The first day of Outside Lands has passed. Here’s a recap of who I caught on Day One. At exactly noon, The Two Lips launched my weekend into gear. The name alone fits them perfectly, an all-girl indie-pop band led by the magnetic duo Jewlz and Andrea. Their chemistry is undeniable. It spread to the crowd as groups of strangers started dancing with each other, forming little circles of jangling beads, dancing pink bows, and floating glitter. Although they may seem like they’re always super spunky, by their own admission, at the end of the day they’re just sad girls. Their cover of “No One Noticed” by The Marías turned the grassy field into a small sea of sway and soft singing. That was definitely a highlight of the weekend for me.

From there I headed to see, an artist I’d somehow never caught before despite her years in the game. Three albums deep, released through major labels like Columbia, RCA, and 30th Century Records, and still flying just under the radar. She stepped on stage with a cool, unhurried presence, her voice rolling out like velvet. It has that same hypnotic pull you get from Lana Del Rey, but with a darker, stranger twist. As she played, I noticed more and more people stopping on the path beside the stage, drawn in by her dark charm, like a siren’s song. She’s irresistible.

The Twin Peaks stage was next. To see INJI. The last time I saw her was in the intimate setting of the El Rey in Los Angeles, and now, barely a year later, she was commanding one of Outside Lands’ headlining stages. Her rise, though sudden, is completely deserved. Every movement, every beat is deliberate. Her voice cut through the marine layer with effortless precision. Her beat drops, so powerful, they shook the dew off the Redwoods. I can’t think of an artist that is more determined to make sure everyone is having fun than her. A star that can’t be missed.

I ducked out of INJI’s set a bit early to make it to Lands End for Mannequin Pussy. Their 2024 album I Got Heaven was one of the most urgent, powerful releases of last year, and their live show matched that intensity beat for beat. They encouraged the crowd to scream “PUSSY” as loud as they could, shouted out support for the workers making the festival possible, and didn’t shy away from voicing exactly how they felt about the billionaire class. The set was a storm. Raw, unrelenting, and cathartic. During “LOUD BARK,” they had thousands of people barking on cue before tearing into the track. What an incredible feeling it must be to have their energy be reciprocated.

Sneaking out for a quick lunch before Thundercat, I caught the tail end of his set. Fortunately, it was still enough to feel his bass reverberate deep in my ribs. Watching him play is like talking with someone whose language you don’t speak but somehow you still find a way to understand. His skill on the bass is unparalleled. I was unaware that an instrument could make the type of noises his does. There’s a reason so many artists call him their favorite musician.

Still Woozy came next, bringing a completely different kind of energy. His sound, part electronic haze, part psych, part indie groove, seemed to pump straight through his veins. As if he were drunk with some sort of elixir, he sprinted from the catwalk to the main stage, bounced his guitarist, and then dropped to his knees trying to hoist his bassist onto his shoulders. A true performer putting the crowd first. Either with his energy or by his support. At one point, someone near the front needed medical attention, and without hesitation the band stopped everything until help arrived. Woozy used the pause to remind everyone to look out for each other and drink water. It was proof that the best performers care about the people in front of them as much as the music they’re making.

Still Woozy at Outside Lands 2025 photo by David Saxun

And then came Doechii. If there’s one set people will be talking about all weekend, this might be it. Her stage was a production in itself: a massive 12-foot DJ table as the centerpiece, slides on either side, desks organized in militarized classroom precision. She owned the stage. Like a magician, she just appeared in the middle of the stage, causing chaos in the crowd. She locked eyes with the crowd like they were in on a secret and launched into one of the most performative sets of the day. Her facial expressions were part of the choreography: a grimace of fury during “DENIAL IS A RIVER,” an exaggerated gasp when an offstage “teacher” chastised her for twerking. From the three dramatic outfit changes to a choreographed fight scene on top of the massive DJ deck, every moment was carefully planned. It all played out over one of 2024’s defining albums, with the crowd roaring every line back to Doechii the Don, Doechii the Dean, Doechii the Supreme.

After Doechii’s insane set, I needed some water to rehydrate my voice. Seeking something a bit mellowier but of equal reverence, I opted to catch Beck’s performance. By the time I made my way to the Sutro stage the sky had shifted into that deep, in-between blue of summer nights. The hillside was dotted with blankets and small groups, the air cooler now with the redwoods towering like patient sentinels. The orchestra filed in quietly, tuning their instruments as the stage lights softened. Conductor Edwin Outwater lifted his arms, and the first notes of “The Golden Age” floated out into the park. Beck emerged to a standing ovation, moving right into a set unlike any I’d ever seen. He was backed by the full, sweeping power of a symphony. He spoke briefly, saying it was an honor to return, reminiscing about playing one of the festival’s earliest years, and sharing his excitement at performing songs rarely included in his standard set: pieces from Scott Pilgrim vs.The World, a Scott Walker cover, and selections from Eternal Sunshine of the Spotless Mind.

At one point I noticed a subtle hush, it was a moment between songs. A moment that really only occurs when everyone is truly listening to music. Against the backdrop of the illuminated redwoods, the music felt like it belonged to the park. A rare combination of place, performance, and timing that’s impossible to replicate. That time will never happen again, in the same manner, and I am honored to have caught it.

As people began to fold up blankets and make their way toward the exits, I couldn’t shake the feeling that Day One had delivered a perfect arc, from midday bursts of discovery to quiet evenings of reverence. Day One had it all and I’m eager for what the rest of the weekend has in store.

Words and photos by David Saxum

Doechii at Outside Lands 2025 photo by David Saxun

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