Barefoot, dressed in a black, ankle-length, asymmetrical tube dress, with her hair pulled back into a ponytail, Anna stood alone on the dimly-lit stage, accompanied by her acoustic guitar, harmonica and a coyote vertebrae (more on that later). Looking out into a brightly lit audience, Anna Graves weaved together harmonious imagery with her guitar, harmonica and gentle voice. Graves’ set lasted for 45 minutes, and between songs like “Burn On,” “Bluebird,” “Minnesota on My Mind,” and “Hollow Bones,” the Minnesota native gave context to each tune. 

The 28-year-old songstress’ soft and melodic voice filled the room, drawing the audience into a place that evokes imagination and yearning, and while tapping into a sense of peacefulness. It’s almost as if, through her musical storytelling, she is weaving together a fairy tale of sorts. And considering that she has spent much of her life on a farm, her music celebrates the beauty that is found in nature–even the parts that don’t seem beautiful. Whether intentional or not, Anna’s music sometimes conveys how nature and the human experience tend to mirror one another. 

While she is still currently touring with Jonah Kagen on the Sunflowers & Leather Tour and preparing for the release of her debut album, Anna took some time to connect with Quip Magazine to give us a glimpse into her songwriting process, self-care on the road, and her upcoming album, America’s Greatest Burnout.

Jade Newton: What helps you maintain your motivation and passion for creating and performing music? In other words, how do you avoid or handle burnout? 

Anna Graves: It’s funny because my [upcoming] album is actually called America’s Greatest Burnout. I felt as though I had been spinning my wheels in my musical career for years and getting nowhere, so it really took going back home to reground myself and rest to start making real progress. I felt like I had experienced burnout before I was even able to really get started. There is so much pressure to be excellent when it is truly excellent to just be. Once I was able to be comfortable in my own silence again, I was able to find the words I was looking for. I think it is incredibly important to recognise when your mind and body need rest and to honour that. It is the only way to have longevity in anything. 

It can be easy to get distracted in this industry and lose sight of what truly matters. When I feel disconnected or as though I’m losing motivation or passion, I bring a journal out to a remote area in nature and just give myself space to think and write. I am always able to make sense of myself in nature, and am able to realign with the “why.” I make music because it gives me joy, feeds my wonder, and has the ability to heal myself and others. We as people will always need art.

JN: How do you practice self-care on the road and during moments of writer’s block?

AG: As far as self-care on the road, I try to be around nature as much as possible. That’s always the way I’m able to recenter and ground myself. Sleep is important, and resting when your body is telling you to rest is important. Touring can be really hard on the body, so staying healthy is the number one goal. 

As far as moments of writing block, I try to tell myself that ‘if I’m having issues writing something down, I’m not meant to write that day. I’m meant to live, to experience the input of creativity rather than the output. Inspiration will always find you again. I got miles ahead of me, and I’m not worried about getting anywhere fast.’ 

JN: I know you play the harmonica and the guitar; do you play any other instruments? 

AG: I play the piano, too, however, I have always felt closest to the guitar. I feel as though it’s the way my soul can speak.

JN: Do you experiment with other sounds and genres? 

AG: I have a deep appreciation for all musical genres. I grew up listening to folk, rock, and soul, and have explored many genres myself during my musical journey. I believe that being an artist is exploring without boundaries; that’s the fun of it. I’m happy to have settled back into my roots of storytelling with my acoustic guitar, but I’m excited to see where else it will take me.

JN: Opening for Stevie Nicks was probably a fantastic experience. Tell me a little bit more about that experience, please.

AG: Getting to share the stage with Stevie Nicks, especially in my hometown, was otherworldly. I am such a fan of hers as an artist, as a person, and as a philanthropist. I will never forget meeting her and listening to her hilarious stories as she enchanted the whole room with her mesmerising aura and incredibly genuine and down-to-earth personality. She will always be my most influential artist, and I have never been so awestruck in my life.

JN: Do you compose music as well? 

AG: I tried to learn to read sheet music, but it didn’t last very long (laughs). I have the utmost respect for those who can. I have always learned by ear, but would love to push myself one day and learn to read sheet music. My writing is based on feelings and sounds that I think are interesting at the moment, and I build lyrics that fit the feeling of those melodies and chords. My favourite kind of writing is like when you cook; it’s all a process of creativity and patience, and you end up with something beautiful. 

JN: When you’re performing live, how do you tune out the “noise” and stay focused through those opening sets when the crowd isn’t responding the way you’d like or busy doing everything else but enjoying your show? 

AG: Rowdy crowds are bound to happen, but I always remember that for most people in the crowd, this is their night to escape their busy lives and have fun with their friends. I try not to take it too personally. Coming together with the crowd over lyrics and stories feels like part of the healing process for all of us. I feel profoundly connected to the audience when I sing my songs, even if there are just a few people listening. [It’s] like we are sharing every word. That feels wildly powerful to me. I have really loved Jonah’s fans, and all of the fans of previous artists I’ve toured with. I feel as though many of them really resonate with my music as well, and I’ve had a great time getting to play for them. 

JN: Oftentimes, a change of environment can have a positive effect on our creativity and creative process. Did you notice a change in your approach to songwriting when you moved back to Minnesota? And if so, what changes did you notice? 

AG: Everything changed for me when I moved back to the farm in Minnesota. I was finally able to have the space to breathe and hear my own thoughts again. And working with animals, I saw a big change in my mental health. Our dear friend runs a ranch rescue, and I was able to help foster horses that were neglected and abused. So between that and being around my family, I was able to reground and recalibrate myself. From there, inspiration flowed out of me, and I was able to play and write freely again. I found the girl inside of me that I had been missing for so long; I found my home. 

JN: What is the approach you take to songwriting? 

AG: I tend to write my best songs when it’s a feeling that’s been creeping up through my chest; almost tensing my throat until I write it down and physically sing it out. It always feels like some healing–kind of a celebration, almost. The ability to at least start the process of getting through something that’s been causing you pain, or even starting to understand what brings you the kind of joy that you can’t explain. I think by following that mentality…for me, songwriting is writing what I need to hear in the moment. And there’s a strong chance someone else out there needs to hear the same thing. 

JN: Which of your songs was the most challenging for you to write? 

AG: The most challenging songs for me to write are the ones that cause me to look inward and write about hard moments in my life; it always feels like an intense form of therapy. “Bluebird” was a great example of this for me. There was a lot of pain and hardship that went into the lyrics, but a lot of healing that came out of them. 

JN: When collaborating with another artist, I’m sure the desire is to create a cohesive work of art; how do you balance your artistic identity with theirs? 

