Branimir Kvartuc/Associated Press

Rage Against the Machine's Tom Morello rocks out at the Coachella Valley Music and Arts Festival. The band, which split in 2000, played its first show in seven years Sunday night and is confirmed for only four other U.S. dates this summer.

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INDIO, Calif. - For three days last week, I was in heaven - rock 'n' roll heaven, aka the Coachella Valley Music and Arts Festival.

More than 100 bands, including headliners Rage Against the Machine, Bjork and Red Hot Chili Peppers, played for more than 180,000 attendees on five stages on 78 acres of the Empire Polo Field in Indio during the three-day weekend. And despite triple-digit temperatures daily, no one was complaining . . . much. Especially not the water vendors.

Daily highlights

• Friday, April 27, 102 degrees

Hard-rock power trio Noisettes was a good start to the three days. The funky trio from London, fronted by rock banshee Shingai Shoniwa, puts the power back in power trio, mixing hard-rock crunch with folk, jazz and what sounded like show tunes. Showcasing songs off their debut "What's the Time Mr. Wolf," they made the most of their 40 minutes onstage.

Also on the Mojave Stage under the tent, Toronto quartet Tokyo Police Club sang self-referential songs that came abruptly to a stop. Their psychedelic post-punk guitar rock is anchored by the keys; they kind of sound like the Strokes with a major keyboard groove.

On the main Coachella Stage, Perry Farrell debuted his new group Satellite Party, which plays a raucous cacophony; their music was all over the place. The band features killer guitarist Nuno Bettencourt, formerly of Extreme, as well as go-go dancers-cum-backup singers in short, black cocktail dresses. The band did play an excellent cover of Jane's Addiction's "Stop" and an acidic version of "Good Morning Starshine" from the musical "Hair."

Next up were the Silversun Pickups, a Los Angeles four-piece with a big rumble, a big sound and an equally big buzz. Their anthemic rock 'n' roll is guitar-driven, equal parts chimey and echoey. And "Lazy Eye" is infectious, piercing and electric.

Whatever you've heard of the Arctic Monkeys, believe the hype. They're all that and so much more. The British quartet was more than able to command the main stage. And the new tunes off "Favourite Worst Nightmare" have the same punkish, snarling attitude. If they thought you look good on the dance floor, they look and sound great: sharp, shambolic guitar rock.

Over at the Gobi Stage, the smallest at the venue and also under a tent, was, for me, one of the festival's major finds: Julieta Venegas. The Mexico City squeeze-box maven plays pop-rock en Español. This hidden, until-then-unknown (to me) gem shoots off rapid-fire rhymes in Spanish, engendering singalongs from the multiethnic crowd to tunes off her "Limón y Sal" CD. And she was often pogoing while jamming on her accordion. Just great.

Jim and William Reid, aka the Jesus and Mary Chain, brought their feedback-laden, wall of sound to the main stage. These '80s avatars of psychedelic post-punk influenced just about every guitar band that followed. Toward the end of their one-hour set, Jim Reid asked, "Should we do it?" before launching into a trepidatious version of "Just Like Honey."

The gloomy, moody New Yorkers in Interpol play a delicious brand of brooding rock, á la Joy Division. Live, this quartet really rocks out, as Paul Banks' basso profundo sets the mood. They debuted new stuff off "Our Love to Admire," due in July, including "The Heinrich Maneuver."

Bjork brought a somber, chill ending to the first day. While engaging and intriguing, her multilayered compositions are definitely not easy listening. Barefooted, the Icelandic snow queen was in a playful mood, bounding about the stage. Backed by a full orchestra, Bjork's set featured new tunes from "Volta," including "Earth Intruders," as well as old favorites like "Hyperballad."

• Saturday, April 28, 108 degrees

I came to the show midafternoon in a bid to avoid the heat, but it was still hot, hot, hot, especially in the Mojave tent, where the Fratellis did a 50-minute set of raucous, rowdy garage rock. The Scottish trio was uninhibited and energetic, despite the stifling heat. A few hours later at the media tent during their news conference, they caused quite a commotion among the usually jaded journalists.

Travis, a quartet from Glasgow, Scotland, plays the ethereal Brit rock that's prevalent today in the vein of Coldplay or Keane.

The New Pornographers' music is feel-good, good-timey rock 'n' roll, with four- and five-part harmonies, including Neko Case.

The Nightwatchman is Tom Morello's solo project and he brings the protest songs, although acoustically, with equal amounts of rage.

