where we all kind of talked about the fact that we felt like not only were we seeing more of our people present, but that we really fit in.
This isn’t their first rodeo, nor are they strangers to looking forward to the three-day country festival. After all, this is the fourth time they’ve participated since they graduated from college together. But this year stood out. There was something distinct there, a palpable change. And above all, it was reflected differently.
For them, attending a festival that finally embraced their culture and the country genres they grew to love was a no-brainer. “To see our culture showcased in the lineup for what seems like the first time is huge. Seeing black women that we love in country music at Stagecoach is also huge. This is a big victory for all of us,” Martinez said.
This year marks a notable triumph for communities previously underrepresented in country music. Over the past few years, Stagecoach has made great strides in diversifying its lineup by featuring Latin acts such as Alejandro Escovedo, Los Lobos, The Last Bandoleros, The Mavericks, Star De Azlaz and this year’s performer, Carin León. A regional Mexican star from Hermosillo, Mexico, is making history this year as the first artist to have a Spanish-speaking set at the festival.
This inclusion highlights a continuing trend of overlap between country and other musical genres. This year’s Stagecoach festival also puts Black artists, particularly Black women, front and center, highlighting the deeply rooted Black heritage in country music.
The recent rise of Beyoncé’s breakthrough record, “Cowboy Carter,” has reshaped fans’ perceptions of the genre, inviting cultures around the world to embrace its spirit. Notably, at least two female artists featured on the record, singer-songwriters Tanner Adell and Brittney Spencer, graced the festival bill. Joining them will be soul crooner Leon Bridges, Miko Marks and husband and wife duo The War and Treaty.
All of these elements are merging into a new class of country music that has yet to be fully explored or represented in recent years, but whose rise is undeniable. The intersection of rap and country is currently at an unprecedented level, reflecting evolving audience tastes. Emerging artists like Jelly Roll and Hardy, alongside pop artist Morgan Wallen, who headlined Sunday night, exemplify this fusion of genres, signaling a shift in the contemporary country music landscape.
Even the addition of superstar rapper Post Malone was dubbed “a special set covering country covers” where he paid homage to classics from the late ’90s and early 2000s with special guests Brad Paisley, Dwight Yoakam and Sara Evans.
“At first when I saw the line-up come out, I didn’t really understand why Post Malone was in it or how he was even going to play country covers since I always knew him to be a rap artist, but after “Having watched it, it’s clear that country is part of his nature,” said Cara Kurt of Washington. “I wouldn’t be surprised if the genre completely embraces him. He’s got the star power for that. NOW.
The introduction of Diplo’s Honky Tonk Stage further strengthens the festival’s appeal to the younger generation. EDM bands were scheduled to perform throughout the day, with big names including The Chainsmokers, Dillon Francis, Ship Wreck, Cheat Codes, Marshmello and James Kennedy. For many festival-goers accustomed to spending their time in the line dancing tent, the lineup of rap, pop, house and EDM transports fans to what seems like a whole other festival.
However, for those looking for traditional, old-school country sounds, the appeal of Honky Tonk or Late Night in Palomino, where artists like Wiz Khalifa, Nickelback and Diplo perform, may not be the main one. reason to buy a ticket. At least that’s what Angie Wilkinson suggested while sipping lemonade near the Mane Stage.
“I grew up with music like Willie Nelson, so for me, Stagecoach means reconnecting with those roots and seeing legendary names that I don’t normally get to see, so the Honky Tonk area or the addition “I know a lot of people, especially my daughter who goes with me and her friends, just don’t like it. I think that’s what’s cool. I can see Willie and my daughter celebrating by dancing on the other stages, so it works for those who come with family.
Mainstream artists like Paul Cauthen, Dwight Yoakam, Willie Nelson, Clint Black and Pam Tillis generated just as much enthusiasm, often featured on the Palomino or Mane stage. Willie Nelson’s set, in particular, featured a rich repertoire of classics, from timeless favorites like “Whiskey River” and “You Were Always on My Mind” to a cover of Pearl Jam’s “Just Breathe.”
Whether fans of this year’s Stagecoach lean old school or new, one thing is certain among the 80,000 sold-out crowds each day: a shared love for country music, whatever its orientation. Ultimately, that’s what country music is all about: fostering a sense of camaraderie and connection through a genre that has woven its way through the fabric of American culture.
“I always loved country and always will. It’s the storytelling that attracts me. That’s why I will always come back to party at Stagecoach,” Martinez said.
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