A few thoughtful changes this year included widening of the promenade and moving around of stages to better accommodate the traffic flow. Brand booths offering games and prizes gathered fans in clusters, while others were stocking up on their FEQ merch before heading to the designated stages. Lilly Queen Mojitos and Coors Lights in hand, they patiently waited for the shows to start, some holding up posters made for their favourite acts.

As usual, a few of the acts were rained out. The festival team tried their best to move things around, but unpredictable storms flooding the streets are a fair cause for cancellation, safety first.

The festival is a 10-day marathon with dozens of artists performing each day across multiple stages. Seeing them all is simply impossible, but for three days our team tries their best to find the most memorable acts. Our festival began with an energetic performance by Mimi Webb. BRIT Award–nominated pop singer-songwriter Webb had a deep frontline of fans who clung on to her every word. “I came all the way from Australia to see you!” a handmade poster stated. That’s a long journey, and we’re here to see it eclipse. The stadium slowly filled as she worked through her repertoire of songs, chatting with the fans. “We’re in Québec!” she shouted, “Guys, I’m actually really loving this show, I haven’t felt like myself for a while, and I’m really feeling it now, thank you!” she shared.

Jessie Reyez came next, and her performance stole the show for the night, if not the entire week. Toronto-local Reyez is well known to this publication; we’ve seen her breakout tour in 2017 and the theatrical performance at RBMF, and are familiar with her oversized t-shirt uniform, but today was different. Today, Reyez stepped out on stage in strappy stilettoes, microshorts, and a croptop, curls in full volume moving with the wind. Today, Reyez was feeling herself, effortlessly dancing around the stage, inspiring all the little girls and let’s be honest, grown women, to embrace their authentic selves. “If you believe in strong women, can you say yaaaa?” she demanded participation from the crowd. A wave of loudly pronounced yaaa’s filled the stadium.

For nearly an hour, Jessie Reyez shared stories between songs, reflecting on her past “bulshit” dating experiences, chatting with the fans, and making an effort to say a few things in French here and there, addressing people all the way at the back of the stadium directly. She wanted the fans to leave the show better than they came in, and this was not a hard ask, the energy in the “room” was electric.

Meanwhile, a lineup of spectacular international acts performed at the free Hydro-Québec Stage. July 17th lineup brought out the biggest crowd we’ve seen on this stage in years with Afro-Futuristic-Punk group Fulu Miziki Kolektiv and African reggae artist Tiken Jah Fakoly headlining.

Loto-Québec and SiriusXM stages, located side-by-side, gathered band and guitar-forward music fans. Colombia’s BALTHVS took the stage for a nearly full hour of psychedelic guitar alt-rock, fueled by Middle Eastern melodies and Latin-tinged rhythms. Royel Otis filled the space with their retro-sounding indie beach rock, with fans singing along to “moody” and “Kool Aid“. Groovy Aardvark took things up a notch, nearly causing a moshpit. The band has been around since 1986, so their fanbase runs deep, and the fans turned up today!

Those looking to dance gathered at the Extras FEQ Stage at The Armoury nightly. With record lines stretching towards the Plains of Abraham, everyone seemed to fit in this intimate venue. Much like previous years, the DJ is centre stage, but this year the room had the addition of a mezzanine level offering fans an elevated view of the busy space.

While Brazilian-born and Toronto-based, DJ BIA started a prolonged conversation on what makes a good DJ on July 16th, the July 18th set by The Rocketman had everyone dancing with no complaints. The big-ticket Extras performance, however, was LP Giobbi, who also performed on the main stage the day after, offering multiple opportunities to see her play. DJ, producer, jazz-trained pianist, and activist, LP Giobbi played two individual pieno-infused house sets, tailored to the crowd and environment.

Dutch DJ and producer Martin Garrix filled the stadium to the brim on July 18th. Even from a distance, it was obvious he was having a great time, sweat drops shining in the stagelights. The fans were here for every beat, taking Garrix’s direction at one moment, the entire stadium had their flashlights on, “This is crazy,” Garrix smiled. During this closing set, we heard all the hit tracks, from “In the Name of Love” to “Carry You” and “Animals“. Nearly every song was accompanied by pyrotechnics – fire, smoke, lasers, confetti, fireworks, you name it, the stage crew did it.

This is the side of Québec City most people don’t get to experience on their faux European vacation, but one you can definitely build a vacation around.

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Here are a few of the folk-country-pop musical highlights:

Nate Smith

If there was one artist who arrived at FEQ ready to tear things up, it was country powerhouse, Nate Smith. Forced to reschedule his appearance last year after losing his voice, Smith made his triumphant return to Québec City with unmatched charisma and high-octane energy. Acknowledging that there’s “something truly special about Québec,” he warmed the crowd up by trying out his French; a casual “ça va?”

Smith didn’t just perform from the stage; he hopped right into the pit, much to the cowboy-hat clad crowds’ delight. Hits like “Whiskey on You” and “Nobody Likes Your Girlfriend” had the entire field shouting every word, while his gritty cover of Luke Combs’ “Beer Never Broke My Heart” inspired the aforementioned “olé, olé, olé” chants from the audience. Showing off his genre-bending sensibilities, Smith threw in a crowd-pleasing rendition of Green Day’s “Boulevard of Broken Dreams” alongside his brand-new track, “Break Up Like That”. A really fun, lighthearted show, where you could feel Smith’s sheer joy from the stage.

