2025’s Governors Ball Music Festival was littered with jaw dropping performances thanks to a wide array of artists with diverse sounds and followings alike. Read our recap to catch some of the biggest moments you might have missed, whether it be the surprise appearance from David Byrne or dramatized performances in the pouring rain.

When this year’s Governors Ball lineup was announced, there was no doubt that it was going to be a festival chock full of unforgettable moments.

The diversity of artists and genres is one of the festival’s strongest suits, 2025’s line up proving to be no different. Tyla, Clairo, Tyler, The Creator, Hozier, Snow Wife, Raye, MARINA, Mt. Joy… picking any handful of artists from the lineup ensured a varied and memorable slate of performances.

Whether it be Joey Valence & Brae’s cover of Charli XCX’s “365” or dancing in the pouring rain to Wallows’ “Are You Bored Yet?” – here are our favorite moments from the weekend!

Friday, June 06

The first day of the festival felt as if it was tailor-made to get audiences enthusiastic and energized for the remainder of the weekend. Thanks to the powerhouses that performed on the opening day, Friday was full of back-to-back awe-inspiring shows.

One of the openers was New York City’s Strawberry Launch, a woman fronted pop-rock band that was perfect for getting festival goers amped up for the rest of the day. Atwood was able to sit down with Strawberry Launch and discuss what it meant to share a stage with some of the most influential voices in modern music, many of which they’ve collaborated with: “Clairo’s been an artist that I’ve looked up to for so many years. Her keyboardist, Danae [Greenfield], I’ve been really lucky to work with… it’s so cool we get to share the stage, that’s been a full circle moment for me,” says Taylor Hurt, Strawberry Launch’s keyboardist.

“I was able to hang backstage for McGee’s set… I love his whole aura and world-building, the way that he writes… being able to experience that live felt extra inspiring to write… we’re actually pretty tight with The Backfires,” adds Riiza, lead singer of Strawberry Launch. The Backfires are an indie rock band from Saturday’s lineup. “I’ve actually been writing with them for 8 or 9 months working on some new material. They’ve just been amazing friends and writing partners to me and the whole band. It was cool to share this weekend with them!” Riiza let us know that we can expect to hear some of that new material soon: “We’re not doing any shows for the summer because we’re getting back in the studio working on our debut album!… I’m really excited about the next chapter. It’s going to be true to who we are with a little bit of a vibe shift.”

Strawberry Launch’s loyal fan base has been growing from their New York roots, so getting to perform at Gov Ball has been an incredible moment for the band, “Being able to represent the local part of the City feels amazing… we knew [we were playing Gov Ball] for months and we couldn’t tell anyone… this is just such a dream come true, we always wanted to play festivals and we didn’t realize Gov Ball was going to be our first one ever – just an amazing, honoring experience for sure,” Riiza shares.

Past the already fantastic openers for Friday afternoon, the sets only got more exciting as the day went on. Role Model’s performance in particular was one of the most memorable pieces from day one. Kansas Anymore is an album that sounds even better onstage thanks to Role Model’s light-hearted, boy next door energy. He doesn’t take himself too seriously, which only adds to the intimacy between him and the crowd.

His setlist allowed for more tender moments on tracks like “Slipfast,” an impressive note shift in his live performance during “Slut Era Interlude,” and cathartic releases from the crowd during “Some Protector.” With Kansas Anymore being a breakup album, it’s refreshing to see Role Model still maintain a lightness despite the heavy emotions he’s singing about.

Perhaps one of the most talked about moments from the weekend is Role Model’s performance of “Sally, When The Wine Runs Out.” For those who are unfamiliar with Role Model’s live performances, on this past tour, he would bring out someone who embodied this “Sally energy,” having them dance on stage with him during the track. Past “Sally” guests have included Bowen Yang, Wallows’ Dylan Minnette, Reneé Rapp, and this past weekend, he brought out Saturday’s Conan Gray. Arms outstretched, Gray ran on stage and planted a kiss on Role Model, the two of them seemingly shocked and blushing for a brief moment before dancing it out to the remainder of the song. Even though it was likely planned, the theater of it all was charming. It was a tender, funny, sweet moment that sent the crowd into a frenzy and was the perfect characterization of Role Model’s most recent record.

