Ethel Cain’s Coachella Stage Design (2026)

The sprawling, Southern Gothic-inspired landscape that served as the backdrop for Ethel Cain’s recent Coachella performances has a surprising, yet fitting, connection to another major cultural event: Bad Bunny’s record-breaking Super Bowl halftime show. Stage designer Oli Colman, who meticulously crafted Cain’s immersive performance environment, revealed that a significant element of the set—the lush, verdant grass—was repurposed from the stadium spectacle that captivated over 115 million viewers earlier this year. This unique reuse of materials not only underscores a commitment to sustainability within large-scale productions but also weaves a fascinating narrative thread between seemingly disparate artistic endeavors. The very turf that cushioned Bad Bunny’s energetic performance is now embarking on a global journey with Cain as part of her ongoing “Here Lies Ethel Cain” tour, transforming each venue into a tangible extension of her meticulously constructed artistic universe.

Colman, a London-born architect by training, brought a unique perspective to Cain’s stage design. His background in architectural planning and his self-proclaimed status as a long-time admirer of Cain’s work allowed him to translate the singer’s intricate artistic vision into a tangible, three-dimensional space. "It was a real labor of love," Colman stated, emphasizing the collaborative nature of the project and Cain’s discerning eye for detail. "It’s a specific world that Hayden [Hayden Silas Anesthesi, the artist behind Ethel Cain] has built, so she has a real nose and taste for what she likes. Nothing can go too far into the Halloween-y, it has to be the exact right aesthetic.” This precise aesthetic guidance was paramount in creating a stage that felt both theatrical and deeply personal, resonating with the rich lore that underpins Cain’s music.

The Evolution of a Sonic Landscape

The genesis of Cain’s Coachella stage began with initial concepts rooted in the architecture of the American South. Colman’s early designs explored the idea of a Southern chapel, a direct nod to the religious and spiritual themes prevalent in Cain’s work. However, this proved to be "too on the nose" for Cain, who sought a more deconstructed and unexpected approach. This redirection led to the development of a "junkyard" aesthetic, a deliberate departure that leaned into the more experimental and industrial sonic textures found in Cain’s ambient album, Perverts. This new direction aimed to reflect the thematic deconstruction of modern American society that is a hallmark of Cain’s lyrical narratives.

"It’s a little graveyard of industry," Colman explained, describing the set’s composition. The stage was adorned with rust-covered car parts and overgrown vines, elements that evoked a sense of decay and reclamation. This visual language directly mirrored the lyrical content of Cain’s music, which often grapples with themes of sin, redemption, and the darker undercurrents of Americana. The inclusion of elements like car parts and references to nuclear power stations, which Cain has expressed an interest in, further solidified the stage’s connection to the industrial and post-industrial decay that permeates her artistic output.

Crafting the Southern Gothic Ambiance

The meticulous attention to detail extended to the flora that populated the stage, creating an authentic and evocative Southern atmosphere. Colman worked closely with Cain to ensure the plants used were geographically accurate to both her personal origins in the Florida panhandle and the fictionalized 1990s Alabama setting of the Ethel Cain persona. Specific requests included cattails, wire grass to capture the swampy, humid essence of the American South, kudzu vines climbing chain-link fences, and Spanish moss dripping from power lines. This commitment to botanical accuracy was not merely aesthetic; it was integral to building the immersive world that fans have come to expect from Cain’s performances.

The "Here Lies Ethel Cain" tour promises to carry this meticulously crafted environment to audiences worldwide. The stage design, unveiled at Coachella, is more than just a visual spectacle; it is a physical manifestation of Cain’s narrative universe, inviting fans to step directly into her stories. The integration of these natural and industrial elements creates a compelling tension, mirroring the lyrical exploration of beauty found within desolation and the spiritual weight of earthly matters.

The Scythe Microphone: A Symbol of Artistic Agency

One of the most striking elements of the stage design was the scythe-cum-microphone stand. This unique prop emerged from a creative evolution, initially conceived as a power line microphone stand during a previous tour. For the current iteration, the scythe emerged as a powerful symbol, directly influenced by Cain herself. The scythe’s design was carefully considered, with Cain specifically requesting the blade at the bottom and the microphone at the top, allowing her to wield it with dramatic effect.