Héron

Making their FEQ debut, folk outfit Héron delivered a set that seemed to transmit a “get up and dance” signal throughout the crowd. Although the clouds arrived just in time for their second song, the band brought the light via an energising traditional folk performance that included dancing, collective harmonising, and the weaving of traditional folk music, jigs, and even a bit of tap dancing. Created by singer-songwriter Henri Kinkead, who incidentally hails from Québec City, the Montreal-based group felt a bit like watching old friends perform; genuine and jovial. Swapping between acoustic guitars and soaring violins, the group created rich harmonies and was a lot of fun to watch live – even for someone with shaky French comprehension.

Goldfinger

Rounding out another memorable FEQ night, ska-punk legends Goldfinger proved that age is merely a detail when you have relentless “je ne sais quoi”. With their lead singer sporting a (predictably) sharp suit, the band unleashed a wave of nostalgia that instantly turned the crowd into a swirling, energetic pool. Playing fan favourites like “Counting the Days” and the iconic “Superman,” the group leaned into a whimsical set that was worth a listen.

Gwen Stefani

When Gwen Stefani took over FEQ’s Bell Stage, set up on the historic Plains of Abraham, expectations ran high. Seeing a legend perform was very cool, but for lifelong No Doubt fans, the night was an absolute thrill. The nineties and early 2000s were resurrected.

Onstage, Stefani was magnetic. And, it would be remiss not to mention her iconic wardrobe: a blend of buckles, plaid, fishnet, pink sparkles, and Doc Martens. Backed by an impressive troop of dancers, she proved she still has all the moves, and that her voice retains that unmistakable edge.

The crowd’s energy tipped into a frenzy when Stefani launched into solo mega-hits like “Hollaback Girl,” turning the massive grounds into a giant sing-along party. But an absolute highlight came when she dug into her No Doubt catalogue, delivering renditions of classics like “Ex-Girlfriend” and “Hella Good”.  

Gwen Stefani remains a total powerhouse performer, an artist who commands thousands with seemingly effortless charisma and incredible stage presence. It was truly a delight to watch someone who is undoubtedly still in her prime.  

After a few days spent at FEQ, it could certainly be said that this festival thrives on a mish-mash of artists, whether tap-dancing folk, a country star, or a legendary ska-pop queen. As the festival lights dimmed for another year, attendees walked away having experienced a truly community-oriented event and some pretty stellar musical moments.

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The city was bustling with foot traffic from a plethora of events happening over the weekend, but only Beyond Wonderland was worth going to. The long march towards the venue was all worth it once welcomed at the colourful gates. The Alice in Wonderland theme is always enjoyable to take part in. The first day was perfect to walk around and get the lay of the land to locate all 4 stages. Across the festival grounds were pop-up art installations surrounding carnival rides, along with actors walking around dressed up as characters from the novel to take photos with. More than a dozen attendees dressed as the Mad Hatter, but not enough dressed as the main character, Alice or the villainous Red Queen. 

Speaking of the Red Queen, the Queen’s Domain stage was the biggest setting fit for royalty. It only made sense that DJ Snake got it rocking with the successful run recently. DJ Snake got the packed crowd hyped by opening with his remix of ISOxo “F**k The Speakers Up”. The loud sirens ignited the fans’ excitement immediately. He kept the party going with his iconic Lil Jon collaboration track, “Turn Down For What,” followed by “Lean On” with Major Lazer. DJ Snake filtered out the chorus vocals of MØ, transitioning into UK drum and bass. He then requested the audience to turn on their phones’ flashlights to light up the scene for throwback tunes “Middle” and “You Know You Like It”. DJ Snake proceeded to turn up the heat with reggaeton jams with Daddy Yankee’s “Gasolina” and his Latin America track “Taki Taki”. 

At the Mad Hatter’s Castle stage, many gathered, eager to see Rebecca Black’s DJ set. The pop singer has come a long way since her “Friday” debut. A light drizzle began to pour during her set, which only awakened the crowd’s enthusiasm for her set even more. She started with “Sugar Water Cyanide” before leaning into more provocative techno and house music with explicit lyrics. She then went for more pop playing hits like Rihanna’s “Rude Boy” and Black Eyed Peas “Fergalicious”. She even played a remix of the iPhone ringtone, telling the crow it was their exes calling. Many were pleasantly surprised by her skills behind the decks, and it was great to see her mastering different elements in music.

The Caterpillar Garden tent is where all the House music fans camped and grooved for the weekend. One of the biggest names of the event was Chicago legend, Green Velvet. The energy in the tent was immaculate as fans waited to welcome Green Velvet back home. Once on stage, he wasted little time getting the mood right with speakers so loud you could feel the bass in your chest and cause your ears to ring.

The atmosphere was on point as actors on stilts danced by interacting with the front row, and a sea of bubbles fell from the ceiling. Green Velvet played unique blends of Pink Floyd’s “The Wall” and Sharam’s “PATT,” a modern mix of Eddie Murphy’s 80’s classic “Party All The Time”. Of course, it was only right for him to play “Percolator” and “Brighter Days,” two tracks that are synonymous with Chicago house music and pretty much the city’s anthem in the summer.

Alan Walker arrived to the Queen’s Domain stage to a huge ovation. The Norwegian DJ made sure to give the devoted audience by playing favourites “The Spectre” with vibrant aesthetics. He hit people in their feelings with “On My Way” and “Alone” before ending his set with the epic track, “Faded”. Fans stayed at the Queens Domain stage and rallied for Tiësto to close out the weekend, who started the set with his newest single, “Don’t Lose Your Head”. From there, he continued mixing trance with heavy bass with beautiful visuals and pyro that left fans in awe.

Beyond Wonderland Chicago is always a fantastic weekend to experience music. Even with past events getting rained out, fans continue to support the festival because we desperately need more EDM events at the beginning of summer. Since bringing the celebration to the Windy City in 2024, the festival has grown as a destination, earning the name of Insomniac’s marquee title.