AG: I try my best to put myself in their shoes, as I know how daunting it is to be open and vulnerable with strangers. My goal is to just be an extra source of inspiration if they need it and allow them to tell their truth. That is really all that matters. 

JN: What can we look forward to from you for the remainder of 2026? 

AG: I am really looking forward to putting out my debut album, America’s Greatest Burnout. It’s a story of picking yourself back up from the dirt with gratitude and grit, and how I found the way back to myself again. Every song on the record was a meaningful moment throughout my early journey as an artist and a young woman, and I am so excited to finally share it with the world.  

Images by Josefine Cardoni.

The post Anna Graves on healing and finding her way back home appeared first on Quip Magazine.

This was the festival’s second trip to San Diego in 2025, and this iteration of the festival saw frequent festival headliners, Common Kings and J-Boog, along with The Green, Wyclef Jean, and Josh Tatofi, to name a few. Here were the highlights and lowlights of Holo Holo San Diego: 

High: Big Body Cisco: Once again hosted by Big Body Cisco, the San Francisco native and his DJ kept the energy high and attendees engaged between sets. 

High: A celebration of life: Holo Holo San Diego also served as a tribute to beloved Fijian singer-songwriter and producer, the late George “Fiji” Veikoso, who passed away in July.  Every performer who took to the stage either covered a Fiji song or dedicated a song to him. 

High: Holo Holo is for everybody: Holo Holo touts itself as a family-friendly festival, and entering the festival grounds, it is clear that this event is for all ages and all backgrounds: infants, toddlers, parents, and grandparents, Polynesian, Micronesian, Latino, Black, Asian, etc. For many, the festival probably felt like a family reunion: attendees laid out on picnic blankets or relaxing in lounge chairs, soaking up the late summer weather and accompanying island reggae music. 

High: The great island cookout: Holo Holo not only celebrates the music of the islands, but also the food. The Great Island Cookout was a new component to the festival that featured over 20 food vendors serving Pacific Island-inspired cuisine. The Great Island Cookout was a welcomed alternative to the standard stadium food options and also created an opportunity for festival attendees to support small and some local businesses. 

High: Josh Tatofi: As the sun began to set over the Pacific Ocean, Hawaiian singer and bass player Josh Tatofi delivered an indelible set with his band that was both soulful, bluesy and captivating. 

High: The Green: Although they were not the headliners for Holo Holo San Diego, The Green easily could have been. Fans of roots reggae would deeply appreciate The Green for their sound, heavily inspired by the likes of Bob Marley and Third World. The five-piece band with four lead singers were the penultimate day one performers. Playing some of their most popular songs, their 60-minute set grooved from the first note plucked on their instruments to the last.

High: J Boog: Saturday night’s headliner was American-Samoan reggae singer, J Boog, who, flanked by a full band, delivered an electrifying closing set. Performing hits like “Hear Me Roar,” “Sunshine Girl,” and “Every Little Thing,” J Boog had the crowd moving more than they had all day. In support of fellow Holo Holo artists, J Boog created space for singers from earlier in the day to share the stage and perform with him, including The Green.  J Boog took time to honour the late Fiji with a moving saxophone tribute as well as covers of several of his songs, including “Darkness to Light.” Closing out night one with the sultry “Let’s Do It Again,” J Boog would be a tough act to follow for day two. 

Started as a High: Wyclef Jean: What started out as a very promising performance turned into a head-scratching attempt at social media virality at the end. Award-winning MC, songwriter, producer and multi-instrumentalist Wyclef Jean opened his Holo Holo set with The Fugees’ “Ready or Not.” Accompanied by The Refugee Band–which included a drummer, bass player and DJ, ‘Clef–as he is often called–took Holo Holo on a trip down memory lane, performing timeless hits like “We Trying to Stay Alive,” “Maria, Maria,” and an acoustic version of “Gone ‘Til November.” 

During the midway point of his set, in celebration of his Haitian heritage, ‘Clef brought a taste of Carnival to the stage–with Carnival dancers dressed in full costume performing to “Sweetest Girl” and “Party to Damascus”. The most memorable moments of the set were the freestyle over “Ready or Not” and the extended version of “Killing Me Softly”.

Before closing out the set with “Hips Don’t Lie,” Wyclef spent a significant amount of time standing among the crowd and demanding that festival attendees pull out their phones and record the premiere of his new song “to put it on Instagram”. There was a pre-recorded video of comedian Dave Chappelle allegedly introducing the song, but nobody was clear as to what was happening before Wyclef’s DJ played the track. Wyclef wanted attendees to “just listen,” but the attendees were not interested. 

Wyclef’s energy was infectious and it was impressive to see him play several instruments for the duration of his Holo Holo debut set. 

High: Common Kings: While Sunday’s attendance was much lighter than Saturday’s, that was a non-issue for six-piece band Common Kings–somewhat of a staple of Holo Holo. A live performance by Common Kings never disappoints: the live instruments, the visuals, the vocals, the energy from the stage and from the crowd–are what make their shows incredibly impressive. 

Common Kings began their headlining set with a sweet, yet somber, dedication to the life of Fiji. After which, they transitioned into their original songs and had the crowd singing word-for-word. Common Kings’ music is catchy, alluring, emotional and just plain fun. With impeccable vocals and skilful instrumentation, their set included “Raggamuffin,” “Wade in Your Water,” “24/7,” “Alcoholic,” and “Queen Majesty” among others. Common Kings closing out of the festival was the perfect ending to an unforgettable two-day celebration that was Holo Holo. Their vibrant performance and contagious passion left attendees feeling content and fulfilled.

Low: VIP: Unfortunately for those who shelled out hundreds of dollars for VIP tickets, Holo Holo’s VIP areas and amenities left much to be desired. View of the stage? No. Screens to see the stage? Food? No. Seating? Very limited. Brand activations? Non-existent. The one positive was that there was a second VIP section with a full view of the stage, but other than a few tables and a “VIP restroom,” the amenities were nonexistent in that section as well. 

Low: Absence of Female Artists: Another drawback of the festival was the lack of female artists. For a two-day music festival that intends to celebrate reggae music, island people and culture, having Paula Fuga–who is very talented–as the sole female performer is shameful. With the festival happening more frequently, perhaps organisers will do their due diligence to be more inclusive of the numerous, talented female artists who are making significant contributions to reggae and its subgenres.

The post Highs and lows at Holo Holo San Diego appeared first on Quip Magazine.