Moving further down the lineup, T-Pain’s performance was a highlight of the weekend at large, casual and diehard fans alike gathering to hear one of rap’s most cherished and iconic voices. T-Pain effortlessly mixed classic throwbacks with modern-day hits, such as his mashup of Travis Scotts’ “FE!N” with his feature on Chris Brown’s “Kiss Kiss” during his set. T-Pain in particular is so enjoyable to watch because he is very clearly having a fantastic time on stage, making songs like “Buy U a Drank” even more fun to dance and sing to live.

This year’s it-boy for pop-rock, Benson Boone was the final performer to take to the stage before Tyler, The Creator. While people have been endlessly ragging on Boone online for his love of the backflip, a repeated trick he likes to show audiences across performances, he is undeniably talented. His vocal capabilities are not seen in many modern-day male voices; songs from his setlist like “Pretty Slowly” and “Drunk In My Mind” were full of grandiose, booming notes from the 22 year-old singer. Not only were his vocals wildly impressive, Boone is fairly active across the stage, even outside of his infamous flips, putting heart and passion into each track, running across the stage, engaging with each side of the audience. It was one of the aspects of his performance that stood out the most, his genuine appreciation, concern, and kindness towards the crowd that showed up for him. He even called out some of the criticisms he’s faced (EX: what is ‘moonbeam ice cream’?) in a self-deprecating, humorous way. Outside of tracks that Boone’s more dedicated fans knew, he performed his hits like “Beautiful Things” and “Mystical Magical” before the end of his set, sending festival goers to Tyler’s stage after seeing such an energetically charged performance.

Tyler, The Creator’s set was nothing short of incredible. Reverberating bass, equal parts theater, musical performance, and comedy, and a setlist that spanned his lengthy discography made for one of the most terrific sets of the weekend.

Tyler, The Creator released his 8th studio album, Chromakopia in October of last year and has been on tour since this February. A project that was full of the artistic vision he’s known for, Chromokopia, like many of Tyler, The Creator’s projects, has a cohesive character, lore, and narrative throughline. Marching out to the title track of the new album, Tyler, The Creator came on stage to applause that sounded like it could’ve been heard in Manhattan. Wearing the green uniform and mask that has been associated with the masks artists put on, Tyler’s set was just him onstage. Rapping with minimal production, and there wasn’t one dull moment, one lull where any audience member began to lose interest watching one man rap, sing, and dance across the stage.

Opening with mostly tracks off of the new record, such as “Rah Tah Tah,” “Noid,” and “Sticky” Tyler started the show off with an energy that he maintained throughout the entirety of the set, slowly interchanging songs from across his discography. It was hard to tell which tracks fans were most excited for since the beginning of each song was met by roars of approval from the crowd. However, classics from his discography like “IFHY” and “New Magic Wand” were undoubtedly ones listeners were eagerly anticipating. While Tyler was heavily expressive and theatrical throughout his sets, these two tracks in particular really offered him the opportunity to pull his whole body into the performance, such as his intense rhythmic breathing and almost creeping expression on the opening of “New Magic Wand.”

As Tyler reached the end of his set, green suit covered in sweat, he offered up more tender moments on tracks such as “Like Him,” a vulnerable meditation on Tyler’s estranged father. With an artist that has historically relied so heavily on humor and irony, it was special to see him sing earnestly about a matter that seems deeply personal.

Tyler, The Creator closed out, unsurprisingly, with one of his biggest hits “See You Again.” It’s rare to get an entire crowd to sing the whole of a track with such palpable gusto, but “See You Again” was an exception. His vocals were almost drowned out by the thousands of voices singing along. It felt like a particularly sentimental moment to have countless voices singing in chorus with Tyler at one of the East Coast’s most iconic events in music. Thanks to his set, Friday was cemented as one of the most energetic and unforgettable days of the weekend.

Saturday, June 07

Unfortunately, due to rain and thunder, almost half of Saturday’s lineup was removed, the opening pushed from noon to 4:00 PM. Festivalgoers were understandably disappointed, having to wait outside of the festival recocking with missing some fantastic artists, such as The Backfires and Lexa Gates.

Despite the reduced lineup, there were still plenty of captivating moments to come out of Saturday’s shortened list of performers.