Insomniac has shown its commitment to continue to expand the event by recently announcing the fest will be moving location to Chicagoland Speedway and will be a 4-day event starting in 2027! This will turn the event into a camping festival, something many have wanted to experience. While the event is a year away, we here at Quip can only imagine how big the folks of Insomniac plan to go with art installations and the lineup for the new location.

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Hailing from London, England, the Nova Twins were featured on our artists to watch list heading into the weekend, and they were absolutely a favourite. The duo represented female empowerment, strength, and undeniable talent. They took the stage with their guitars, distinctive rock-inspired outfits, their drummer, and an energy that commanded the entire space. Their outfits were also self-designed. Their song “Cleopatra” showcased confidence through their vocals, stage presence, and lyrics like “I’m a samurai, warrior, fighter; I’m a boss bitch. I’m Cleopatra”. Closer to the end of their set, the Nova Twins shared, “Thank you for coming to join us and enduring the heat with us. Are you f**king ready?” Other crowd favourites included “Monsters,” and they closed their set with “Glory”.

Left: Faith Nguyen for Vans Warped Tour. Right: Matty Vogel for Vans Warped Tour. Cover image: Brian Rappaport for Vans Warped Tour.

Vana, whose bio on her Instagram reads “pretty metal,” came full force with the sass, confidence, and intensity that title promises. This was her first Vans Warped Tour, and she definitely made an entrance with fans already screaming along to her songs and people crowding the barricade before she even began to perform. Her bright red hair and high energy carried through songs like “Pray,” “BEG!,” “SERPENTINE,” and more. Her laced black rocker outfit matched her charisma throughout the entire set. Not only was she singing, but she also incorporated sharp dance and kick movements that kept the crowd engaged.

HUE performed on the main stage and then gave a second intimate performance at the unplugged stage. They were also winners of the Ernie Ball Battle of the Bands, which earned them the opportunity to perform at Vans Warped Tour. HUE brought DC culture to the festival with rock, go-go, and funk rhythms. After the set, Quip had the chance to catch up with member AЯEJAY on their performance.

Orhun Uygur for Vans Warped Tour.

When asked what it felt like to bring DC culture to Vans Warped Tour, he shared, “It’s awesome. We’re authentically being ourselves, and we’re encouraging other people to authentically be themselves, and everybody’s like authentically being themselves together, enjoying it. That’s why I think it’s cool about our music, and like the DC flair that we have in our songs, like go-go and funk, it just feels good. It encourages everybody to participate.”

The takeaway that HUE wants for listeners is that “I want people to take away from our songs, from our show, from DC culture, the soul, the feel, the swing, the movement, and the swag. Just feel free to be yourself and put your own stank on it. That’s very much the HUE band experience.” 

Gym Class Heroes was another memorable set to witness at Warped Tour. Songs like “Stereo Hearts” and “Cupid’s Chokehold” had the audience singing and swaying along from start to finish. Singer Travie McCoy invited the crowd to join him in a two-step in his set, and the crowd followed his movements. He brought his signature rap voice to the stage, and the crowd gave it right back to him.

3OH!3 by Jamal Eid for Vans Warped Tour

3OH!3 performed on Sunday, and they brought nostalgia, attitude, and energy that was unlike anything else at the festival. If anyone else remembers the iPod era, or even LimeWire, you most likely had a 3OH!3 song on your playlist from their debut album WANT. The whole crowd was screaming along to every lyric and jumping up and down, with endless crowd surfing throughout. Other songs that brought back memories were “My First Kiss,” “STARTSTRUKK,” and their recently viral single “RICHMAN“. They interacted with the crowd with comedic comments and repped Boulder, Colorado, proudly. 

Their creative visuals also deserved a shoutout, in which they changed between a cabin theme, a “Welcome to Ballerado National Park” backdrop, their faces in a twilight setting, and more in true 3OH!3 personality. One of the most memorable moments came when Nathaniel Motte stopped to genuinely thank all the workers who made Vans Warped Tour happen, the backstage crew, and everyone involved. They ended with their famously known “Don’t Trust Me,” incorporating a breakdown section that had the entire crowd dancing and singing along. 

Faith Nguyen for Vans Warped Tour.

Not only was there music, but nonprofit organisations ranging from PETA to Loyal to the Craft and more had booths where attendees could learn more and get involved. There were also artist merch tents with some of the artists present in their tents, meeting and greeting fans. Skate culture is huge within the Vans Warped Tour experience, and aside from the music, festivalgoers could watch performances featuring vert ramps, Nitro Circus, and skaters and BMX riders doing tricks throughout the day.

Vans Warped Tour is a festival that everyone should go to experience in their life. You get a mix of skate culture, rock, emo, punk, and an array of genres and bands to listen to and discover. Also, the nonstop crowd surfing and mosh pits added to the atmosphere. Some of the artists bring nostalgia with songs people have loved since they were younger, and this is also a setting for discovering new artists in the scene. Washington D.C. was a great kickoff to the Vans Warped Tour as it’s headed to Long Beach, CA; Montreal, QC; and more. The Warped Summer is just getting started.

Matty Vogel for Vans Warped Tour.

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Friday got off to a strong start with queer favourite King Princess taking the Snapchat Stage in the afternoon. Despite the earlier time slot, fans showed up in full force as she performed a mix of favourites from across her discography, including “PAIN,” “Cheap Queen,” and “Prophet”. The crowd energy proved that an early afternoon set was no obstacle for a dedicated fanbase.

Del Water Gap by @okaynicolita and King Princess by Anna Downs. Cover image: Lorde by Rich Fury. Images courtesy of Governors Ball.