The late afternoon California sun was beating down like a marching drum, and the sky was clear as crystal. There was a soft, almost whispering wind that occasionally passed through Inglewood, California, home of the Hard Summer Festival — a two-day celebration of EDM and its culture. Crowds of partially naked attendees, wearing their most colourful and outrageous attire, flooded the sidewalks and grounds of Hollywood Park, excitedly migrating towards the direction of the mash-up of music that could be heard a mile away. Endless lines of vehicles, bound for the festival parking lot, held traffic at a standstill along Century Boulevard, Prairie Avenue and Crenshaw Boulevard. 

As I slowly — following the mass number of people travelling in the same direction at the same time —navigated my way towards the festival entrance, the air smelled of sweat, weed, tobacco, grilled onions, Polish sausages, and an array of flowery body sprays. Street vendors selling everything from aeroplane minis of liquor to hot dogs to bootleg festival shirts lined the sidewalks, yelling their sales pitches as if they were art auctioneers. 

The main and VIP entrances of the festival were so thronged with attendees that the organisers were forced to open a makeshift second entrance, which was also overloaded with people clamouring to get inside. After three checks — ID, wristband, and security — I was inside the festival gates and made my way to the Hard Stage, where Busta Rhymes — one of only two hip-hop artists in the lineup — was set to perform. 

As a fan of Busta Rhymes since his 1996 debut solo album, I’ve always made a conscious effort to see him perform live as often as possible. Besides, he is one of the main reasons that I wanted to cover this festival. Busta Rhymes, as with many hip-hop artists of his era, always gives fans more than their money’s worth during live shows. Many of those awaiting Busta to grace the stage didn’t look like they were old enough to even know about his music, but I know better than to judge by appearance. Busta Rhymes and his right-hand man, Spliff Star, took us on a chronological trip down hip-hop memory lane, starting with “Woo-Hah! Got You All In Check” and “Ante Up.” For me, the festival attendees were not hype enough for the MC, and he obviously read my mind because he expressed this same sentiment in between songs. 

Busta Rhymes’ set also included the likes of “Put Your Hands Where My Eyes Can See,” “Break Ya Neck,” “Make It Clap,” “Touch It,” and several of his features, including “Don’t Cha,” “Look At Me Now,” and “Scenario.”

Despite a set that was plagued with ongoing technical issues — and delays due to the said technical issues — the MC did not let that deter him from delivering a memorable performance, although he did vocally reprimand the production teams responsible. “Busta Rhymes has always done everything in excellence. He might have some openings on his production team after this,” was what I thought to myself after he stopped the show for what was the umpteenth time due to yet another tech issue — his frustration reaching a boiling point. With a promise to return to L.A. to make up for the show he felt his fans were cheated out of, Busta Rhymes finished his set with “Pass the Courvoisier”.

After Busta Rhymes’ set, I had a moment to take in my surroundings. I was one of a handful of folks fully dressed. After a decade of covering multi-day music festivals in various climates, I opt for comfort and convenience when it comes to my festival fashion. The average age range of festival goers was somewhere between the ages of 18 and mid-to-late 20s. 

The VIP sections adjacent to each stage were a world of their own. A knee-deep wading pool was nestled between the Hard Stage and Pink Stage, complete with a swim-up bar, loungers underneath a pergola, pool floats, and lifeguards. Lining either side of the walkway were local food vendors, bars, and interactive brand activations. A colourful, shaded seated area – intended to mimic an al fresco hall —  with artificial turf, high-boy chairs and tables, and free WiFi added additional flair. Each VIP area had what would be considered “premium access” to the stages — a better view, with fewer people. 

As I made my way over to the Pink Stage, about 50 feet away from the Hard Stage, the folding fans and parasols were pumping in the air as a result of the deep base and the mixing of old and new from The Blessed Madonna. Leaving the VIP area to traipse to one of the other festival stages was like merging on the 405 expressway at 5 PM on a Friday: infinite amounts of slow or deadlocked traffic — in this case, foot traffic. As I manoeuvred through the crowd, I realised how courteous and polite people were: saying “Excuse me” or apologising for bumping into others…this is definitely not the norm for most festivals. 

I was enamoured with people’s sign-making creativity. Meant for group members to find and keep track of one another, the myriad of signs ranged from artistic to comedic to vulgar. They included pop culture references, toys, holiday lights, selfies, pool noodles, cardboard cutouts, hand drawings, paintings, you name it. I was intrigued, curious, and humoured. 

Dead smack in the middle of the festival was the smaller, Beatbox stage with DJ Kitty Mama and her entourage, made up of women dressed in cheerleading outfits inspired by the movie, Bring it On, at the top of the stage, looking down on us “commoners”. The stage itself was designed to resemble a boombox, with the area surrounding the stage created to resemble a beach in the tropics— complete with sand, canopies, and a coconut drink stand. With the energetic beats that Kitty Mama was spinning coupled with the setup, I couldn’t help but almost feel like I was at the beach, despite the droves of people walking past Sofi Stadium only fifteen feet away from me. 

At sunset, the temperature dropped drastically. The thing about the California sun is that it makes the weather feel warmer than it really is, without humidity. And when the sun fades, that dry, California heat turns into a dry, California cold front. Even my denim Led Zeppelin jacket couldn’t keep the cold, night air from cutting through and giving me goosebumps and shivers. Thankfully, the press tent provided some warm relief, rest and snacks before I headed back to the Hard Stage to watch Toronto’s native son, Kaytranada, put on a 75-minute performance.

The thing I love about Kaytranada is the versatility of his sound, and his collaborations are complementary to that sound. Nobody stood still during Kaytranada’s — it’s impossible not to let his music consume your ears and pulsate through your body. The production value, from the visuals to the turntable cameras, added a je ne sais pas that only Kaytrananda can achieve with his audience. Kaytranda played deep cuts as well as some of his more notable songs, including “Be Your Girl,” “10%” “Intimidated,” and “Vex Oh,” all while letting the music dictate his dance moves and verbal interaction with the crowd. 

While Kaytranada very well was the headliner in my eyes, according to the festival lineup, reggaeton artist Feid, was the Hard Stage headliner for Day 1. As I began making my way to the festival exit, my curiosity got the best of me, and I decided to take a moment to give Feid a chance to “wow” me. His visuals were that of a PC desktop, and I am talking old school, DOS disc-startup PC. The classic Snake Game was being shown on the side screens, and in the middle screens were simulated chat rooms (again, old school). With each new level of the Snake Game being unlocked, Feid would transition into another song. Joined on stage by a guitarist and his DJ, I couldn’t tell if the guitarist was actually playing and was disappointed that Feid lip-synced much of the lyrics to his songs — or didn’t sing at all. Even still, the crowd loved it, and it was refreshing to see other non-techno artists getting some love at Hard Summer. 