MARINA was one of the new openers for Saturday, and there couldn’t have been a better artist with more fitting music to lift the spirits of those who had been waiting outside for hours. With her 6th studio album, PRINCESS OF POWER, released just the day before, MARINA sang material off the new record alongside pieces that are now landmark tracks from the 2012s era of pop icons.

Pop music these days has shifted from the melancholy that was popular in the later half the 2010s to a more unabashedly confident, hedonistic, bluntly honest type of vibe. Considering this, tracks like “Primadonna” and “Bubblegum Bitch” almost feel like they were ahead of their time. Festival attendees were singing along to these tracks with the same energy they were to Tyler, The Creator’s songs the previous night. MARINA’s vocal tone is so unique and genuinely fun to listen to, and it’s only more captivating in a live setting. Tracks she sang off the new album, such as “CUPIDS GIRL” and “CUNTISSIMO” showcased her vocal range, effortlessly oscillating between deeper tones and airy, higher pitches. MARINA’s set helped to get attendees excited for the rest of the remaining performers for the night.

Wallows was yet another beloved band that was able to perform on Saturday, taking to the stage off the heels of their new EP More. The band is synonymous with indie-rock, acting as one of the primary voices in the genre. Something that was particularly sweet to witness live was the camaraderie between bandmates. Whether it was lead singer Dylan Minnette passing the mic over to bassist Braeden Lemasters or to drummer Cole Preston, there was a visible connection between them onstage which only served to add to the emotional depth of the tracks and performances.

While we thought we were free of the rain for the remainder of the weekend, just when Wallows began to perform their most widely admired track, “Are You Bored Yet?” rain started slamming down on the crowd. It was a quick flash of buckets being tossed from the sky, almost as soon as the song began. While isolated groups of crowd members ran for cover, the majority of them gladly danced and sang along with the band, clothes soaked and smiles across their faces. It was a tender moment to end off Wallows’ set, one that speaks to the impact of their music and the art form at large.

After the brief torrential downpour stopped, people began to head over to Young Miko’s stage, the Puerto-Rican rapper known for her unique blend of trap, reggaeton, and latin urban music, making for a welcome shift in tone from the previous sets. Young Miko’s stage presence is one that is alluringly sultry, confident, and high spirited. Her setlist included fan favorites, such as “Wassup” and “Classy 101” alongside other hits. Catching Young Miko’s performance helped the audience keep the high from Wallows’ set, trying to dry off to tracks that make it hard not to dance and sweat even more.

One of the weekend’s most highly anticipated musicians was Conan Gray, and with his best friend Olivia Rodrigo headlining just an hour later, there was a wide overlap in fan bases that both have endless love and admiration for the artists. Gray acknowledged how meaningful it was to share the stage with his longtime musical counterpart, a piece of gratitude that helped to make the remainder of his set that much more impactful.

Gray opened his set with the live performance debut of “This Song,” his leading single off his upcoming album, Wishbone. The project, in classic Gray fashion, will explore the complexities of breakups, growing up, teenage summers, and the depth of human connection. “This Song” already seems like a perfect representation of that sentiment.

His stage pieces only added to the charm that exudes from Gray, wooden pieces of painted waves spread across the stage as he emerged in the same sailor outfit that he’s pictured in on Wishbone’s album cover. Gray sang a wide variety of tracks from across his albums, from the 80s pop of “Never Ending Song” to the heartbreakers like “The Cut That Always Bleeds” and “Heather.” What made Gray’s performance distinctly memorable was how endearing and kind he is to his fans and audience. There were multiple times where Gray stopped to thank those there, and it’s that kind of humble acknowledgement that makes a performance even more meaningful.

While taking a cursory glance at Gray’s discography, one could assume that all of his tracks have a similar tone and structure to them, yet his set showcased the diversity that is spread across his records. Jumping from tracks like “Maniac,” a song that feels inherently youthful and imbued with an upbeat coming-of-age energy, to a track like “Bourgeoisieses” sounding like an anthem from decades past. It represents his talent and range of artistic vision. Gray even covered Dolly Parton’s “Jolene,” something that feels like a sister track to the themes of possession and longing on “Heather,” setting the tone that was to follow for Rodrigo’s groundbreaking set.