Over on the main stage, Del Water Gap also had a wonderful set on the main stage on the earlier side, but that didn’t stop his fans from jumping and singing along to “Perfume” or “Ode to a Conversation Stuck in Your Throat”. The Dare brought one of the highest-energy performances of the entire festival. Many attendees agreed that seeing him perform in broad daylight felt unusual compared to the dark clubs and underground venues where his music thrives, but he still managed to create an electric atmosphere. Fans were jumping, screaming, and fully immersed during songs like “Eastside Girls” and “I Destroyed Disco”.

KATSEYE by @okaynicolita, image courtesy of Governors Ball.

KATSEYE brought a noticeably younger crowd, with many parents attending alongside their kids, creating a different atmosphere than some of the festival’s other sets. However, the group’s choreography and vocals completely won over the audience. Watching all five members constantly moving, singing, and perfectly coordinating on stage felt almost effortless — a true display of their performance skill.

Baby Keem and Lorde were major highlights of Friday, closing out the night with massive crowds ready to sing along to every favourite track. Fans erupted for tracks like “family ties” and “The Hillbillies,” turning his set into one of the most energetic moments of the day.

Baby Keem by Rich Fury. Image courtesy of Governors Ball.

Lorde by @okaynicolita and Anna Downs. Image courtesy of Governors Ball.

Lorde’s performance was one of the most anticipated sets of the weekend, and she completely lived up to the hype. Taking the stage with her signature emotional intensity, she created a more intimate atmosphere despite performing for one of the festival’s largest crowds. Moving between newer material and fan favourites from throughout her career, Lorde had the entire audience singing along to songs like “Royals,” “Green Light,” and “Ribs”. Her ability to make a massive festival stage feel personal was one of the standout moments of Friday night, closing out the day on a powerful and emotional note.

Saturday proved to be more unpredictable than expected, as weather conditions impacted the evening performances. The day started beautifully, with clear skies, sunshine, and a refreshing breeze keeping festivalgoers comfortable. 2hollis delivered an incredible set, even ending shirtless to the crowd’s excitement. Ravyn Lenae and Wet Leg also gave standout performances. Ravyn Lenae’s vocals were especially impressive as she performed favourites like “Bad Idea” and “Love Me Not,” while Wet Leg had a packed crowd singing along to hits like “Wet Dream” and “mangetout”.

Unfortunately, thunderstorms disrupted the evening schedule, forcing several changes to the lineup. Some artists were moved to earlier time slots, while others were cancelled or rescheduled. Kali Uchis fans experienced the biggest disappointment of the weekend when her entire performance was cancelled due to the incoming storms.

Major Lazer was moved to the Snapchat Stage, while Stray Kids were moved into an earlier slot. Stray Kids quickly became one of the most talked-about performances of the festival. Marking the first time a K-pop group headlined Governors Ball, the group brought one of the most dedicated fanbases of the weekend. Many fans waited throughout the entire day to secure front-row spots, and their commitment paid off with a high-energy performance. Those who stayed until the end also braved the severe summer thunderstorm that hit Queens just minutes after their set concluded.

Sunday brought a return to sunshine and celebration, beginning with Hemlocke Springs, who captivated the crowd with her ethereal vocals and infectious energy. She performed primarily songs from her debut album the apple tree under the sea, ending her set with “be the girl” and a heartfelt message about growth, change, and embracing new chapters in life.

The sunny weather did briefly disappear when a short rain delay affected Slayyyter’s performance, cutting her set about 15 minutes short. Fans were devastated, chanting “Justice for Slayyyter!” even after the performance ended. Thankfully, her team came prepared, throwing out Slayyyter-themed flags that doubled as rain protection for the crowd.

A major highlight of Sunday was Governors Ball successfully rescheduling Blood Orange for a new festival time slot. Jennie also drew an enormous crowd, further highlighting the growing presence of K-pop at the festival. Alongside artists like Stray Kids and KATSEYE, she helped bring a more international feel to this year’s lineup compared to previous years.

The final night was especially meaningful for New Yorkers as Harlem native A$AP Rocky headlined the festival. His performance was a massive production featuring a helicopter, dozens of dancers, and a dramatic SWAT team-inspired visual moment. He closed out the weekend with a hometown celebration that perfectly capped off another successful Governors Ball.

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Entering the venue, concertgoers were welcomed by various food and beverage stands and activations, serving up everything from Aperol Spritz to canned margaritas and international beers in a fun and colourful setting. The Amphitheatre bandshell is extended by a green grass lawn on which many festival goers spread their blankets for a full day hangout. The stage visibility was amplified by three large screens zooming in on the performance and regularly spotlighting the crowd. The audience was as diverse as the lineup, with many fans dancing through entire sets, wearing branded artist merch. 

Holly Humberstone by Respective Collective, Serena Yang. Image courtesy of All Things Go.

On Saturday afternoon, the audience was treated to a handful of performances ahead of Kesha’s headlining set. English singer and songwriter Holly Humberstone brought her flavour of guitar pop music to the stage. Dressed in what felt like a white tutu, Humberstone gleefully worked through her latest record, Cruel World, to a cheering crowd. Her performance was followed by another English singer-songwriter, Rachel Chinouriri, who got even more people up on their feet and surely plenty of new listeners on her music streams. 

Accompanied on stage by a drummer and a guitarist, Chinouriri ran out on stage with explosive energy. Her stage presence is engaging and captivating, enhanced with candid stories about her work, like the latest album being a “trauma dump” from past relationships. Chinouriri’s set was a mix of songs from her debut studio album, What A Devastating Turn Of Events, and in-between singles like “I’m Not Perfect (But I’m Trying)” and “What A Life”. 