Over at the Harder Stage, Gordo was the penultimate performer before headliner Sara Landry closed out night 1. I don’t deny the talent and creativity that it takes to be a DJ and producer, however, hardstyle EDM isn’t for me. Don’t get me wrong, I love techno music, but their subgenre speciality was — and always has been — overwhelming. Maybe if I was on something, it would’ve been a vibe, but I’m a teetotaler and their sets exhausted me more than I already was. I did give them a chance and accepted that everything isn’t for everybody, and that is okay. 

Journal Entry #2: August 3, 2025

Day 2 of Hard Summer was hotter, louder, more crowded, and sweatier than the day before, and the outfits were bolder and brighter. I learned the hard way, on Day 1, to eat before I arrived because the food was overpriced and less than mediocre. I also avoided the entry chaos of the day before by finally locating the VIP entrance: I was through the festival gates in less than a minute. Despite my usual option to dress for comfort and convenience, the heat had me sweating like I had just finished an outdoor HIIT workout. There were brief and infrequent breezes that provided temporary relief, yet I appreciated the heat because I knew once the sun went to sleep, it would be another night of goosebumps and chills that resulted from the cooler weather. 

Because it was warmer, there were even fewer clothes being worn by attendees than yesterday. The thick smell of marijuana and flavoured vapes enveloped the air of the festival grounds, hovering like a cloud. Long lines for food, beverages, and restrooms had become the norm at this point. Walking past the Harder Stage, where I would spend a good portion of my day, I noticed a Ferris wheel to my left and an ice cream truck that had been turned into a mini stage to my right. What DJ was spinning on it was beyond me, but they amassed a small crowd of tech feigns dancing the afternoon away. 

As Barry Can’t Swim took to the Hard stage, the SoCal sun began its final Hard Summer descent. The Edinburgh native is known for blending genres and this was on full display as he created a controlled chaos sound that paired well with his cartoon-like visuals. A sea of bodies jumped, shook and danced along to his palpitating beats for what was a high-spirited and just plain entertaining time.

As I once again observed my surroundings, I internally gave kudos to the folks who attended the festival in next-to-nothing; the confidence and body positivity were impressive. Of all the festivals I have covered, Hard Summer might hold the record for most exposed butt cheeks, Speedos, pasties, cleavage, glitter, boots with the fur, shirtless guys, etc., than any other festival that I’ve covered. Welcome to EDM festivals in Los Angeles. 

I know, I know, yesterday, I wrote about how hardstyle EDM is not my thing, but Ki/Ki and DJ Gigola did a joint, back-to-back set, and it was interesting to experience. These two ladies played hard-hitting beats, engaged with the crowd, took shots, and looked like they were having the time of their lives onstage. During their nearly 90-minute set, they went back and forth playing some of their most popular songs, with the audience as their visual backdrop using an assortment of camera filters — including neon outlines, split screen, and distortion. I was thoroughly impressed with how many female artists were in the Hard Summer lineup; kudos to the talent! 

Finally, the moment I had been waiting for all weekend. I was tired, my body was aching, and I was cold, but I had come for Juve The Great! His set was to begin at 8 PM, and because I did not want to miss any of it, I made my way from the Press Tent to the Harder Stage at 7:35 PM. Arriving in the VIP area of the Harder Stage, I tried to get closer to the stage than I usually do, solely for warmth because I was cold.

I recalled the last time that I had seen Juvenile perform live; it was a live music venue that I worked at in Chicago. It was a great show, but he didn’t have his band; and tonight, Juvenile brought members of The 400 Degreez Band with him, so this was sure to be a treat. 

I glanced at my watch — 8:02 PM — as the VIP area began to fill up, I found myself retreating further away from the stage due to the growing crowd, and the smells of weed, must and sweat. Eventually, I settled into a spot in which I was double arm’s distance away from people in every direction. Win! As I saw Juvenile and his band enta da stage (if you don’t get this reference, you are too young to read this journal entry), I could feel the excitement growing in me. In his signature look – white tee, Dickie pants and a tee-shirt tied around his head – Juvenile and Co. kicked things off with “Ha” and “400 Degreez.” 

As I looked around, most of the audience looked as if they weren’t even born when 400 Degreez and The G-Code were released. It was also evident that my sentiments were correct, because many of them were like deer in headlights (maybe they were drunk, or high, or both…I don’t know) as Juve gave us the likes of “‘Nolia Clap,” “I Need a Hot Girl,” and “We On Fire.” The true, OG Juve fans knew what was up, because we were the only ones that held it down for “‘Nolia Clap.” Juvenile’s energy was infectious — I’m typically relatively reserved at concerts, even for my favourites, but even I found myself dancing and rapping along. I ain’t from the projects, but “Project Bitch” — which Juve concluded with a freestyle — and “in My Life” gave me my second wind. 

I love when my favourite hip-hop artists are accompanied by a live band because it makes their already incredible music larger than life and truly highlights their talent. With Juvenile were his DJ, his bass player, his guitar player and “The Greatest Drummer in the World” (Juve’s words). If you watched his 2023 Tiny Desk performance, you would see these same musicians performing their hearts out with him. 

By the time Juvenile performed “Slow Motion,” I didn’t care about the cold or the pain I was feeling it. I was having a good ass time and enjoying the musical sounds of Juvenile and the 400 Degreez Band. “Slow Motion” was familiar to the majority of the audience as they belted out the chorus at the top of their lungs; this, too, also ended with him freestyling. He then played his new song, “Hotboy Summer,” before giving us more Juve-Cash Money classics. 

It was obvious that the finale would be “The greatest love song of all time”; that’s right, “Back That Azz Up,” performed in its entirety. We got pyro, we got smoke, we got a light show, and more importantly, Juvenile gave it his all; he looked like he was having a ball on the Hard Summer Stage — I know we, in the audience, were. The energy when the strings hit was insane and people lost their minds when the beat dropped. I was enjoying his set so much that I didn’t even pull my phone out — I just wanted to be in the moment and take it all in; although, I admittedly captured about 1 minute of the finale because I wanted to hold onto that moment forever; the energy was too live not to. For me, Juvenile was my Sunday night headliner; he was the other reason I came to Hard Summer.

As I exited the festival grounds, I felt a slight sadness come over me. I always get this feeling at the end of a festival assignment. It’s almost as if I left a part of me on the festival grounds — or, maybe it’s not that deep and just a sign that I had a great time. One of the best things about being a music writer is that it is truly a lot of fun — the memories created, the experiences and the people I get to meet and cover along the way. 