Olivia Rodrigo is one of today’s most beloved and widely listened to women in pop music, so perhaps it’s no surprise that her fans charged the stage as her set time approached. It was a sea of pastels and purples of all different shades getting as close as they could to the stage. Rodrigo is known for putting on fantastic shows, one that now balances the angsty teen energy from her debut album, SOUR, and the more early adulthood vibes from GUTS.

Rodrigo opened with “Obsessed,” a track that is perfectly representative of the themes she repeatedly covers across songs, an unabashedly honest view into the all-consuming urge to know every and anything about a current partner’s ex. What followed was a wide mix of tracks spanning both SOUR and GUTS. The crowd sang almost each and every word as loudly as they had for yesterday’s opener. Rodrigo strikes a unique balance between punk rock, a genre that has typically been considered more niche, with more mainstream elements of pop music. It’s one of the aspects that makes her music that makes it so refreshing to listen to, even more refreshing to witness in a live setting.

When artists get as widely admired and successful as Rodrigo, it’s not at all necessary to have a live band backing them, but she breaks this expectation. Rodrigo’s band is made of women that embody the same unapologetic and punk energy that she does, the bandmates acting as performers of their own. Whether it be a guitar solo from the incredibly talented Daisy Spencer or Rodrigo crawling on all fours to other bandmates during “bad idea right?,” there was moment after moment between her and her band that were satisfyingly shocking.

Some particularly impactful performances from Rodrigo were “driver’s license” and “jealousy, jealously.” Being one of the main tracks that shot her to an A-tier popstar, Rodrigo noted how important and meaningful the “driver’s license” was to her, and that was only further cemented by her voice nearly being drowned out by the chorus of the crowd. “jealousy, jealousy,” like many of pieces from the setlist, is a pop-rock anthem that Gen Z in particular resonates with deeply. The track covers themes of envy in a digital age where flaunting one’s body, accomplishments, perfectly symmetrical face, wealth, and equally attractive and eclectic friends (I could go on) induces this sort of manic bitterness. The track heard on headphones already packs a punch, and watching Rodrigo bang her head, kick her foot into the air, and run across the stage embodied the sentiment of the song so powerfully.

Before Rodrigo closed with another one of her hits, “deja vu,” she brought out the legendary David Byrne, lead singer and guitarist of the iconic ’80s band, Talking Heads. Byrne came out on stage matching her two piece red outfit, sporting a red overalls with a white t-shirt beneath. Rodrigo and Byrne sang “Burning Down the House” together, a wonderful moment where a formative voice in rock music performed alongside one of today’s voices that is re-shaping the genre. With criticisms on the direction music is headed in coming from purist rock listeners and older musicians alike, it was a heartwarming, powerful, and a once-in-a-lifetime opportunity to see two powerhouses sing alongside one another on stage. Byrne and Rodrigo’s chemistry was infectious, Rodrigo seeming like she was in shock at times that she was actually sharing the stage with such a figurehead within the genre. They danced down the stage before she closed with “Deja Vu.”

What makes Olivia Rodrigo’s Gov Ball set so special is that people seem to be catching her at a time where she may be transitioning into more adult themes, both in her performances and subject matter of her tracks. GUTS was a skip into more mature topics and subject matters, clearly distinct through the choice in lyrics and music videos. Rodrigo’s performance seemed slightly more raunchy on this tour in specific, which can be a hint at where she plans to go aesthetically and thematically with her future projects.

Sunday, June 08

I arrived at the festival as early as I could to make up for the artists that I missed, and I thankfully caught some fantastic sets.

Pop singer and dancer Snow Wife was one of the openers for the final day of the festival, and quite frankly, I wouldn’t be surprised if she ends up becoming a mainstream pop icon with the likes of Charli xcx and Chappell Roan in the coming years.

Snow Wife’s music is charged with the energy of something off of Brat with the charm and choreography of an artist like Britney Spears. She was playing songs off her new EP, Bodyology, a project that’s lush with brain-scratching production that makes it impossible not to dance to and cheeky lyrics that get stuck in your head. Snow Wife herself remarked upon how the record is a connection between song and dance, and that much was clear with how she expertly danced across the stage while singing in her airy, Spears-like voice.

With minimal stage production outside of her team of dancers, Snow Wife was able to captivate early festival goers with an effortless seduction and the energy of a headliner.