Rachel Chinouriri by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Sunday afternoon kicked off with bright sunshine, welcomed the girls with flower clips and electric tape tube tops, along with dads in Hawaiian shirts and sun hats, to the Amphitheatre grounds. Canada’s Jade LeMac, a self-taught piano and guitar player, was a vocal highlight for the day. Her subtly gentle set was followed by an energetic performance by Del Water Gap (aka Samuel Holden Jaffe). After a brief instrumental opening, Samuel Holden Jaffe stormed out on stage in jeans and a blazer with blacked-out eyes. A true indie-pop heartthrob, Del Water Gap had both men and women dancing and singing along to their entire set. Jaffe engaged the crowd on multiple occasions, expressing his gratitude to the attendees and prompting them to play along. 

Jade LeMac by Respective Collective, Serena Yang. Image courtesy of All Things Go.

The biggest highlight of the weekend was a highly anticipated performance by the Isle of Wight’s English indie rock band Wet Leg. Founded in 2019 by Rhian Teasdale (vocals, guitar) and Hester Chambers (guitar) the band also includes Josh Mobaraki (guitar, keyboards), Ellis Durand (bass), and Henry Holmes (drums). Rhian Teasdale, dressed in a petite signature outfit, took front stage, diving into the set from the deep end with “catch these fists”. The crowd stood up and stayed up for the rest of the night. The set, one-by-one, went through the songs on the moisturizer, most of which a healthy portion of the attendees knew the lyrics to by heart. The set was really only interrupted to point out the shirtless superfine – a “bunch of dudes” – with “WET LEG” painted across their torsos, who were more than happy to be in the spotlight on the big screen. 

Wet Leg by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Lorde’s closing set was a performance of all kinds. The stage had multiple moving parts, shapeshifting into objects and glass boxes. This was Lorde’s second appearance at All Things Go, so she knew exactly what hype this fan base would bring and brought her whole self to the stage. Her set included all-time favourites like “Royals,” “Ribs,” “Buzzcut Season,” and a wealth of songs from her latest album, Virgin. “This is my second All Things Go! I’m trying to catch them all. It’s a Pokémon situation for me. This is, without a doubt, the coolest festival in North America,” Lorde shared.

Lorde by Respective Collective, Serena Yang. Image courtesy of All Things Go.

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This year, a must-attend event was sponsored by Warner Music, who took over the iconic La Casa Del Pueblo Supermarket in the Pilsen neighbourhood. Turning the grocery store into an exclusive club was a trip to witness. Walking through the entrance, you saw every Latin flag represented. A DJ booth was set up in the produce section, spinning classic hip-hop and reggaeton, food served over the carneceria counter, and drinks and photo booths spread throughout the store. It was a great space to connect with other creatives and brainstorm collaboration ideas. 

Excitement was at an all-time high on Day 1 as the weather finally allowed summer attire. Devastating storms interrupted the festival in the past, so we all watched the forecast vigilantly. Luckily, Danny Ocean was on stage to provide the good vibes with “Me Rehúso”. The Venezuelan singer performed a few tracks from his Babylon Club album, such as “Vitamina” and “AyMami”. He even surprised the audience by doing a brief cover of Maná’s “Oye Mi Amor”.

Clouds took over the city skyline, causing a hazy fog, which was the perfect backdrop for Kali Uchis, who arrived on stage in a white carriage. Her backup dancers waved white feathered fans add to her angelic elegance. Kali’s aura was on point, melting our hearts with “Moonlight”. She made sure to play plenty of tunes, getting the crowd twisting their bodies to “Labios Mordidos” and “Sad Girlz Luv Money”. Kali hit the nostalgic emotions when she performed the deep cut “Loner” before singing her breakthrough collaboration tracks with Tyler the Creator, “After the Storm” and “See You Again”. It was only right for Kali Uchis to end her magical set with “Telepatía”.

J Balvin had closing duties for Day 1, and he has more than enough tracks to carry the excitement to the end. The Colombian singer is one of the biggest artists in the world, and his performance was a good reminder of why. He opened with tracks from Colores, and all the pyro and backup dancers added to the atmosphere of his superstardom. This set was a reminder of the many ways J Balvin has left his mark on the genre, including his many collaborative tracks with artists Cardi B, Bad Bunny, Ryan Castro and DJ Snake. J Balvin rounded things up with some of his first big hits like “Ay Vamos,” “Mi Gente,” and “In Da Getto”.

Day 2 carried through with the same energy, fans exploring the different stages and photo pop-up opportunities. One key component organisers have done to facilitate a better flow of traffic is introducing 2 smaller stages, allowing DJ’s to keep the party going. One DJ everyone was hyped to see was Deorro at the La Fuente Stage. The Mexican-American DJ has had success in the States for his ability to give his audiences the right blend of Latino dance tracks with modern American pop music. His most famous track, “5 More Hours”, for example, is done in collaboration with Chris Brown. He even brought out the iconic Mexican Norteño band Los Tucanes de Tijuana for their song “Yo Las Pongo,” which is a unique mix of old school traditional Mexican style with new age electronic.

Speaking of Los Tucanes de Tijuana, they performed an outstanding set at the main stage to a beautiful ovation. Being around since the 1980’s, many of us grew up listening to Los Tucanes de Tijuana from our parents. It was wonderful seeing them arrive and getting the love they deserve. Songs like “El Centenario” remind us of family parties with our uncles blasting the tune on broken speakers at full volume. Nothing was more fantastic than seeing thousands of people dancing to the Mexican favourite, “La Chona”.

