Lana Del Rey’s April 25, 2025, Stagecoach set placed familiar songs beside new material and country standards, using the festival’s country framing as a backdrop rather than a claim that her catalog is country. Reports describe an elaborate cottage-themed production and strong audience singing during the better-known songs. The exact opener and song count differ between accounts, so the set is best understood with those distinctions in view.
What songs did Lana Del Rey sing at Stagecoach 2025?
Del Rey performed at Stagecoach Festival in Indio, California, on April 25, 2025. Her official event listing confirms the date, festival and location; the community-maintained setlist.fm entry identifies Empire Polo Club and reports a start at 8:20 p.m. and an end at 9:25 p.m. Those times come from setlist.fm, not an official artist schedule. Lana Del Rey’s event listing · setlist.fm performance entry
The current setlist.fm record lists these items, in its recorded order:
- “Stars Fell on Alabama”
- “Henry, Come On”
- “Stand by Your Man”
- “Cowboy Songs”
- “Ride”
- “Video Games”
- “Norman Fucking Rockwell”
- “Arcadia”
- “Let the Light In”
- “Quiet in the South”
- “Vertigo: Scene D’Amour” (played from tape)
- “Bluebird” (played from tape)
- “Summertime Sadness”
- “57.5”
- “Take Me Home, Country Roads”
That list needs two qualifications. First, the opener is disputed: setlist.fm starts with “Stars Fell on Alabama,” while Pitchfork’s April 27 report says the show opened with “Husband of Mine,” which it describes as a debut. Second, the setlist.fm page currently has 15 entries, including two playback interludes, while reviewer Tony Pierce described a 13-song set and treated “Bluebird” as a recording. The records therefore do not support a single unqualified total or opener. Pitchfork’s April 27 report · setlist.fm entry · Tony Pierce’s April 28 review
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Did she perform any new songs?
Yes. Pitchfork reported debuts of “Husband of Mine,” “Quiet in the South” and “57.5.” The setlist.fm record marks “Stars Fell on Alabama,” “Quiet in the South” and “57.5” as world premieres; it labels “Henry, Come On” and “Let the Light In” live debuts. These labels describe different things: a live debut can be the first performance of a song onstage, while a world premiere indicates a first presentation of the material. “Henry, Come On,” for example, was a released single played live for the first time, according to Pitchfork. Pitchfork · setlist.fm
The new songs gave the set a forward-looking edge, but the familiar catalog remained central to its festival appeal. Del Rey’s older and established songs included “Ride,” “Video Games,” “Norman Fucking Rockwell,” “Arcadia” and “Summertime Sadness.” Setlist.fm marks several familiar songs as shortened, a practical adjustment in a festival set that also made room for new material and covers.
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Which country songs did she cover, and who joined her?
The covers connected the performance directly to the event’s country context. Setlist.fm records Tammy Wynette’s “Stand by Your Man” and John Denver’s “Take Me Home, Country Roads”; it also lists “Cowboy Songs,” performed with country singer George Birge. Pitchfork likewise reports Birge’s appearance during “Cowboy Songs.” The closing “Country Roads” brought together Del Rey, Birge and The Secret Sisters, according to the setlist record. setlist.fm · Pitchfork
Del Rey also appeared with Jelly Roll later that night to sing “Save Me” during his headlining set. Pitchfork reports that as a separate guest appearance after her own performance, not as part of the Stagecoach setlist reviewed here.
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How did the staging shape the performance?
Pitchfork described Del Rey emerging from a Bayou-style cottage set piece. During “Quiet in the South,” the cottage appeared to catch fire as dancers mimed dousing it with gasoline. The theatrical image gave the new song a setting and narrative texture, placing the performance closer to a staged scene than a sequence of songs alone.
Pierce’s review describes a broader arrangement of guests, strings, dancers, singers, the band and a flowered swing. That production contrasted with the intimacy of songs built around Del Rey’s own vocal and songwriting identity. The show’s two playback interludes also matter to the shape of the evening: “Vertigo: Scene D’Amour” and “Bluebird” appear in the setlist record as tape, not live performances. These staging and sequence details come from the cited accounts, not firsthand observation. Pitchfork · Pierce’s review · setlist.fm
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Was Lana Del Rey’s Stagecoach set any good?
Pierce’s setlist.fm review was strongly positive. He wrote, “And unlike some of the big stars from last year’s Stagecoach, she didn’t let anyone down with her stellar performance or song selection.” He also argued that the country setting did not prevent the catalog songs from connecting: “Proving that not one soul cared that her catalogue isn’t what any would call country, when Lana dipped into her catalogue the audience nearly overpowered her as they sang along from the chest.” Those are Pierce’s critical judgment and account of the crowd, not a measured audience survey or a universal consensus. Tony Pierce’s review
The Recording Academy had billed the scheduled appearance in advance as “a very special country set.” The performance’s blend of standards, a country collaboration and Del Rey’s own songs made that framing legible without requiring her catalog to fit neatly into country. The strongest case for the set, as reflected in the reporting, is its contrast: a theatrical new-song world and selected country touchstones alongside familiar songs that Pierce says prompted loud audience participation. The available coverage offers no formal score or measured reception statistic. Recording Academy preview
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