Colman elaborated on the scythe’s conceptual origins, referencing a Coachella billboard that read, "Go see Ethel Cain or the devil will get you!" This phrase, coupled with Cain’s desire for a "Freddy Mercury moment" where she could move freely and dramatically with her microphone, led to the scythe’s development. The choice of a weathered, farming implement-style scythe, rather than a more fantastical or aggressive interpretation, grounded the symbol in a sense of labor and mortality, aligning with the thematic concerns of Cain’s music. This intentionality in prop design highlights how every element of the stage is imbued with meaning, contributing to the overarching narrative of the performance.

The Unexpected Journey of Super Bowl Grass

The story behind the grass used on Cain’s stage offers a compelling insight into the resourcefulness and interconnectedness of the entertainment industry. Colman’s involvement with Bad Bunny’s Super Bowl production team provided him with a direct link to the abundant turf used for that highly-watched event. Recognizing the cost and environmental implications of sourcing new, fire-retardant plants, Colman reached out to Cory Lennon, the individual responsible for the Super Bowl’s grass. This collaboration resulted in a mutually beneficial arrangement: Cain’s production secured a substantial amount of high-quality grass at a more economical price, while unused materials were diverted from potential waste.

However, the grass required significant transformation to fit Cain’s specific aesthetic. The vibrant, tropical green of the Super Bowl turf was intentionally altered. Colman and his team "burnt the edges and painted it yellow" to achieve a more dried-out, weathered appearance, perfectly complementing the junkyard theme and the arid landscapes often depicted in Cain’s music. This subtle yet crucial modification demonstrates the power of artistic direction to recontextualize even the most mundane elements, imbuing them with new symbolic weight.

The logistics surrounding the Super Bowl’s grass also provided a humorous anecdote. Due to time constraints and the limited number of carts available for stage setup, performers themselves were sometimes utilized as "grass" to fill in gaps and expedite the process. This behind-the-scenes detail offers a glimpse into the intense, problem-solving environment of major live event production, where creative solutions are often born out of necessity.

Hidden Meanings and Fan Engagement

Beyond the prominent visual elements, Cain’s stage design is replete with subtle "Easter eggs" carefully placed for devoted fans. These hidden details serve to deepen the connection between the artist and her audience, rewarding close observation and engagement with her lore. Among these subtle inclusions are a car bumper plate featuring a hidden Alabama license plate, a direct nod to the fictionalized origins of the Ethel Cain persona. Furthermore, a pair of Cain’s previous Coachella shoes were found hanging over electricity pylons, a poignant reference to her past performances and a symbol of her artistic journey. The red jacket, emblazoned with "Cain," which she wore during her performance, was also concealed within the grassy landscape, offering another layer of personal significance for fans familiar with her iconography.

These deliberate inclusions transform the stage into a narrative canvas, inviting fans to actively participate in deciphering the artist’s world. This approach fosters a sense of community and shared understanding among her fanbase, strengthening their emotional investment in her music and performances. The act of discovering these hidden details becomes a ritualistic experience, akin to uncovering secrets within the narrative itself.

Broader Implications in the Live Performance Landscape

The artistic choices made for Ethel Cain’s stage design occur against a backdrop of broader discussions within the live music industry, particularly concerning the spectrum of production values. The contrast between Justin Bieber’s minimalist Coachella stage and Sabrina Carpenter’s more elaborate production last week sparked considerable debate. Colman, while acknowledging the validity of different artistic approaches, expressed a personal appreciation for maximalist productions. He cited his friend Parker’s work on Karol G’s stage, which featured an impressive Flintstones-themed cave, as an example of the kind of immersive spectacle he admires.

However, Colman also recognized the distinct artistry required for minimalist performances, drawing a parallel to Kanye West’s performances and Justin Bieber’s more understated stage. He posited that the effectiveness of any stage design ultimately depends on the artist’s ability to command the space, regardless of its scale. "It’s just a different approach, right?" he remarked. His commentary subtly touches upon the ongoing conversation about gender and production in the music industry, raising a pertinent question: "I don’t want to comment on the misogyny of, you know, if a female artist were to do the same, would she have gotten away with it? That’s a good question." This observation highlights a potential double standard in how elaborate productions are perceived when presented by male versus female artists, adding a layer of critical analysis to the discourse surrounding stage design and artist presentation.

The success of Ethel Cain’s stage design lies not only in its aesthetic appeal and thematic resonance but also in its innovative use of resources and its deep integration with the artist’s established narrative. The repurposing of materials, the meticulous attention to detail, and the inclusion of fan-centric Easter eggs all contribute to a holistic artistic experience that extends far beyond the visual. As the "Here Lies Ethel Cain" tour continues, audiences can anticipate a stage that is not just a platform for performance, but a living, breathing extension of the artist’s unique and compelling world.