Sueños Music Festival continued to respect Latin music legends by showcasing Reggaeton pioneer Yandel. Since the duo of Winsin Y Yandel decided to go their separate ways, Yandel has continued to tour to promote his solo albums with an orchestra. Led by conductor Javier Jose Mendoza, the orchestra adds another layer to Yandel’s classic tracks while showing he still has plenty of new music to share. Haunting violins opened for “Puño De Tito,” with Yandel matching the intensity with his flurry of verses. Songs like “Teléfono,” “Rakata,” and “Pam Pam Medley” were given new life with the background ensemble while keeping the archetypal bass and drums Reggaeton is known for, allowing Yandel to evolve even after all these years.

Finally, the festival wrapped up with Fuerza Regida. The Mexican American band had the crowd excited with one last big hoorah, but it wasn’t without its issues. Immediately, it seemed lead singer Jesus Ortiz Paz struggled with his microphone for the opening of “Marlboro Rojo”. They were able to recover by bringing out artist Chuyin for “Pues Ya Ni Pedo,” which the ladies screamed when the shirts came off. Ortiz had another mishap when he fell on his ribs at the beginning of “Excesos,” but the fans picked up the lyrics while he regrouped himself. Overall was a small blight on solid performance as they finished with “Cuando No Era Cantante”. 

Sueños Music Festival is the Latino music festival to attend every year. It is truly inspiring to see how this festival has grown since its inception just a few years ago into what it is today. In its 5-year span, it has brought together the community not only in Chicago but throughout the country. Meeting people from out of state, excited to not only experience what the city has to offer, but what Sueños Festival has come to represent, is fantastic. We here at Quip Magazine are grateful to have been there since the beginning. Here’s hoping for another 5 years! 

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On the first day, many festivalgoers seemed to arrive as soon as work allowed them. Clocking out and rushing to the beach felt like you were trying to catch the last wave of the day. Once inside the festival grounds and grabbing a quick beverage, fans immediately headed towards the High Tide stage to see Grouplove. It was the perfect scene to let the sun set after a long day. They featured some new tracks, giving us a glimpse of what to expect from the upcoming album.

Once Grouplove finished, everyone ran to the Low Tide stage to find a good spot in the sand for The Chainsmokers. Crammed like sardines, people pushed forward, some even climbed on a statue trying to get the best view. This set certainly catered to the younger crowd, and boy, did The Chainsmokers deliver. The energy was immaculate.

The electronic duo, Andrew Taggart and Alex Pall, wasted no time getting the crowd hyped. They started with dancehall classic Fuzzy Jones “Dust A Sound Boy” to match the oceanic scene before blending into Basement’s “Where’s Your Head At” to keep the intensity high. Their setlist featured Disco Lines’ “No Broke Boys,” Kelis’ “Milkshake,” and the mashup of Mac Miller and Empire of the Sun’s “The Spins”. The Chainsmokers’ entire set had everyone dancing. They had to flex by playing their new collaboration track with John Summit, “ALL THE TIME,” before playing “Paris“.

Saturday started with easy-going vibes. At this point, seeing Sugar Ray at BeachLife feels like a tradition. It’s not a bad thing because fans always love seeing them live to witness them perform “Someday,” “Fly,” and “Every Morning”. Poolside continued the good times by playing a cover of Beastie Boys’ “Sabotage”. Poolside kept things groovy with “Around The Sun” and being on the High Tide stage played “High Season”.

There was a huge ovation when punk icon Joan Jett and The Blackhearts arrived. Rocking all black with a leather jacket and shades to match, Jett took control of the crowd with her stage presence. Fans of all genres can appreciate Joan Jett and The Blackhearts as they played songs off the revolutionary album I Love Rock ’N’ Roll, including the album’s title track. Jetts songs have been sung in karaoke bars for decades, encouraging the audience to sing along with “Cherry Bomb” and “Do You Wanna Touch Me,” before finishing her set with “Bad Reputation.”

The Offspring had the honour of closing out day two. The California natives felt the love from the locals cheering them on. They wasted little time with an introduction as they started off with “Self Esteem”. An inflatable skeleton and psychedelic sugar skulls displayed on the LED screen matched The Offspring’s cover for their album Smash. The Offspring got a little mosh pit going for “Bad Habit” and “All I Want”. The band celebrated their set with “Pretty Fly (For A White Guy)” for which they brought out the actor from the music video, Guy Cohen, who still looks, they say, as when the video debuted on MTV.

The best was definitely saved for last, as many fans flocked to BeachLife to see Sheryl Crow. The area was absolutely packed, making it hard to squeeze through the fans that camped out. There’s something simple in her tunes that audiences of all ages could appreciate. Her fun-loving, laid-back tunes can be somewhat cheesy, but there’s nothing wrong with it. With her signature guitar strapped over her shoulder and amazing harmonica skills, Crow performed fan favourites like “If It Makes You Happy” and “All I Wanna Do” before ending with “Soak Up the Sun,” putting a cap on the perfect weekend. 

BeachLife continues to bring out the best acts to Redondo Beach. However, this year was extremely crowded compared to past years. While there were some pop-up shops to check out, it was difficult to navigate through the swarm of people pushing in opposite directions. Still, BeachLife hits the main essentials that make us want to come back: scenic atmosphere and, of course, the best music in the last few decades.

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Enviornment images by Brandon Densley for Skyline. Cover image by Jamal Eid for Skyline.

The production overhaul this year was the most striking change beyond the venue itself, and each stage was visually stunning in a way that felt intentional instead of decorative. Our four venues here are Eastside, Westside, Downtown, and Arts District, all repping a distinct style and only a stones throw away from their actual namesake. Naturally each was designed to serve the particular energy of the acts they nurtured. 

Eastside leaned hard into a techno-industrial aesthetic that drew from the actual power lines, metallic and harsh geometry it was pocketed between. Downtown and Arts District operated similarly. The former, hosted in partnership with Resident Advisor, leaned experimental and selective. Arts District championed local and rising talent, giving the festival’s community roots a physical stage. Together the four stages morphed together like Voltron and created something greater than each part individually. 

