When it comes to Weezer, the music speaks for itself. Highlights: “Africa,” “Island in the Sun,” “Buddy Holly” Fans trickled away feeling seen and understood, their hearts glowing pink in the night. Mitski’s music may take a wrench to the washing machine heart, but it also has the power to repair and restore.

“Thank you for giving your hearts and your time.”

“Thank you for connecting,” Mitski said at the end of her set. Closing with “A Pearl,” the songstress left the crowd with feelings unresolved: anger, denial and vulnerability rolled into one, leaving behind only an aching emptiness. “Happy” began with feigned apathy before spiraling into an emotional whirlwind drenched in violet fog. Mitski enacted an imagined partner dance during “First Love / Late Spring,” grasping the hand of her invisible partner as she pivoted across the stage. Her movements progressing from rigid to flowy, weightless to encumbered, she remained a sight to behold - elusive yet magnetizing all the same. Mitski dazzled in deep blue drapery, an understated belt cinched around her waist. Even as Post Malone’s pyrotechnics crackled above the trees, the sad indie kids kept their eyes fixed on their patron saint. With her crystalline vocals and choreographed routines, Mitski brought an intimate, sad-girl energy to the Sutro stage.Īs the sunny day waned into ebony dusk, the grassy hillsides assumed a voltaic glow, the rising smoke twirling and refracting the artificial lights. One second, her jazz shoes gracefully hover above the floor the next, she’s violently punching the ground. Mitski’s theatricality bubbles like a geyser from below - palpably pressurized, ready to erupt at any moment. Highlights: “A Pearl,” “Happy,” “First Love / Late Spring” Even if he isn’t on your Spotify Wrapped, you can’t help but vibe with his music - Post Malone is the pulse of a party. Malone switched between hoarse roaring and melodic crooning with ease, and in the most raw, growly parts of his set, the artist bent down hands-free and balanced his mic between only his mouth and the stage.įireworks, flames and f-bombs aside, Malone’s show felt strikingly modest, droll and, at times, unexpectedly affecting. (“If you need to piss, do it now ‘cause this is the most boring part of the set,” he said, pulling out his guitar for acoustic versions of “Stay” and “Go Flex.”) His straightforward, self-aware narration didn’t feel too rehearsed - it amused in a friendly, blasé way with just the right alloy of seriousness and humor. His setlist flowed smoothly, interweaving more hype tracks with softer moments of sincerity. And, every time Malone lit up, his audience did too.Īnd his show certainly sparked a high. During “Saint-Tropez,” he balanced a red solo cup on head. Malone also followed through with this party theme in another traditional way - “Can I get another beer out here, man?” he would frequently ask someone offstage named Dennis. His live performance reflected this parameter, his expansive energy ranging from raging to tearful. When Post Malone is playing, there’s a good chance you’re either throwing up outside at a frat party or having an unusually deep conversation with a stranger on a rooftop. Rocking the massive Lands End stage in a Cameron Tucker t-shirt (style: graphic design is my passion), Malone burst on stage with self-deprecating lightheartedness and raw emotional intensity.

“I’ve come to play some s-ty music and get f-ed up,” the singer-rapper announced at the beginning of his set, to cheers and laughter. Life pre-Malone isn’t worth living, though Post Malone himself might disagree. Highlights: “Cooped Up,” “Circles,” “I Fall Apart” Ffering everything from melodramatic to comedic sets, Sunday’s spectacular performers awed audiences, succeeding as a bittersweet conclusion to the festival.

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