As the festival goers milled about, packing in the field in front of the stage, Ian Astbury and Billy Duffy were building up to a crescendo, of which, when the smoke cleared, Rolling Stone would hail as “the Messianic moment of Coachella”. Critics have hailed the band as incendiary, ground-breaking, and transcendent, but the band themselves choose to look forward… and in a lot of ways, prefer to be seen as survivors… marginalized and vulgarized, much in the same way their song subjects have been. And it was on the ride home from this performance in the desert that the roots of their tenth album Hidden City began to take root. And it was then that the Astbury realized he was ready to begin putting together the final chapter of a trilogy – one that hadn’t been not, until then, fully realized… one that, with the release of Hidden City in early 2016 would complete a circle that had been forming a long time before… one that, when complete, would encompass their acknowledgement of the global community within a metaphor for our spiritual lives, our intimate interior lives... one that spoke for those with voices who are not heard… those who live in outside of the public eye, within the “Hidden City.”