The line up was a blur, and I found myself unfamiliar with most of the artists featured this year. It was a learning experience that I admit was a bit daunting, especially walking into the festival grounds. Quickly though, I learned. Danny Daze and Ryan Elliott brought the kind of complementary chemistry that B2Bs promise but rarely deliver. Two selectors with distinct sensibilities trading off in a way that felt conversational albeit a bit competitive as well.  Beltran, over on the Eastside stage, spun with rhythmic confidence, with a great track selection. 

Adrián Mills brought an explosive energy: channeling trance and bass influences into sets that felt propulsive and alive. I Hate Models has been blowing up the past year, and their urgent and powerful set was dangerously close to gabber than I thought they would dare.

It was Eli Brown on the Eastside stage for me though that took the evening. Weaving together trance, bass, and classic house records with a sense of narrative that DJs only manage in their best club sets. Pyrotechnic-lined transitions, the crowd responding in real time to the build-release, and everyone in that space knowing they were adjacent to something special. Brown played like someone with something to prove and by the end  it was beyond a shadow of a doubt. 

Gay Felony‘s vinyl-only set at the Arts District stage was massive. At the risk of sounding like everyone on Earth, there’s something magnetic about watching an artist work with wax. The deliberate physicality of it, the commitment each selection requires. It’s terrifying. Gay Felony made that format feel like a statement: a warm, textured, bouncy and deeply engaged set with raw craft at the forefront.

Gay Felony by Scott Hutchinson for Skyline.

Skyline’s greatest asset this year was the crowd. Every person I met over the weekend was open, friendly, laughing and genuinely happy to be there. There was a sense of mutual care running through the whole event: people checking on each other, sharing water, sharing dances and lighting up the blackened sky. The festival felt safe in the way that the best underground parties feel safe, not for lack of heavy-handed security but because the community itself holds the room. Los Angeles is all right, man. Everyone was there for the music, and that shared purpose created something that’s hard to manufacture. Skyline’s fifth anniversary was a rebirth. The move to Ace Mission Studios gave the festival more of an identity, and it added up to something that felt unmistakably like Los Angeles. The underground culture Skyline was built to celebrate. 

I walked out in shambles. Ringing ears and sore legs, completely shattered to the core. Dead to the world. Catch you next year.

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Friday started strong with 10x Latin Grammy-nominated duo Ca7riel y Paco Amoroso, who brought their viral Tiny Desk energy straight to Miami. They’re a fun duo with contagious energy that cannot be compared to any other artist. One moment you’re singing along to the lyrics, the next you’re jumping, and suddenly Ca7riel’s twerking while Paco’s marching across the stage. Their set included hits like “Dumbai,” “Mi Deseo,” “Sheesh,” and of course “#TETAS”. The duo are performers with no playback. It was a dream to finally see them, and well worth the wait.

At the Sector 3 stage was Villano Antillano, who turned her set into a statement. Dressed in a prisoner suit, she opened with a powerful message: “I decided to show up here today dressed as a prisoner because every time I step foot in this country, that’s exactly what I feel. A prisoner of misunderstanding, a prisoner of discrimination, a prisoner of fear, at times, because most times, I don’t let fear get to me, I f** that b** up; we are gonna have a lot of fun tonight.” Representing Puerto Rico’s trans and queer community, she also reminded everyone that her music is part of a global movement, whether people like it or not. Antillano performed one of her hits, “Ride or Die,” alongside her rap-heavy singles. 

The nostalgia hit hard when Sean Paul took the stage, being the only dancehall act at the festival. Hearing “Temperature” and “We Be Burnin’” live was such a huge throwback to my elementary school days, and the whole crowd sang at the top of their lungs. He also performed his newer collaborations, such as the “Ba Ba Bad” song by Kybba, in which he brought out influencer Isabela Ladera to come dance with him on stage. Another highlight was that Sean Paul performed his notable collaborations, including “No Lie” with Dua Lipa, the “Bailando” English Remix with Enrique Iglesias, December Bueno, and Gente de Zona, adding Latin flavour. His backup dancers were on another level too, a highlight of his performance with great choreography and energy. 

At the Grand Central stage, Chuwi represented Puerto Rico proudly. If the name sounds familiar, they were featured in Bad Bunny’s “Nadie Sabe Lo Que Va a Pasar Mañana” on “WELTiTa”. The crowd waved flags, sang every line, and celebrated how far Puerto Rican music has come. With their own Tiny Desk performance now live, Chuwi is proof that the island keeps producing stars.

Later that night, I found myself at the Halo 88 stage for a B2B with Miami DJs Pressure Point and Mr. Bitch, part of a lineup curated by Pressure Point himself. It was a mix of Miami bass, trap, and a blend of genres. From the song “Knuck If You Buck” to songs by Tre Oh Fie, it felt like a love letter to Miami’s underground scene. Pressure Point celebrated his birthday during the set, and Halo 88 was a whole sonic journey that repped local sounds.

Day two began with Miami’s MOLD!, which brought punk and political energy, blending psych rock with Latin sounds while advocating for immigrant rights. Later in the evening came Turnstile, a standout surprise for me; their hardcore punk sound is electric live. A highlight of this band was when they came down to the barricade and greeted all their fans in the front row. Shaking their hands, hugging them, and thanking everyone for coming. That had been the most genuine thing I’ve ever seen an artist do.

Another standout moment from III Points was the first-ever orchestra on festival grounds. Mita Gami and Meir Briskman made their Miami debut, combining classical and electronic music together. They brought their entire orchestra, and the crowd was in awe of the violins and the live performance. This did not disappoint.

