The trio of Latina women making their way through the crowded adorned in matching cow print vests and jean 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 chuckled as she and the group of friends made their way to 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 feel like not only do we see more of our people showing up, but that we actually fit in.”
It’s not their first rodeo, nor are they strangers to saying giddy-up to the three-day country fest. After all, it’s their fourth time attending since graduating college together. But this year stood out. There was something distinct about it, a palpable shift. And most importantly, it was reflected differently.
For them, attending a fest that finally embraced their culture and the country-adjacent genres they’ve grown to love was a no-brainer. “To see our culture shown in the lineup for what feels like the first time is huge. To see Black women that we love in country at Stagecoach is also huge. It’s a big win for us all,” Martinez said.
This year marks a notable triumph for communities previously underrepresented in country music. Over the past few years, Stagecoach has made 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 hailing from Hermosillo, Mexico, is making history this year as the first artist to have a Spanish-speaking set at the festival.
The inclusion underscores an ongoing trend of overlap between country and other musical genres. This year’s Stagecoach festival also puts Black artists, particularly Black women, at a new forefront, illuminating the deep-rooted Black heritage within country music.
The recent rise of Beyoncé‘s groundbreaking record, “Cowboy Carter,” has reshaped fans’ perceptions of the genre, inviting cultures from 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’s bill. Joining them are soul crooner Leon Bridges, Miko Marks and the husband-and-wife duo, The War and Treaty.
All of these elements fuse into a new class of country music that has yet to be fully explored or represented in recent years, yet its rise is undeniable. The intersection of rap and country is currently at an all-time high, reflecting audiences’ evolving tastes. Emerging acts like Jelly Roll and Hardy, alongside pop-tinged artist Morgan Wallen, who headlined on Sunday night, exemplify this fusion of genres, signaling a shift in the landscape of contemporary country music.
Even the addition of superstar rapper Post Malone was dubbed as a “special set covering country covers” where he paid homage to the late 90s and early 2000s classics with special guests Brad Paisley, Dwight Yoakam and Sara Evans.
“At first when I saw the lineup being released, I didn’t really understand why Post Malone was on it or how he would even go about playing country covers since I’ve always known him to be a rap artist, but after watching him, it’s clear country is a part of his nature,” Cara Kurt of Washington expressed. “I wouldn’t be surprised if the genre adopted him altogether. He’s got the star power for it. I’m a fan now.”
The introduction of Diplo’s Honky Tonk stage further enhances the festival’s appeal to the younger generation. EDM acts were slated to perform throughout the day, featuring renowned names such as The Chainsmokers, Dillon Francis, Ship Wreck, Cheat Codes, Marshmello and James Kennedy. For many festivalgoers accustomed to spending their time in the line dancing tent, the range of rap, pop, house, and EDM transports fans to what seems like another festival entirely.
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However, for those seeking traditional country and old-school sounds, the appeal of the Honky Tonk or Late Night in Palomino, where acts like Wiz Khalifa, Nickelback and Diplo perform, may not be the primary reason for purchasing a ticket. At least, that’s what Angie Wilkinson suggested while sipping a lemonade near the Mane Stage.
“I grew up on music like Willie Nelson so for me, Stagecoach means getting to connect back to those roots and seeing legendary names that I don’t normally get to see, so the Honky Tonk area or addition of DJs doesn’t appeal to me,” Wilkinson said. “I know a lot of people, especially my daughter that comes with me and her friends love it. It’s just not my thing. But again, I think that’s the cool part about it. I get to watch Willie and my daughter gets to party by dancing at the other stages, so it works for those who come as families.”
Traditional acts like Paul Cauthen, Dwight Yoakam, Willie Nelson, Clint Black and Pam Tillis stirred up just as much excitement, often billed at the Palomino or Mane Stage. Willie Nelson’s set, in particular, showcased 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 at this year’s Stagecoach lean towards the old school or the new, one thing is certain among the sold-out 80,000-person crowd each day: a shared love for country music, regardless of 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’ve always loved country and always will. It’s the storytelling that draws me in. It’s why I’ll always come back to party at Stagecoach,” Martinez said.
