Outside Lands 2025: 15 Instant Set Reviews

I’m no stranger to Outside Lands, having only missed two iterations of it since its debut in 2008 (2010 and 2021 for those keeping score). I’ve seen a lot of changes, and I admit that I miss a few things that have gone away, such as the Barbary tent and the craft vendors in the Polo Fields. But, in return, the addition of the Dolores’ stage, spotlighting SF’s rich legacy of LGBTQ culture and arts, as well as the gorgeous Duboce Triangle stage, has been a welcome addition. This year, in particular, felt like the “nicest” Outside Lands has ever been. People were kind and polite. Taller folks were letting shorter folks in. I lost my water bottle leaving a set, and a kind woman RAN AFTER ME TO GET IT BACK TO ME! I’ve never hugged more strangers, and it was all just so very lovely! Also, everywhere I went, I saw a young person with “Fuck Ice” written on their clothes, or a Palestinian flag, rainbows, “No Kings” attire, etc- For those believing the hype that Gen Z is all conservative and MAGA, that certainly wasn’t what was happening in the park this weekend. Truly, Outside Lands 2025 was a welcome respite from the real pain the world is feeling right now. 

 

 

There’s a particular “sound” from the early part of the century… It was a blend of modern / Swedish-produced pop music and guitar-centered power pop… Acts like Kelly Clarkson and Fefe Dobson played this brand of music. Alemeda managed to perfectly encapsulate this sound, bringing just enough modern swagger to her set to sound fresh and not just a nostalgia act.

 

 

I only spent a little time here- Vanessa May of local folk trio Rainbow Girls acted as MC and “hype man” for the different folks that signed up ahead of time to play a song for the early Friday attendees. It was a warm and inviting stage, and not every act blew my mind. It felt good to see “normies” in the park.

 

 

Savior performed a pitch-perfect set, with her nearly perfect band playing lush, cinematic ballads accompanied by golden age of cinema film clips behind her. It was an excellent set that I would’ve enjoyed immensely at dusk. But I wasn’t ready for it.

 

 

Holy mackerel. Outside Lands has been gradually adding more feminist punk to their lineup- last year’s underscores and Amyl & The Sniffers were great. But Mannequin Pussy may have been the first true Riot Grrl act to play this thing. Singer Marisa Dabice is a dynamite performer who was unafraid to speak her mind. And by this, she put her whole self into talking about poverty, the importance of honoring the working class, being a faithful ally, ending global genocide, respecting each other, etc. And she did it with such an intense command and delivery that it sank under the skin.

 

They also managed to get the most enormous circle pit OSL has seen outside of Metallica.

 

 

Nope. No Beck cameo. Yes, it was about the wildest jazz trio set you could imagine in a massive rock concert setting. Thundercat and his drummer, Justin Brown, jammed without meandering and pulled back into the “hits” just enough for the folks that needed a solid hook. But, even though we were treated to “Dragonball Durag” and “Them Changes,” I really wanted the two to simply keep shredding.

 

 

Still Woozy was the odd band out today. Bedroom pop seemed out of place between the hip hop and punk that drove the mainstage. But they managed to bring probably the best mixed festival set I’ve ever experienced and even converted a few Doechii and Doja Cat hardcores that had been camping out since 11 am for their spots in the barrier.

 

 

What can I say about Doechii that hasn’t already been said? She’s flat out amazing. Every second, every expression, every piece of choreography was flawless, with feeling forced or contrived. She played equally to the cameras and the crowd, breaking, and even used her dancers as cinematographers in a way that I’ve never seen before. I understand why her Bill Graham Civic show in November sold out in a sneeze, and if you could help me out with a ticket, I’d be forever grateful.

 

 

I’ve seen Beck so many times. Probably a dozen over the years? I didn’t think he had a “new” way to impress me. At first, I was a little cynical about Beck doing a set of Morning Phase and Sea Change material with an orchestra, thinking it would be too mellow. But I was tired and wanted to sit on a hill and eat pizza, so this seemed like a good choice for a bit. Instead, I got the actual best Beck show I’ve ever been to. Like, it was PERFECT. His voice has never sounded better. We got “Tropicalia” live, which I’ve wanted to happen for years. We were treated to his most intense, emotionally direct songs. We also got a version of “The New Pollution” that felt more like a Danny Elfman fever dream than anything. He was dancing and bubbly, and it was excellent.

