With afternoon temps in the low 100s, event-goers were able to exchange ten empty water bottles for a free refill (as recycling ruled), though there were still reports of heat stroke and exhaustion during day two of the 2007 Coachella Valley Music and Arts Festival in Indio, California. But the thousands who braved the baking heat watched the fest go pop and then rock hot–not from the sun, but from a wide array of artists and then, as night set in, the event caught fire–the Arcade Fire.

Despite the Rage Against the Machine reunion still to come on Sunday, Arcade Fire delivered what was likely the richest and certainly the grandest performance of the entire event, showing spirit and much heart.

The Montreal Band has upped the ante with its new album, “Neon Bible”, reaching for greatness that takes its cues from the combination of passion and artistry of both U2 and Bruce Springsteen–that is, anthems of meaning, celebration and community. The lyrics aren’t quite as tangible, but the music is grand and epic–a fine match for the strongest numbers on their prior album, “Funeral”, which drove the end of the set. Vocalist Win Butler is turning into a commanding frontman as well, even moving down to the massive crowd (the festival’s biggest so far for one act).

Though the Red Hot Chili Peppers were the headliners, they were outclassed musically, and even in terms of a performance that truly connects with an audience on multiple levels. The Chili Peppers are certainly skilled–bassist Flea and guitarist John Frusciante gifted players, and Anthony Kiedis has a become a better pop vocalist, actually, than shouter of the band’s older, metalic-coated funk. The ample offering of hits such as “Dani California” and “Under the Bridge” were crowd-pleasers but not thrillers.

Some of the night’s other exciting performances could be found on the other side of the field in the tents that were beyond packed–hundreds on the outside as well for the thump-teasing of LCD Soundsystem in the Sahara (which functions mostly as a faux dance club for DJ-artist and Los Angeles’s multi-cultural, polyrhythmic Latin hip-hop wonder, Ozomatli, making the crowd cumbia crazy in the Mojave Tent.

The late night after the Chili Peppers set also included the all-star Good, the Bad, and the Queen and classical-goes-electro dance fusion of Gotan Projext on the Outdoor Theatre stage, UK dance-rock thumpers The Rapture in the Sahara and the dirty howl blues of the Black Keys in the Mojave.

The early evening eclectic offerings included Tom Morello of Rage of Against the Machine in the Gobi Tent, as protesting folk-rap singer The Nightwatchman on acoustic guitar, even quoting from Woody Guthrie to say, “This machine also kills fascists,” then later turning to Guthrie’s “This Land in Your Land”, including the “lost” protest verse, joined by Perry Farrell.

Earlier in the Gobi Tent was psychedelic blues legend Roky Erikson, who made a rare appearance, while Scotland’s Fratellis offered up punkish pop excursons with some dollops of bluesy guitar injections over in the Mojave.

The classic rock-rooted Kings of Leon had its creative moments, but the art-and-prog rock influenced Decemberists from Portland were far more interesting and just as tuneful.

The afternoon and early evening on Saturday was best colored by pop variations, including the ’70s glam and AM radio-inspired irony-laced ditties of The New Pornographers at the Outdoor Theatre, and the generally chipper though mellow sound of Scotland’s Travis on the Main Stage.

Clever power-pop boys Fountains of Wayne on the Main Stage and the somewhat quirkier but equally fun Jack’s Mannequin on the Outdoor Theatre stage showed their way around hooks. Bringing some needed estrogen to the testosterone heavy Main Stage was singer-songwriter Regina Spektor at piano, with an ear for lasting melody and thoughtful lyrical turns. Playing earlier in the day over at the Mohave, getting a thumbs up for spunk, were The Cribs.

Of course, plenty of DJs did their thing, mostly in the Sahara, though Mike Relm in the Gobi drew cheers while spinning odd segues as the video screen showed puppets having sex. And of course, there’s nothing like puppet porn. Ever see the ’80s classic, “Let My Puppets Cum”? My brother-in-law got it as gag during his bachelor party dinner more than 20 years ago. Uh…never mind.

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