Another set that had some highlight moments from the weekend at large came from rap duo Joey Valence & Brae. The duo went viral on TikTok in 2022 for their breakout single, “PUNK TACTICS,” one of the tracks they performed on Sunday. Garnering a generous and eager crowd, they were able to get attendees up and moving thanks to repeated callouts to the audience. If you had never heard of them before Gov Ball, you may have assumed that they were one of the headliners with how energetic people were during their set.

“THE BADDEST” was a particularly energetic track that got people jumping and shouting from the chorus “I’m the baddest bitch in this club.” It made for an incredibly fun, humorously ridiculous, and sweet moment to keep the crowd engaged throughout their set.

I’d be remiss if I didn’t mention their cover of Charli xcx’s “365.” People that were awaiting other artists’ set came rushing over once the track started to play, a smart move on duo’s part to not only give people a second taste of Brat summer, but also to show their admiration for one of the most talked about and acclaimed albums from 2024. Hearing a rap cover of “365” was certainly not something I expected or knew I needed out of Gov Ball, but I and countless others were undoubtedly glad to witness the moment.

The Japanese House’s set was one that indie-music lovers were eagerly anticipating throughout the weekend. They certainly did not disappoint with the live performances of beloved tracks like “Touching Yourself” and “🙂.” The Japanese House strikes a perfect balance between the sadder themes within indie through their lyricism alongside lighter production elements via strings and other instrumentals, and it’s what made their performance in particular so meaningful.

A standout track was “Boyhood,” a song about self acceptance through finding your own identity. Lead singer Amber Bain is queer artist, and at a time when LGBTQ+ rights are under attack, she took this moment to offer her outward support and solidarity with her fellow community members, specifically transgender people. In a time where using your voice can be incredibly frightening, it was so powerful to witness Bain directly state her views and willingness to fight for marginalized voices, especially with “Boyhood” as a backdrop for the statement.

Bain was another one of the artists from the weekend that seemed earnestly grateful for those who came out to see the show. The crowd’s hands swaying back and forth in the air to “Sunshine Baby,” Bain put her hand to her heart in a moment where she stopped to take in the fact that all these people were here to see her, despite the rain and other artists that were performing during her set. It’s never a guarantee that fans will show out in the numbers they do at a festival, but if Sunday showed us anything, it’s that The Japanese House has garnered a vast and loyal set of fans that resonate deeply with their endlessly introspective discography.

In the same vein, Raye performed with an air of class and gratefulness, all while showcasing her jazzy, buttery smooth vocals. She remarked in her set how she had performed in countless settings that were nothing compared to something like Gov Ball, especially considering that she was on the main stage. Her journey to where she’s at now hasn’t been an easy one, rife with label troubles and creative misalignments, but if she hadn’t pushed through those setbacks, we wouldn’t have received one of today’s most versatile and vocally talented artists.

A leader in her own genre, Clairo returned to Gov Ball this year off the heels of her acclaimed and successful third album, Charm. In Clairo fashion, the weather was moody, rain started to lightly drizzle the thousands of fans that lined up to see her as her curated pre-show playlist (titled “Charming to Me”) rang out into the audiences. This is something that seemed to be a critical point for Clairo on the Charm tour; she’s dedicated to curating a very specific, soft, 70s vibe. Whether that be through the playlist, the velvet set pieces where bandmates play alongside her, or the old-timey massive beaded curtain that is swaying at the back of the stage, Clairo effortlessly created a concrete tone.

It’s rare to see someone as timid and quiet as Clairo have fans that are so fervent at her shows, but the shouts from the crowd as she walked onstage were some of the loudest I heard all weekend. What followed was a setlist full of heart, charisma, and the signature cuteness that Clairo’s live performances are known for.

From “Second Nature” to “Amoeba,” Clairo covered tracks from across all three of her records, giving first time viewers and repeat attendees alike the chance to hear from every era of the artist. Something that’s particularly alluring throughout Clairo’s discography is the instrumentation paired alongside her beautiful and soft vocals. While it could be assumed that these would be difficult to replicate in a live setting, Clairo’s band, from the drummer to the keys, almost made the already perfect songs sound even more textured and lively.