 

But the part that really ruled- when the orchestra left, Beck grabbed an electric guitar and played the most face-meltingly ferocious version of “Devil’s Haircut,” accompanied only by a keyboardist, bassist, and drummer. It was big and heavy, and I WANT A FULL SHOW OF THIS BECK. I want more Guitar Hero, Jon Spencer-inspired Beck. He then grabbed an acoustic guitar and a slide and closed the whole show out with the most blistering, nasty, blues stomp version of “Loser” you could ever imagine. The crowd gave back all the energy and then some. I didn’t want this to end. I was seeing a newly revitalized Beck. It felt like a treat we practically didn’t deserve.

 

 

Kate packed the intimate Duboce Triangle stage (or “dub-ouch” as a heard someone mangle it). It was such a nice, easy, and ever-so-breezy set. She didn’t say much, but she didn’t need to. Everyone was bobbing in unison, enjoying her cerebral twee pop in the woods and fog.

 

 

Jazz is really hot this year, it seems. Wasia Project brought in sexy piano jazz, soulful vocals, and just a touch of Billy Joel for good measure. Singer Olivia Hardy is such a presence. She moves like water and emotes with her whole body. Spectacular set.

 

 

Before today, I was pretty Ludacris neutral. I had Word Of Mouf and enjoyed it. I was not expecting to take in a full hour of wall-to-wall hits that I could recite every lyric to. 25+ years into his career, and he still looks and sounds the same. His flow is nimble and quick, his stage presence is off the charts, and he may have been a little corny with his song intros (asking what area code we are in before doing “Area Codes,” etc), but I’m a full-on convert. I’m gonna be there front and center next time Luda comes out on his own.

 

 

My least favorite trend in hip hop is the “just one guy alone” performance type. It takes a real, dynamic performer to pull it off. I last saw Tyler when he was just a piece of Odd Future, and I knew he did the “1 guy alone” thing, and was a little worried. Happily, he managed to pull it off. He dances like a maniac and engages directly with the crowd. And, of course, the crowd was on fire. Everyone knew every line, including tracks off the three-week-old Don’t Tap The Glass. Tyler, the Creator, is a rare breed. The type of performer that only comes along once in a generation.

 

 

This Big Freedia performance was unlike any set I’ve ever seen her do. She did not have her usual squad of dancers; there was very little actual ass shaking, and there was no climbing the rafters. Instead, she had two classical dancers, a full band, and California’s most iconic choir doing what could only be described as a Sunday morning Gospel service. It was an utterly profound experience- Freedia sang, like REALLY SANG from the heart, gave praise to her community, the people that supported her, and it was such a gorgeous, outpouring of love. Although I still love a good bounce set, this was pure magic. 

 

 

Lexa Gates came out onto the Dubuce Triangle stage a little perplexed by the size of the crowd. She said, “OH! I didn’t think anyone would be here. I was thinking this would be more like a soundcheck. I can’t believe how many of you showed up!” I admit that Outside Lands doesn’t usually program the same act multiple times, but it worked out nicely for me to have options, and the stunning, intimate confines of this new stage worked out nicely. We were deep in a grove of trees, and Gates got the crowd moving nicely with her mellow, jazzy flow that was 100% inspired by fellow NYC icons A Tribe Called Quest. 

 

 

All I can say is <swoon>. Orla Gartland is having a bit of a moment, selling out shows all over the country with her danceable guitar pop. Her audience pogoed maniacally, and managed to get the last few folks that weren’t singing along to get their pipes active to a driving, arena rock take on the Chappell Roan standard “Red Wine Supernova.” Two days later, I’m still singing “Late To The Party” to myself under my breath. Such a great song and such a smashing performer.