FKA Twigs’ ballroom set

FKA Twigs turned her Coachella set on Sunday, April 12, into a ballroom showcase, bringing Honey Balenciaga and Makayla Basquiat onstage at the Mojave tent. (rollingstone.com) Rolling Stone reported that Twigs appeared close to tears by the end of the performance, after a set it described as theatrical and emotionally charged. Actor and ballroom performer Dashaun Wesley introduced a dance interlude before Honey Balenciaga and Makayla Basquiat appeared. (rollingstone.com) The performance took place on the festival’s Sunday program, April 12, during Coachella’s first weekend in Indio, California. Coachella’s official site lists the 2026 festival dates as April 10-12 and April 17-19, and its livestream page carried Sunday schedules for the same dates. (coachella.com, coachella.com) Ballroom is a Black and Latino queer performance culture built around houses, runway, and voguing battles. Dashaun Wesley, who framed Twigs’ interlude onstage, is a longtime ballroom figure and host known from the voguing competition series “Legendary.” (wbd.com, dashaunwesley.com) That context helps explain why the guest appearances landed as more than a celebrity cameo. Rolling Stone described the segment as a “celebratory ode to West Coast ballroom culture,” placing Twigs’ set inside a specific dance lineage rather than using voguing as a visual reference. (rollingstone.com) The Coachella appearance also came at the end of Twigs’ United States run, according to Rolling Stone. Her official “Body High Tour” page lists April dates in San Francisco, Del Mar, Las Vegas, Indio and Mexico City around the festival stop. (rollingstone.com, fkatwi.gs) Twigs has spent the past year touring material from “Eusexua,” her third studio album, which was released on January 24, 2025. Her official site now also promotes the “Eusexua Afterglow” project alongside the same tour branding. (wikipedia.org, fkatwi.gs) Setlist records for the April 12 show place “Voguing Interlude” near the end of the performance, just before “Eusexua.” The sequencing matched the shape Rolling Stone described: a dance-centered section that pushed the Mojave set toward performance art before the close. (setlist.fm, rollingstone.com) By the end of Sunday night, Twigs had used one of Coachella’s biggest stages to center ballroom names, ballroom movement, and her own emotion in the same frame. Rolling Stone’s account said the Mojave tent felt less like a desert stage than a performance-art room. (rollingstone.com)