Until next time. 

The post Festival chronicles: Hard Summer 2025 appeared first on Quip Magazine.

Headlining this year are international, award-winning artists: Canadian producer, DJ and songwriter, Kaytranada, Colombian, rapper and producer, Feid, French-born producer and songwriter, Gesaffelstein, and Australian house music producer, Dom Dolla. In a deviation from its standard all-EDM focus, festival organisers are providing 90s and early 2000s nostalgia for millennials and Gen Xers with the addition of Juvenile, Busta Rhymes, and Sean Paul. 

While many EDM festivals do the bare minimum in terms of booking female talent, Hard Summer recognises the impactful contributions that women have made to the EDM scene and culture. With an abundant lineup of 14 female artists – both well-known and up-and-coming – festival goers will be able to experience VNSSA, Sara Landry, Annicka, and an onstage collaboration between Ki/Ki and DJ Gigola. Additional female DJs and producers taking over the Hard Summer stages include Dara Genesis, Fun2BeJane, The Blessed Madonna, and Aimmia – allowing attendees to expand their musical palettes.

With this impressive lineup and ideal location – Hollywood Park – Hard Summer is sure to be the most sought-after event of the weekend. 

Learn more and purchase passes at hardsummer.com.

Cover photo: Keytranada at LIB 2022 by Nathaniel Windisch

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The enthusiastic early arrivals quickly learned that the in-and-out privileges were not just nice but a much-needed necessity because the dining options left much to be desired. Day one of the festival saw multiple stages marred with technical issues. Allan Rayman‘s set perhaps took most of these issues with constant mic feedback and the tech crew fiddling around with on-stage amplifiers throughout his set. 

Despite the tech issues and the sparse crowd, Rayman’s performance persevered all that was stacked up against his early set. Decked out in a white t-shirt branded after his latest record release, The All Allan Hour, he worked through a series of songs from his latest record and a handful of early fan favourites like “Madhouse,” “Tennessee,” and “13“. Rayman’s performances are very animated and tend to draw you into the narrative, so to no surprise by the second half of his set the grassy patches were packed with the nodding crowds who followed the sound from across the park and past the still inactive brand booths.

Sudan Archives was next on this mid-sized stage and by now the sound issues have been mostly resolved. Accompanied by her violin and dressed in a striking, skin-tight, one-piece bodysuit Brittney Denise Parks gave a captivating midday set. Sudan Archives, who effortlessly blends experimental R&B with traditional African music, energetically performed some of her most popular music from the Athena and Natural Brown Prom Queen albums. 

As the afternoon wore on, T-Pain, who had just arrived at the festival 20 minutes before his set due to travel issues, brought his blend of autotune, R&B, and hip-hop to one of the two main stages. The singer and rapper began his set performing a string of his features before shifting into songs from his discography, such as “Buy You A Drank, “I’m In Love With A Stripper” and “I’m Sprung“. Known for his dancing abilities and playful stage presence, the talented artist gave one of the more memorable performances this Friday.

The constant flow of electronic music at Wonderfront can always be found at the BMP Sessions Electric Lounge. Tucked away behind various activations the stage was fully walled off from the rest of the festival. Attendees lounged on couches, bean bags, and rugs spread around the area all directed up at the tropically themed stage with the DJ set deep into the weeds. Mer Bear and Loesch were the dance highlights sampling the old house classics and remixing the radio favourites (like “Sweet Disposition”).

As the sun began its descent the festival grounds buzzed with anticipation for Brooklyn native Joey Bada$$. From the beginning of his hour-long set to the end, fans rapped along, word-for-word, to the likes of “Temptation” and “Paper Trail”. Despite his mic and sound being too low, Joey Bada$$ effortlessly reminded everyone why he is a critically acclaimed lyricist. 

Taking to the stage immediately following Joey Bada$$ was JID, who proceeded to give a lyrical masterclass with his intricate wordplay and blend of the hip-hop sound of “old” and “new”. JID’s lyrical finesse was so poignant and expressive that I unconsciously found myself frowned up – in a good way – and yelling, “That man is spittin’!” during his performances of “Crack Sandwich,” “Dance Now,” and “Workin’ Out”. 

Producer, songwriter, and DJ extraordinaire Kaytranada was set to close out the festival Friday. Elevated above the stage with a multitude of bright lights spotlighting the artist this performance looked promising to the eye. Sadly, the tech issues continued through his set, and with the record-breaking attendance of mixed-age fans chatting up a storm it was impossible to hear Kaytranada unless you were standing in the moshpit by the stage. His set sounded low and isolated, like a mutated YouTube performance in the other room.  Typically, Kaytranada’s music makes one want to dance and sing along but today through no fault of his own Kaytranada’s set was hard to enjoy.

But with the new day came a new set of performances and a new set of fans. Legendary reggae band Steel Pulse has the ability to connect with audiences across generations through their music and these fans came out on Saturday ready to play. The hot afternoon sun made an appearance creating an ideal atmosphere for a reggae performance. Steel Pulse took to the stage ten minutes later than scheduled due to a few more technical issues but once the music started flowing it didn’t stop. Performing some of their most timeless songs like,  “Your House,” “Steppin’ Out,” and “Rally Round,” Steel Pulse reminded attendees how influential music is in bringing people together, uplifting positivity, and speaking out against injustice. Steel Pulse was a deeply appreciated segway into The Roots. 

To no surprise, The Roots delivered perhaps the best performance of the entire weekend – with Steel Pulse coming in a close second, of course. The band is notorious for not shortchanging fans during live shows as they perform the entirety of any given song, not a shortened version like many artists do. Their hour-long set included the likes of “The Next Movement,” “The Seed,” and “You’ve Got Me” – all performed in their entirety and some even extended versions. The latter of which the lead singing vocals were sung by guitarist Captain Kirk who interweaved covers of Sade, Donna Summer, Led Zeppelin, and Ini Kamoze into the song along with his guitar solo extending the song to nearly ten minutes. 

The Roots are storytellers by nature. Each instrument, including Black Thoughts’ lyrical prowess, tells its own story that, in turn, contributes holistically to the broader story. Each instrumentalist was given an opportunity to shine in the spotlight through various solos and each story (song)  transitioned to the next effortlessly and smoothly, with no breaks. Performing for 60 minutes under the warm California sun, The Roots set celebrated the music that laid their foundation: jazz, hip hop, R&B, soul, blues, and funk. 

