Day Two started in a way that was almost upside-down. Instead of easing in with smaller acts and building to a headliner, the day opened with Vampire Weekend at Twin Peaks. It’s rare to see a band of their size and stature in an opening slot, but the crowd was ready. Ezra Koenig
and company wasted no time, breezing through a set that was tight yet relaxed: “White Sky,” “One (Blake’s Got a New Face),” “Sunflower,” “Diplomat’s Son,” “Stranger,” “Oxford Comma,” and “Run,” before closing with a Bob Dylan cover, “Jokerman.” Ezra cracked jokes about their
upcoming night set being “completely different” and teased that maybe bands could get sued for repeating songs. It was a fun, winking way to set the tone for the day. It was lighthearted and brimming with good energy.

After their set, I took a short detour to check out the GAP activation and stop in for media happy hour before grabbing lunch. I also sat down for an interview with Flipturn, which you’ll be able to read soon.

Flipturn’s set came not long after, and seeing them again felt was full-circle moment. The first time I caught them was at The Bellwether in Los Angeles—one of the first shows I covered as a music journalist. They were a ton of fun back then, but now? They’ve leveled up. The crowd was
bigger, the energy was higher, and the band’s magnetism was undeniable. You could feel it in the way they played off each other and pulled the audience in like an undertow. They’re a can’t miss band.

I caught the tail end of Bakar’s set next. He’s been making waves in the UK for a while now, and you can feel him building that same momentum here. Down-to-earth and easy to like, he had the crowd losing it for “Hell n Back”—so much so that they ran it back a couple of times just to
let the moment ride.

From there, I slipped into the last part of Sarah Kinsley’s set. She’s one of those performers who radiates effort and care in everything she does, and it shows. The first time I saw her was at the Troubadour about a year ago, and even in this short glimpse, it was clear she’s grown even
more polished and assured on stage.

Tyler, The Creator at Outside Lands 2025 photo by David Saxum

Then came Ludacris, who proved that no matter how much the music landscape changes, a great hook and pure charisma never go out of style. He fired off hit after hit, mixing in playful crowd battles—“which side is louder?”—and even dropping “Baby” by Justin Bieber. I didn’t expect to hear that live in 2025, but the crowd went with it. A cathartic listening experience. Gracie Abrams followed with a set that was so intimate yet still incredibly massiv. For such a young artist, she’s already stacked with hits, and her fans sang every word like scripture. The highlight came during her piano set—a soft, glowing moment in a day otherwise fueled by constant motion.

Tyler, the Creator closed out the night, and if anyone knows how to end a festival day with a bang, it’s him. His set pulled from across his discography—old and new—with a set production that was as wild as the crowd. A banner for “Don’t Tap the Glass” hung underneath his stage. All the while fire bursts, fireworks, and a curtain of sparks lit up everything else. The setlist was stacked: “Big Poe,” “Sugar on My Tongue,” “St. Chroma,” “Rah Tah Tah,” “Noid,” “Darling, I,” “Sticky,” “She,” “IFHY,” “EARFQUAKE,” “LUMBERJACK,” “WUSYANAME,” “ARE WE STILL FRIENDS?,” “DOGTOOTH,” “Who Dat Boy,” “Like Him,” “Sucka Free,” “I’ll Take Care of You,” “NEW MAGIC WAND,” and “See You Again.” Each track hit. Their own little eruption, with the crowd’s energy building after each one.

Day Two had been a whirlwind, starting with the of a headliner, Vampire Weekend, opening the day, weaving through a mix of intimate and high-energy performances, and closing with one of the most explosive sets of the weekend.

Words and photos by David Saxum

Flipturn at Outside Lands 2025 Photo by David Saxum

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