By JAKE COYLE/The Associated Press

INDIO, Calif. — By the end of Coachella, over 100 bands had fanned out across five stages, more than 150,000 people had sweltered through the desert heat and at least as many bottles of water had been guzzled.

But there was one who rose above all others.

Prince, in his Saturday evening headlining performance, firmly established himself in Coachella lore among famous concerts from years past, including the Pixies and Rage Against the Machine. Prince, for certain, didn’t plan to share the mantle.

“From now on, this is Prince’s house!” he declared at the end of his set, which went well beyond midnight.

Few seemed inclined to argue after Prince put on a funky, rollicking show that featured passionate performances of classics like “Let’s Go Crazy” and “Purple Rain,” as well as unexpected and creative covers of Radiohead (”Creep”) and the Beatles (”Come Together”).

But it was also hard to forget Rogers Waters’ performance as the headliner Sunday. In contrast to Prince’s celebratory concert, Waters presented the festival’s biggest political statement — literally.

At the conclusion of Waters’ first set, a giant inflatable pig was led above the crowd from strings to the ground. It was painted with graffiti on one side with the words “Don’t be led to the slaughter” and a cartoon of Uncle Sam wielding two bloody cleavers. The other side read “Fear builds walls.”

The underside of the pig simply read “Obama” with a checked ballot box alongside.

On the stage, Waters and his band played one of the versions of “Pigs” from Pink Floyd’s 1977 album “Animals,” a concept disc that criticizes capitalism.

As Waters drew to a loud close, flame bursts were exploded on the sides of the stage and the swine was released into the night sky. Waters said sadly and comically, “That’s my pig.”

He then took a break, having played a set of both Pink Floyd classics and new material. He later returned to play “Dark Side of the Moon” in full.

Earlier in the day, Sean Penn also made a political statement, albeit without the aid of a giant inflatable farm animal. He stopped by to speak twice, urging the mostly young crowd to be more politically active and join him on a cross-country bus trip leaving Monday for New Orleans.

Wearing a T-shirt and jeans and smoking a cigarette while he sat on a stool, Penn said he unfortunately couldn’t perform his “a cappella Celine Dion cover act” since he had “compromised his upper register.”

Altogether, this year’s Coachella Valley Music and Arts Fesival — the ninth annual — was as varied as any before it. As usual, it featured several reunited bands, and none more anticipated than Portishead.

On Saturday night, the band filled the night air with steely, cool trip-hop and gritty, fierce new songs such as “Machine Gun.” Singer Beth Gibbons, who tightly clutched the microphone with both hands throughout, broke from her focus at the end of the set to hop off stage and gleefully run along the crowd, shaking hands.

Walking off stage, Geoff Barrow, the band’s soundscapist, referred to Portishead’s decade of dormancy: “Thanks for waiting,” he told the crowd.

Friday night’s headliner, surfer singer-songwriter Jack Johnson, appeared too mellow for the plum gig, as many left the festival grounds as he played. He followed a performance by the Verve, another reunited British outfit. Their psychedelic Brit Pop sounded of another era but was still impressively powerful and self-assured

Coachella, which is put on by concert promoter Goldenvoice, is a hugely diverse mix of sights and sounds — and there were many over the weekend. The uber-cool MC M.I.A packed them into the Sahara Tent on Saturday night, where even the backstage area was teaming with at least a hundred clamoring for her.

I’m From Barcelona, which, alas, is from Sweden, made perhaps the festival’s best entrance, taking the stage Sunday 17 strong and bearing dozens of giant red balloons. As the balloons circulated and confetti rained down, it launched into “Treehouse,” and lead singer Emanuel Lundgren jumped into the crowd.

The Denver-based gypsy band DeVotchKa also displayed theatrics. As the four-piece group thumped away on upright bass and tuba, the Amazing Slavic Sisters acrobatically ascended 30 feet up hanging tapestries flanking the stage.

Many more played, as well, among them the Raconteurs, My Morning Jacket, Death Cab for Cutie, Kraftwerk, Vampire Weekend, Fatboy Slim, MGMT and Aphex Twin.

Located in the Southern California desert a few hours’ drive from Los Angeles, Coachella has emerged as one of the country’s biggest music events and the unofficial kickoff to the summer festival season.

Drawing electronic music, indie rock and pop acts, it’s fostered a cool identity of sun-drenched dancing. The crowd was largely composed of fashionable hipsters showing plenty of skin in dry, hot weather that at times cracked 100 degrees.

“Festivals usually smell a lot worse than this one,” National lead singer Matt Berninger told the crowd while playing Friday. “You guys smell really nice.”

Battalion Chief Bart Chambers of the Indio Fire Department said about 25 people had been hospitalized by late Sunday afternoon, many of them because of heat-related injuries.

Coachella is a well-run festival where five stages are laid out in an expansive U-shape, behind which a veritable racecourse of golf carts runs, shuttling musicians and VIPs to the stages. Hundreds of fans camped on the festival grounds, and a few dozen took more posh digs in $4,000 tents, complete with air conditioning and candles.