BMP Sessions Electric Lounge continued the good vibes rolling throughout the weekend with rhythmic sets by Lincoln Jesser and the non-stop dance tracks by Future is Golor Takeover featuring DJ Xica Soul and Luen.

While on one side of the park, folks were singing along to Beck for many the weekend came to a blissful end with a chill set by Norway’s Orions Belte who lulled us into the evening with their instrumental performance.

Looking back at Wonderfront Music Festival the lineup was certainly the biggest highlight, but the way the festival grounds became too tight for the people present on day one immediately took away from the experience. Paired with the technical issues that came and went with different acts, some sets felt completely lost in the noise.

And then, of course, there was the food that was somehow under and over cooked all at the same time; no shade to the vendors as they did not seem set up for success. However, the astronomical price markup of these quick meals did not stand a chance to what was available in the nearby restaurants.

Wonderfront came with high promises and expectations but somehow failed to live up to most of them. So, here is to hoping that next year the focus will be as strong on ensuring quality sound and guest experience as it was on taking the attendees for their hard-earned money.

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Enter the Soul Series. Launched in Toronto in 2022 by Adriel Smiley and Brigette Piazza, the Soul Series is a captivating, ongoing series of live concerts, showcasing R&B and soul singers of colour. Since its inception, the Soul Series has gained in popularity due to its commitment to an intimate and engaging atmosphere with a curated lineup of artists and bands bringing their unique styles to the stage. 

Through the Soul Series, Adriel and Brigette hope to foster a sense of community where fans of R&B and soul – whether on the stage or in the audience – can connect and immerse themselves in the music made for lovers. And while the Soul Series is only two years old, it is already leaving an indelible mark on Toronto’s music scene. 

Jade Newton: Please, tell me the story behind the Soul Series; what inspired this project? 

Adriel Smiley: I wanna give the credit to Brigette [Piazza] because we had been friends for a few years, and she had the idea that we should go into business together. And, we hadn’t said what we were gonna do, business-wise, but she said we should go into business together. We always had a love for R&B mutually, so organically, we thought “Let’s do something like this”. I have a background in the music industry and she has a background in corporate project management, so we thought it would be a good match. Once we decided on the name [Soul Series], from there, it was just grabbing artists who I felt fit the vibe we were going for and artists that I could trust, who I knew would set the tone for the first Soul Series. 

JN: The purpose of the Soul Series is to highlight R&B and soul artists who identify as Black, Indigenous and/or persons of colour. What else goes into the artist selection process? 

AS: We try to find artists who we know are great [live] performers – people I’ve seen myself or people that have been vetted by people I trust in the industry. I personally think that’s the way that you can grow your fanbase; if you see someone kill it live, you’re never gonna forget that. And that’s probably top of the list. 

JN: I appreciate that you take time to carefully choose and aren’t just putting performers on the bill for the sake of having them on the bill. Are most of these artists independent or are they signed to labels?

AS: I’ll say most are independent, but it is a bit of a mix. It’s a mix of some independent artists and new artists. And then some artists were established and kind of been doing this for a little bit.

JN: Producing events, such as the Soul Series, is not a miniscule undertaking; what were some of the challenges you faced getting this off the ground? 

AS: In terms of getting it off the ground, I would say it was finding the first venue and then kind of deciding how we wanted to promote it. This is one of those shows that’s word-of-mouth and in a way that’s unique – because we are known for R&B and soul. For the first [show] we didn’t know who was going to show up, what size venue to go with, or what kind of crowd we were going to attract…the unknown. And, how do we prepare for this? 

JN: And what are some of the challenges you encounter presently?  

AS: That’s a good question. I would say the challenges that we face are just dealing with artists in general. And this is not a shot to anyone in particular, but anyone who’s been in the music industry long enough knows what it’s like dealing with artists. Whether it’s them changing their mind, or showing up late, or being really intense. I think with every booking and dealing with artists…it’s almost like you need a contingency for the contingency. 

JN: You said that one of the things that makes you all unique is that all of the promotion and advertising is word of mouth. What other things about the Soul Series, in your opinion, make it unique, what about it makes people say, “I gotta be there”?

AS: I think one thing that we’ve done a great job of is getting to the theme of being fully R&B; that was part of why we started this series. We would go to R&B events and R&B parties, and you might get forty-five minutes of dancehall. 

JN: I love dancehall, but I kid you not, I have been to R&B-themed events and there is minimal R&B being played. 

AS: Exactly. And, that was something where we went, “There’s a market for this that’s missing”. Where, if you really want to have a night where you don’t want to hear hip hop, you want to hear Sade, the Isley Brothers…and I think that is where we set ourselves apart. It’s not just the new R&B or the nineties R&B, you’re gonna hear some classics as well, and I almost guarantee you will be put onto a new song. We have mixed crowds [in terms of age], so I think it’s [the Soul Series]  really unique, especially in Toronto where dancehall reigns supreme. 

JN: What have been some of your favorite Soul Series moments? 

AS: One of my favorite moments was when Geneva Lei & TRYZTN had just released a song, “Forbidden Fruit,” together and performed it on-stage together; and, I just love that song. So, that was a cool moment because I think they released it that night. 

JN: That’s dope. 

AS: And then, we had an actual full series the week of Valentine’s Day one year and we had a lot of engaged people in the crowd. We had brought the lovers out that night. 

JN: What is the most important thing that you want the artists and the audience to take away from attending a Soul Series session?

AS: I think, for me, what Soul Series is about is self-love. And obviously, a lot of R&B music is about romantic love. But I think that a lot of soul music, music to me, is about self-love and inherent individuality. You know, there is an energy that you leave certain nightlife events with; I would want the energy of the Soul Series to make you feel like you’re at a higher vibration. You feel better about yourself as a person – you feel more confident and you love yourself a little bit more. So that’s the energy I want us to have in the room and what I want to leave with the artists,  the staff, the guests…because to me, it really is about self-love. 

JN: What does the future of the Soul Series look like? What is on the roadmap? 

AS: We do want to expand and we’ve talked about this being something we could take on the road and making it bigger than it [currently] is. Growing the following that we already have and dabble in doing some other events like Soul Series karaoke or a Soul Series festival. I think the main reason why this actually happened in Toronto for us is because Toronto has so many great R&B artists and we would love to highlight these phenomenal artists elsewhere.

* * *

The next event is May 25, 2024, 10 PM EST at The Drake Underground
Get tickets to Soul Series VIII: Meagan De Lima on EventBrite.

All images courtesy of Soul Series.

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With March being Women’s History Month, it is fitting that the women, both the performers and the attendees, were the highlight of CRSSD. There was no shortage of creative ensembles from female festival attendees that included, shiny suits, leather, bodysuits, parasols, faux fur everything, sequins, fishnet, crop tops, and mesh bell bottoms.