Other DJ sets I enjoyed on Saturday were Black Coffee’s set, which was out of this world. When he dropped a remix of Bad Bunny’s “NuevaYol” with his signature Afro-house touch, the crowd sang along and cheered. At the Suero area was DJ and producer Tayhana showcasing her Latin roots through Latin house and blending cumbia rhythms and more.

III Points really turns up for Miami and gives all music genres a stage to showcase their talent. Yes, you can rave, but then you can also enjoy a good rock band or even a Latin stage and other music to choose from. It’s a multi-genre festival that gives a space for every music fan.

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Plenty of fans brought their kids along to share the experience of seeing their favourite bands. At first, it felt surreal seeing tattooed and pierced adults pushing babies wearing protective headphones in strollers at a rock festival. It made sense though, a lot of these bands are older and their diehard fan base reflects that. Since it was more family-friendly, the festival grounds also needed a change in scenery. The carnival was still there with a Ferris wheel and rides, but the classic “freak show” attraction had been removed in place of a normal video game arcade. There was also a wedding chapel for those who wanted to get fake married. The festival brought a “Quick Stop” convenience store from the Clerks movie series to life to purchase snacks. Lastly, there was a Riot Fest history museum showcasing posters of past lineups, a shrine honouring John Stamos, and autographed gear from musicians. 

On the first day, the Rise Stage title was briefly changed to “Weird Al Yankovic’s Weird World Stage”. A traffic jam made things more hectic as patrons were trying to leave to see Blink 182 as others crammed in like sardines to see Weird Al. It caused mass hysteria and a struggle trying to see someone play their accordion. Nevertheless, Yankovic took centre stage and quickly played a polka medley of popular pop songs. Afterwards, he quickly disappeared for a wardrobe change with a video package playing an excerpt of his biographic movie, Weird: The Al Yankovic Story. After the video clip, Weird Al returned dressed as Kurt Cobain to play his Nirvana parody “Smells Like Nirvana”. It will be the closest most of us will get to seeing Nirvana live, so we moshed in the band’s honour. Weird AL continued changing clothes while displaying video packages such as his history in appearing in animation series and interview parodies. Weird Al is truly a legend, doing this for 40 years, and a pioneer of going viral before the Internet existed. 

The Rebel Stage struggled with noticeable technical audio difficulties. It took the stage crew a long time to diagnose the issue leading to restless fans during Hanson’s set. It was made worse when the Hanson brothers themselves were visibly annoyed that they were behind schedule. Waiting 45 minutes to hear “MMMbop” really wasn’t worth it, but come on Hanson, give the crew a break. That led to Gym Class Heroes session to fall behind as well. What was more heartbreaking is to have Gym Class Heroes being the only hip-hop representation on the lineup. Riot Fest usually has solid rap artists like Wu-Tang, Cypress Hill, Public Enemy, and so on, but having no such acts was a letdown. However, the best act at the Rebel Stage was GWAR.

At this point, GWAR is a welcomed mainstay at Riot Fest every year. They put on a hellacious performance with impressive stage production. This year was no different as they caught national attention for slicing the belly of a Trump figure, spraying blood on the poor souls in the front row. This is what GWAR does. They’ve made similar sacrifices to Obama, Hillary Clinton, Elon Musk and other political figures. If you can’t handle it, get out of GWAR’s way!

One big announcement Riot Fest had on the lineup was The Beach Boys. To be clear, this isn’t Brian Wilson’s Beach Boys but cousin Mike Love’s version. Though Love is an original member, he also isn’t the most well-liked member for his political endorsements, atrocious treatment of Brian Wilson and notorious Rock and Roll Hall of Fame speech. However, the hype for The Beach Boys appearance was about seeing the temporary drummer, John Stamos. For years, Riot Fest has prodded the actor to come attend the festival by making him statues, look-alike contests, and selling John Stamos masks. It was a full circle moment seeing the “Full House” star on stage. He thanked the Riot Fest family for keeping him humble and trolling him all these years, but he’s getting paid to perform, so he had the last laugh. The performances themselves were lacklustre as Mike Love mumbled his way through classic hits, “I Get Around,” and “Good Vibrations,” but girls erupted whenever Stamos took centre stage.

One of the best newcomers was Lambrini Girls. The duo of guitar/vocalist Phoebe Lunny and bassist Lilly Macieira immediately impressed with their stage presence. Lilly wasted no time jumping into the crowd, making everyone sit down to acknowledge the rules of mosh pits and helping any fallen fan from injury before hopping back on stage to perform “Bad Company,” “Big Dick Energy,” and “Cuntology 101”. They definitely gained some new fans with their music, but got everyone’s respect when Lilly wore a “Fuck Ice” shirt, giving a brief speech that US citizens need to fight against a fascist government.

Lastly, the band that brought the high energy was All Time Low. Crazy to think a band we’ve been listening to since junior high is dropping a new album next month. Being on tour for their latest album, Everyone’s Talking, All Time Low have been rocking out for almost 20 years. They did a great job giving fans a glimpse of what to look forward to on the new album with songs like “SuckerPunch” and “The Weather”. However, they knew to balance it with the nostalgic hits like “Dear Maria” and “Remembering Sunday,” taking us back to our youthful days and holding onto the dream. 

Riot Fest is always a great time. Every year, fans look forward to ending the summer with a bang, and the festival always delivers. The Riot Fest crew are always welcoming and helpful in every way. The lineup is usually a mix of punk rock or those who have made it to mainstream. This year was a celebration of the festival’s 20-year existence. While it didn’t feel as hectic as past years, that’s not necessarily a bad thing. The bands and fans were more mature. The leaves room for new bands and fans to take over and shake up the scene.

Can’t wait to see what the next 20 years will bring.

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