Outside of her three albums, Clairo played her adored track with fellow artist Claude, titled “Steeeam.” Clairo and Claude’s duo was referred to as Shelly, and while the duo only put out a very short EP (and I mean two songs short), “Steeeam” has become one of the artists’ most cherished songs. Getting to hear this admired deepcut live is a rare opportunity, and Clairo saved it for Gov Ball, making the choice to add it into the set extra special. Claude, the second member of Shelly, took to the middle of the audience with some other friends to dance during the song, only adding to the sweetness of the moment.

Clairo concluded her set with “Sofia,” certainly her most popular song and the one that fans were undeniably waiting for. When a song like “Sofia” has a shelf life as long as it does, one that stands the test of time and never seems to expire, it’s always an exceptional moment to be part of a live rendition.

While the openers for the first two days of the festival were ones that are charged with the eccentricities, loudness, and quirks of a younger and more online audience, Hozier’s reach is as expansive as the sea. Young and old, diverging tastes, no matter the difference, everyone has at least one Hozier song that they can sing by heart and have a special connection with, and nothing made that more clear than the final performance of the weekend.

Something that was immediately striking was the difference in the audience that showed up for Hozier. While Olivia Rodrigo and Tyler, The Creator had crowds that seemed almost feral by seeing their favorite onstage, Hozier was met with a quiet awe and admiration. It wasn’t that there was a lack of approval and applause from the crowd, nothing of the sort, but his discography is meaningful, evocative, and often political. The reactions were closer to a gentle acclaim rather than screams of approval.

Hozier touched tracks from all three of his albums, from “Cherry Wine” to “Would That I,” giving the opportunity for both super fans and casual listeners to resonate. Hozier’s music has a profound effect on people. Whether it be the instrumentation or the lyrics that sound like a plea for a wide array of causes, getting to hear his seemingly effortless talent and vocals live made tracks that were already powerful into something transcendent. Performances of songs “Like Real People Do,” about togetherness, living within a love so present and strong, were uniquely resonant. Couples embraced and swayed to the track; witnessing this many people, whether they be friends, lovers, or anything in between, showcased the amount of people that Hozier has touched with his music.

One of the most impactful moments from his set was when Hozier took a full four minutes to discuss the state of the world, how frightening things are becoming, and ultimately, how we’re all so much more alike than we are different. As mentioned earlier, it’s difficult and often risky (for a wide array of reasons) for artists to publicly state their political affiliations and stances to an audience, let alone one as public, socially broadcasted, and wide as Governors Ball, but Hozier did it anyway. He touched on every and anything you could think of: the horrors transgender people and immigrants are facing in America, the inhumane treatment of Palestinian people in Gaza, the receding presence of democracy on a global scale. At the end, Hozier emphasized ways to use our voices, loudly and for those in need, while we’re still able to do so at the level we’re able to. To take four minutes out of a set, something that could be replaced with at least two songs, and use it as a moment to push togetherness and community, is something that makes Hozier not just an artist, but a proud activist. With songs like “Nina Cried Power,” a track that is ultimately about protest, Hozier has a long history of activism through his art. While it was not a shock that he spoke on the direction the world is headed in, it should not be minimized the impact something like that has.

It would be unthinkable if Hozier didn’t perform his most popular track, and by the end of his set, the entire crowd was singing the world-wide hit “Take Me To Church.” Singing a track about institutional power after such a profound speech on freedom and community made the ending of his set so powerful. While I mentioned that at least everyone has one Hozier song they know and share a connection with, this track in particular seems to have touched everyone in one way or another. If it was playing on your FM radio while you were driving your kids to school or blasting headphones on your walk into the office, “Take Me To Church” was a track that everyone seemed to know word for word. An audience of thousands singing this song in specific after the message he imparted was nothing short of fantastic, moving, and I’m sure necessary for many in the crowd.

Even if we were to strip away all the qualities that make him such an admirable artist, Hozier’s captivating voice alone was enough to make his spot in the lineup worthy of the final headliner for the weekend.

Those were our favorite artists from this year’s Governors Ball! If this year proved anything, it’s that you can bring together all kinds of artists with converging fanbases into one spot, one area where we’re all connected over the love fantastic music. We can’t wait for next year.

— —

:: learn more about Gov Ball here ::

:: read past Gov Ball coverage here ::

— — — —

Connect to The Governors Ball Music Festival on
Facebook, 𝕏, TikTok, Instagram

Discover new music on Atwood Magazine

 © Charles Reagan