This year’s CRSSD didn’t feature any women headliners so we’ll focus on the eight female artists who played early afternoon or early evening sets on either The Palms or City Steps stage. The opening sets were the perfect opportunity for the early risers to get a lay of the festival land and show their love for Marie Nyx, Nektar, Michi, Kasia, and Sofia Kourtesis – each with an hour-long set. 

One of many things that CRSSD does well is transition smoothly between artists’ sets, and the transition to London-based DJ-producer, Syreeta, brought out the sun. Syreeta’s smile was as infectious as her music and there were no statues during her 75-minute set because her throbbing beats, coupled with the synth, had heads bobbing and feet stomping. The transition from Syreeta to Sally C was also seamless. Whether intentional or not, the Irish-born, Berlin-based DJ-producer gave CRSSD a little nostalgia with a performance reminiscent of the 90s EDM sound. Because women support women, both Syreeta and Sally C showed one other love by joining each other onstage momentarily for their respective sets.

The one female artist who did not have an early afternoon set was Ki/Ki. At 6:15 pm, just after sunset, the City Steps stage turned into what one could expect at a rave in Berlin: strobe lights cutting through swarms of people and music that pulsates so hard and so fast that you can feel it reverberate through your body while the ground shakes. Ki/Ki’s set was an experience that could only be appreciated after dark. 

Although there were some noticeable drawbacks compared to last year’s festival, fewer restrooms, fewer brand activations, no hand washing stations, hand sanitizer only, and a blown speaker by the end of day one at The Palms stage, CRSSD’s spring 2024 showcase was relatively solid. Perhaps future CRSSD festivals will put forth increased effort in celebrating women by booking female headliners and having an equal number of male and female performers. FNGRS CRSSD.

All images courtesy of CRSSD Festival // Photographers: Keiki Lani-Knudsen, Rachael Polack, Miguel Flores.

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Founded in Canada in 1992, SOCAN works on behalf of its member artists in the areas of music licensing, rights management, advocacy, and international royalties. Under the SOCAN umbrella are the annual SOCAN Awards, the SOCAN Songwriting Prize, the SOCAN Foundation, and the Canadian Songwriters Hall of Fame. 

Awarded at year’s end, the 2023 Black Canadian Music Awards recipients included DVBLM, Liza, Myles Castello, NAIIM, and Savannah Ré. The 2023 special distinction honorees were Ryan Ofei, Tona, Kirk Diamond & FINN, Mah Moud, and Eleanor.  

A native of Montreal, NAIIM’s artistry fuses pop, rap, and R&B to create a sound that he describes as an extension of his personality. Prior to his music career, NAIIM studied medicine but opted for a different, more creative path that allowed him to connect emotions and culture. 

Liza is a renaissance woman: singer, songwriter, nurse, and clinical researcher. The Ethiopian-Canadian neo-soul and R&B artist has garnered substantial praise with her penetrating music and empathetic lyrics. Not only was she selected as part of YouTube’s Music Class of 2022, but she was also named as one of Amazon Music’s Breakthrough Artists To Watch of 2023. 

Hailing from the Scarborough district of Toronto, R&B singer Myles Castello isn’t afraid to cross genre boundaries. Castello’s glossy vocals over his striking beats allow listeners to experience his versatile artistry. In addition to his lyric writing and song production, Castello plays the piano and guitar – something he learned in order to grow in his musical aptitude. 

Rising hip-hop artist and Toronto’s own DVBLM (Double M) uses her Caribbean culture and life experiences to breathe life in her music. DVBLM’s talent is evident in her ability to adapt her rap cadence to nearly any sound and genre. While she has yet to release a full studio album, she has released multiple noteworthy singles and has garnered a devoted fan base. 

Rounding out this year’s award winners is Savannah Ré: a three-time, consecutive winner of the  JUNO award for Traditional R&B/Soul Recording of the Year. While Savannah Ré has only released one LP and one EP, along with numerous singles, her discography is impressive due to her lyrical storytelling, soulful vocals, and consistently captivating musical production. The Scarborough native has become a preferred writing collaborator for the likes of Babyface, Jessie Reyes, Boi-1da, and Wondagurl, further establishing her as a rising star and cementing her burgeoning legacy in the music industry. 

Image by Sarah Del Ange, courtesy of the artist.

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The Palms stage was the first attendees encountered upon entering the festival. And although this stage was on the smaller side, it had the most extravagant setup of the three. An array of palms engulfed the stage, giving it a jungle-like look and feel, and leaving a small window for the artists to see the crowd and vice versa. Further down into the center of the park was the City Steps stage playing non-stop techno while the furthest and biggest stage, Ocean View, was home to pop-electronic and big-name headliners.

Here we got to witness Biig Piig’s first ever North American show. Known for her soft blend of R&B and hip-hop the singer was visibly nervous at the start but by the 3rd track fell into herself comfortably sharing that wonderful voice with the San Diego crowd. A few hours later with the setting sun Italy’s Giolì & Assia took this side of the park on their melodic adventure setting the scene for Becky Hill.

England’s darling Becky Hill, joined on stage by two backup singers, immediately owned the “room”. Focusing first on fixing her sound issues and then engaging with the crowd Hill was not here to play. Known in the dance music circles for her collaborations with Gallants (“Run”), and David Guetta (“Remember,” “Crazy What Love Can Do”) Becky Hill is a vocal powerhouse and she knows it. The front-row fans were going wild, professing love with broken voices all throughout Hill’s set.

Over on the Palm Stage UK’s Ben Sterling was bringing the dance party to the forefront. Switching up between his own tracks and house classics like Tiga’s “Mind Dimension” and “Relax” by Frankie Goes to Hollywood this set was undoubtedly an early crowd-pleaser. Chaos in the CBD were up next and had a bit of a slow and dark start but picked it up by the end of the set. With a quick overlap, Glasgow’s Jackmaster took over the Palms stage and served up a 90-minute set of techno and Chicago-inspired house music as the sun set over the San Diego Harbor.

Co-headliners Polo & Pan also graced San Diego on Saturday night to conclude day one of CRSSD with a performance that was just as visually pleasing as it was musically gratifying. The duo opened their set with “Côme” and “É Preciso Perdoar” – the first of the 20 songs that they performed. The visual graphics, paired with the likes of “Mexicali,” “Bakara,” and “Canopée,” were hypnotizing. Polo & Pan’s engaging stage presence, energy, and upbeat music were just what this festival needed to close out a very chilly Saturday night.