In the middle of the grounds are giant sculptures, typically brought from the Burning Man festival. At night, many of them glow, and the surrounding mountain ranges and palm trees create a memorable environment. Corporate advertising is largely absent.

Coachella’s proximity to Los Angeles also has traditionally meant a visible celebrity contingent. Though Paris Hilton and Alicia Silverstone were among those in attendance, the festival didn’t appear to have the same celeb buzz as it has in years past — like when Madonna played in 2006.

———

On the Net:

Coachella festival: http://www.coachella.com

By JAKE COYLE/The Associated Press

INDIO, Calif. — “Coachella, I am here.”

Prince hit the stage at the Coachella Valley Music and Arts Festival with that announcement, heralding his arrival as the much-anticipated headliner of the summer festival.

Shortly after 11 p.m. Saturday, Prince strutted onto the stage wearing white pants and a white shirt with glittery fringe. His performance, the centerpiece of the three-day festival, was announced only two weeks ago, immediately making an already very hip festival of 125-plus bands significantly more in-demand.

And Prince knew it.

“You are the coolest place on earth right now!” Prince declared to a sea of tens of thousands.

Prince, who had been sought out to perform at Coachella since the festival was founded nine years ago, told the crowd that when he agreed to perform, he informed the organizers that he would not only play, but party too.

True to his word, Prince then launched his band — complete with a horn section and background singers — into “Jungle Love.” Morris Day came out to sing his song, while Prince strolled around the stage with his guitar.

For the beginning of the show, Prince preferred to let his guitar do the talking. He also welcomed the singer and drummer Sheila E, who took the lead for a song and then joined Prince in an extended jam.

Finally, Prince satisfied the crowd with a celebratory performance of “1999.” His classic “Little Red Corvette” soon followed.

One of the big surprises of Prince’s concert was his cover of Radiohead’s “Creep,” which was sure to be one of Coachella’s most talked-about performances. With some lyrics adjusted, a ripping guitar solo and extended falsetto crooning for a finale, Prince’s “Creep” had the crowd slack-jawed.

To close the set, he gave another unique take on a song not his own: the Beatles’ “Come Together.” He urged the audience — whom he called his “choir” — to sing “Come together, yeah” over and over.

And just as trepidation was beginning to take hold in the crowd that Prince might actually leave without playing “Purple Rain,” he returned to confirm that even in the desert, it could rain purple.

Even after the encore, though, he came back for more.

“They’re telling me that we got to go, but I can’t leave!” Prince shouted. He then flew through a torrid version of “Let’s Go Crazy.”

Prince had widely been considered the one act most all concertgoers — a diverse 60,000 of indie rockers, electronica dancers and pop fans — were certain to see. And by the end of “Let’s Go Crazy,” Prince had seemed to put his stamp on Coachella lore.

“From now on, this is Prince’s house,” he shouted before triumphantly strutting off stage and tossing his guitar 30 feet behind him.

By JAKE COYLE/The Associated Press

INDIO, Calif. — Tegan and Sara, the identical twin powerpop duo, are accustomed to writing intimate, emotional songs about heartbreak.

But when performing, for every song like “Back in Your Head,” there’s a balance of silliness. Between nearly every song played by the singing-songwriting pair, the two casually — often hysterically — banter back and forth in what amounts to indie music’s answer to Laurel and Hardy.

“Sometimes I like it more than music,” said Tegan Quin in an interview backstage at the Coachella Valley Music and Arts Festival.

The 27-year-old Quin sisters and their band played at Coachella on Friday, their second trip to the annual desert festival. (In 2005, the excitement of playing the festival was greatly diminished because a case of the whooping cough had weakened two band members.)

This time around, Tegan and Sara played a brisk set on the main stage, and while they didn’t take too much time to chat, they still found reason to discuss dreams in which David Bowie appears. They also briefly lamented the poor acts that on Saturday were to play at the same time as Prince (the festival’s biggest draw).

For Tegan and Sara, who hail from Calgary and released their fifth album (”The Con”) last year, such comic relief is nothing new.

“We got on stage that first time to do a show in front of strangers and we finished a song or Sara screwed up or something, and I made a comment,” recalled Tegan. “The audience laughed and I was like, ‘There you go, buddy! This is our thing.”’

She believes the roots of their routine likely comes from reacting to all the attention they received as young twins. But it’s become an integral extension of their open-book ethos.

“It calms the audience down,” said Tegan. “I think it makes them feel like we’re real people, not like a rock show or watching television. We’re really, actually there.”

Said Sara: “You’re up there singing your heart out and sometimes you want people to know you’re not always like that.”

The sisters think they might one day make a mix tape of their best stories and jokes told in concert (they record all their shows). But for now, the comedy of their chatter and the tragedy of their songs will remain separate.

The twins are often asked if they plan any of their banter, but they never rehearse anything but the songs.

“We can barely get together to write a set list,” said Sara. “We certainly can’t sit and write jokes together.”