Back on the main stage, Kings of Leon brought their Southern-fried garage rock, extra fried. Nathan Followill's mumbled, semi-intelligible vocals create a Southern Gothic mood and aura, especially on such new tunes as "Knocked Up" and "On Call" from "Because of the Times."

Arcade Fire, the musical collective from Montreal, is equally adept at rocking the xylophone, as well as the bullhorn. For romantics Win Butler & Co., every song almost seems like a matter of life and death. Their orchestral chamber pop has enough rock 'n' roll smarts to get you grooving and moving, as on "Keep the Car Running" off "Neon Bible."

Though headlining, Red Hot Chili Peppers didn't close out the second day. Their one-hour-plus set was a greatest hits package of funk rock that leaned heavily toward pop. "Dani California" and "Snow (Hey Oh)" off last year's "Stadium Arcadium" were highlights.

Other bands I got just a taste of were Blonde Redhead; The Good, The Bad and The Queen; the Rapture; and the deconstructed blues of Black Keys.

Dutch trance DJ Tiesto created a dance party to close out night No. 2.

• Sunday, April 29, 104 degrees

The Roots' rock/funk/soul revue had most in attendance up on their feet and dancing. From breakbeat tuba to improvised blasts of the blues, this Philly hip-hop crew was rocking the house. Captain Kirk Douglas' blazing guitar would have made Band of Gypsies-era Jimi Hendrix proud.

Leeds quintet Kaiser Chiefs play New Wave-influenced dance rock with a high-energy frenzy. Their Brit guitar rock is enthusiastic to the point of almost being chanteys. High points were the Clash dance party of "I Predict a Riot" off their first disc and "Ruby" from the recent "Yours Truly Angry Mob."

During the Kaiser Chiefs' set at the Outdoor Theatre, a little of Willie Nelson singing "Crazy" wafted over from the main stage. Nelson was also scheduled to play the same venue this weekend for Stagecoach, the country music version of Coachella.

Over at the Mojave tent, Klaxons were introducing U.S. fans to the New Rave music sweeping the United Kingdom. It's guitar-heavy electronica with a techno beat and disco rhythm, and hell if it doesn't get you moving. The London "trio" was augmented with an extra keyboard player and a drummer, while playing tunes off the debut "Myths of the Near Future."

Back on the second stage, London trio Placebo was rocking guitars and keys to great affect. Their moody, disconsolate rock was accented by video montages projected onto the backdrop. This was another musical find, to me at least, judging from the overflowing crowd.

Paris-born Spaniard Manu Chao's music consisted of pop, '60s-style garage rock, world beat and punky reggae with a heavy dose of Latin rhythms. Backed by Radio Bemba Sound System, Chao drew from his previous albums - including "Clandestino" and "Proxima Estación: Esperanza" - as well as a yet untitled disc due in August. His multilingual and multicultural blend connected well with the thousands in the audience. Highlights included "La Primavera" and "Desaparecido." Chao also brought the protest songs, at one point pleading: "Mr. Bush, you don't fight terrorism with Guantanamos; you fight terrorism with education, with schools." Loud roars of approval ensued.

However, the ultimate highlight of the weekend was the hour-plus set by a reunited Rage Against the Machine. Following on the heels of Chao's set, it was a one-two punch vs. the Bush regime: "Testify," "Bulls on Parade," "People of the Sun," "Renegades of Funk" and "Killing in the Name."

It was as if the band had never broken up; it was a greatest hits set, and every song resonated. And Tom Morello was back creating all those sound effects - keyboards, synths and electronics - on his guitar. The crowd was alive and soaking every nuance. People were passionate, shouting along to their favorite Rage lyrics. The third night ended with a raucous crowd raging against the machine.

Lowlights

There were a few disappointments, such as the set by French electronic duo Air starting 35 minutes late and being cut short by time constraints and scheduling problems.

• Band times overlapping.

• Missing Roky Erikson & the Explosives because of the Fratellis news conference.

• Getting caught in a 90-minute traffic jam less than two miles from the polo field.

• But the biggest upset was being crowded out of British chanteuse Amy Winehouse's rock 'n' soul revue. It was ridiculous to have her on the smallest stage (Gobi). Winehouse, with her Dusty-in-Memphis-style '60s soul music, is in her prime; she should have been on the main stage, or at the very least, the Outdoor Theatre.

Destination: Indio

Going back to Indio for Coachella is always a great road trip, and the musical guests, new finds and surprises never fail to entertain.

But the best of the best, at least for me, this past weekend were Julieta Venegas rocking her accordion; Manu Chao's world beat optimism and protest; and a reinvigorated Rage Against the Machine rocking into the wee hours of Sunday night was the perfect end to a great weekend.