Meanwhile, on the opposite side, the Palms stage was spinning up the energy with Australia’s Mall Grab wrapping up his set with his energetic remix of “I Need A Miracle”. On that note, the stage was ready for the Saturday night headliner Vincent Belorgey aka Kavinsky. While most of the crowd might know him for that moody song that accompanied the elevator scene in Drive Kavinsky stands strong as an expert producer with a signature retro, electropop sound. This was a highly anticipated set since Belorgey hardly ever tours, especially in North America. Set in the depth of the palm bushes illuminated by a moody red light Kavinsky took us on a scenic journey playing his own tracks and dance floor hot hits like Stardust’s “Music Sounds Better With You” and Benny Benassi’s “Satisfaction”.

Cover image by Rachael Polack for CRSSD. 

Odesza naturally gathered a massive crowd on the Ocean Side stage – we’ve come a long way since intimate shows in Chicago with no access to a green room (early interview here). Harrison Mills and Clayton Knight were always very collaborative performers with epic, perfectly synced drum sequences. Their current blown out, and what I can only imagine dream show, is a reflection of that collaboration, but on steroids. Accompanied by a marching band and thematic video projections the duo brought their music to life in an entirely new manner. Their headlining set took fans on a journey across the duo’s portfolio from early songs like “Higher Ground” (2017) to the most recent releases like “Love Letter” (2022). This was a set the fans will never forget.

Headlining at the same time as Odesza, on the opposite stage, is not something most artists would want to do. But, Purple Disco Machine isn’t “most artists”. Not even Odesza could stop Purple Disco Machine’s techno-disco dance party that occurred during this co-headlining set. Meshing house and techno with funk and disco, his original work with some of the most iconic songs ever recorded, Purple Disco Machine proved why he was one of the headliners: “Dopamine,” “In My Arms” and remixes of “Funky Town,” and “Don’t You Want Me,” to name a few — with festival goers dancing non-stop for the duration of his 75-minute set.

And on that note, CRRSD festival weekend came to an end. A complete festival experience is a sum of its parts: the performers, the logistics, the vendors, and the festivalgoers themselves. This weekend was not one without some hiccups, no doubt multiplied by extremely low temperatures. But at the end of the day, the most vivid memory of the event will hopefully be the brightest and one would hope it was all your favourite acts working hard to make you dance the cold away. All in all, FNGRS CRSSD was a fun way to kick off the 2023 festival season and we are here to see it all unfold.

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Even the lighting of the stage and the venue attributed to the feel of being at the school dance inside a gymnasium, and we partied with Sudan Archives from the time the music started until it stopped, nearly 75-minutes later. Joined on stage with her bassist and keyboardist, she opened with “Home Maker,” the opening track of Natural Brown Prom Queen, before transitioning into “Copycat” – a track that showcases her full set of skills: violin, singing, and rapping. Her vocals are always smooth like butter over the beats.

Unlike with other tour dates, there wasn’t much conversation between the Queen of the Prom Court and us prom attendees between songs. However, there was really no need for chit-chat because Sudan Archives allowed her stage presence and talent to do all the talking. Each time she asked if we wanted “More violin?” the crowd would burst in agreement, and she would grace us with violin solo after violin solo.

The tracks from Natural Brown Prom Queen and Sudan Archives’ debut LP, Athena, served as the soundtrack for the prom dance. From “Confessions” and “Glorious,” to “OMG Britt” and “Selfish Soul”. The multi-instrumentalist also performed songs from her debut EP, Sink (“Paid” and “Oatmeal”).

The passion for music could be felt in every word that she sang, in every note of her violin, in every move of her head, and down through her hips and legs. Through her live and artful storytelling, Sudan Archives showed why she is the reigning prom queen who gave us the privilege of taking part in her court.

cover photo credit: Ally Green

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Overlooking the San Diego Harbor, Waterfront Park, with its fountain-lined sidewalks, was the backdrop for this year’s Day.MVS XL. With only two stages, the smaller-scale nature of this festival was beneficial: no long hikes moving from stage to stage, no searching for the correct stage, no long lines, and all of the food and beverage vendors were between stages. Unlike many outdoor music events, Day.MVS XL is for the adults: no attendees under the age of 21 and no exceptions – which created an enjoyable haven for EDM lovers and creators. 

The Southside stage was designed to look like a botanical oasis full of trees and shrubbery, almost hiding each performer, engulfing them in the leaves. With no downtime between artists, the Southside stage had a conveyor belt with each artist’s equipment set up – as one artist entered the stage, their equipment would move into place in front of them. The Northside stage was a more traditional festival stage with an array of neon graphics of each artist flashing across the monitors for the duration of their set. 

Early afternoon sets can be tough as a performer with light attendance, however, those who wanted to get a jump start on their festival experience were treated to the likes of DJ Minx, Superflu, Vnssa, and Illyus & Barrientos. Perched in the middle of the fortress of plant life on the Southside stage, Detroit’s own DJ Minx showed why she’s the ‘First Lady of Wax’. For 75 minutes, DJ Minx spun house and techno, with superior mixing and transition from one song to the next. The longer she spun, the larger her crowd grew and despite the blazing sun and 80+ degree weather, festival-goers danced and danced some more. 

As the days progressed, attendees expressed excitement about who else they were most looking forward to seeing. In addition to the headliners, Purple Disco Machine, Miss Monique, Claptone, and Spetkre were among them. 

Purple Disco Machine’s 90-minute set was the turning point – the crowd, dressed in their best festival fashion, began to swell. The strobe lights started to flash, and the bass made the ground shake. Although he wasn’t the headliner, the energy and swarms of people dancing said otherwise. Intertwining music from his “Club Exotica” and “Soulmatic” EPs with popular disco songs that had the 70s in a chokehold. As the sun began to descend over the ocean horizon, Purple Disco Machine turned Waterfront Park into a party that nobody wanted to end.

The women continued to make their presence felt during Day.MVS XL, including Miss Monique who took to the Northside stage on Sunday afternoon with her synth-heavy sound that included acapella build-ups and deliberately curated drops.  

Day.MVS XL festival featured eight women DJ/Producers in the lineup – DJ Minx, Miss Monique, VNSSA, Juliet Fox, Rivka, Ciara B, Nastia, and Bklava – making it one of the many highlights of the festival – and the women were sensational. 

Day.MVS XL is still a blossoming festival, but its sophomore year in San Diego proves that it has a dazzling future as a premiere EDM event.

cover image by Keiki Knudsen. Top image: Daniela Becerra; Midle two and bottom: Keiki Knudsen.

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