Just Like Heaven Music Festival 2025 was a revelatory celebration of indie and alternative music, seamlessly blending nostalgia with fresh performances and creating memories that will linger for years. The festival’s lineup testified to the diverse tastes of its dedicated audience, many of whom share a common love for indie favorites and bands that no longer regularly appear on mainstream festival circuits. The running joke—among both crowd and performers—was that the Just Like Heaven Festival felt a little more like “just like hell” as record temperatures soared past 100°F in Pasadena. But that didn’t stop musicians from giving their all to the dedicated fans who braved the sweltering conditions.
With performances scheduled tightly from noon to midnight, attendees navigated between stages with a sense of urgency, eager to catch every act. The scenic Brookside area at the Rose Bowl hosted more than twenty groups, each bringing its own flavor to the day’s festivities. The opening acts—from the energetic indie pop of Peter Bjorn and John with “Young Folks” to the dreamy sounds of Beach Fossils and The Sounds—set the perfect tone for a journey through indie and alternative landscapes.
The Swedish group The Sounds began their set with an apology: lead singer Maja Ivarsson had been denied a U.S. entry visa due to the draconian new border-enforcement policies fueled by MAGA politics. But the show must go on, and Carah Faye Charnow of Shiny Toy Guns stepped in to save the day, delivering an energetic performance alongside the band.
As the afternoon progressed, the festival showcased a variety of genres—dream pop, garage rock, synth-pop, and electronic—keeping the audience captivated. Grouplove’s lively renditions of “Tongue Tied” and “Ways to Go” exemplified the spontaneous, collaborative spirit of the event.
Meanwhile, on the Stardust Stage during the hottest part of the day, Perfume Genius performed under the unrelenting sun. Michael Hadreas and his band—Alan Wyffels, Meg Duffy (of Hand Habits), Pat Kelly, Greg Uhlmann, and Tim Carr—are all exceptional musicians who have brilliantly reinterpreted their material over the years. Hadreas sang with the innocence of a choirboy and moved onstage like a sinuous snake, his fragile delivery made even more compelling by the brutal heat.
Back on the Orion Stage, Australian singer Courtney Barnett brought raw energy to her late-afternoon set. Despite the soaring temperatures, the crowd remained electric, driven by a meticulously curated lineup. Barnett’s performance—blending indie anthems with psychedelic rock freakouts—served as a powerful reminder of her dynamic, underrated talent in contemporary rock. She closed her set with a guitar-drenched jam alongside indie icon Kurt Vile, much to the attendees’ delight.
The festival’s schedule ran like Swiss clockwork, with turnarounds as short as five minutes on the same stage. It was an organizational and technical marvel, and Goldenvoice deserves praise for executing such a mammoth undertaking with precision. Next up on the Orion Stage, New York’s The Drums—fronted by enigmatic founding member Jonathan “Jonny” Pierce—delivered a well-received set that channeled early gothic sounds reminiscent of Joy Division. Pierce, tall and blonde in a simple t-shirt and jeans, looked like a surfer straight off Malibu, but his voice and stage presence evoked Morrissey and Jim Morrison in their heyday.
Later, fans faced a tough choice between TV on the Radio and Unknown Mortal Orchestra, rushing back and forth to catch favorite songs from both acts. TV on the Radio’s vocalist, Tunde Adebimpe, even acknowledged the scheduling conflict:
“Give it up for Unknown Mortal Orchestra! From the depths of my heart, if anyone wants to take the time now to go see the rest of their set, you can do it. I give you permission. Feel free to run back and forth—or even crowd-surf—between the stages.”
It was TV on the Radio’s first major return to L.A. since 2018, and the event was met with great enthusiasm. Their performance—essentially a jam-band blend of genres—had many fans moshing and crowd-surfing despite the heat.
The late afternoon brought a wave of energy with England’s Bloc Party, channeling the nostalgic vigor of 2000s techno rock. Lead vocalist Kele Okereke infused the show with his signature sarcastic British wit, effortlessly engaging the crowd with anthems and deeper cuts.
As twilight fell and a nearly full moon illuminated the sky, Australian duo Empire of the Sun exploded onto the main stage in a spectacular multimedia presentation. Luke Steele and his dancers cycled through lavish costume changes over a twelve-track set, proving that no expense was spared to deliver an opulent performance. They concluded with an extraordinary rendition of their biggest hit, “Walking on a Dream,” still a global dance-club favorite.
As the evening settled in, the crowd’s enthusiasm only grew. Rilo Kiley’s reunion performance was a poignant highlight. Jenny Lewis marveled at the massive audience and reminded everyone of the band’s influence on millennial indie music. Their soothing yet powerful set culminated in “Portions for Foxes,” leaving fans in bliss. Formed in Los Angeles in 1998, Rilo Kiley disbanded in 2008 due to creative differences and personal tensions. Now back on the road—joined by Blake Sennett, Pierre De Reeder, and Jason Boesel—they kicked off their reunion tour with shows in San Luis Obispo and Ojai, touring through the fall.
Toward the end of their headlining slot, Vampire Weekend paid homage to indie music by performing a medley of covers ranging from Phoenix and Tame Impala to Beach House, Grizzly Bear, and TV on the Radio. As frontman Ezra Koenig explained, it was “our way of saying thank you” to the day’s interconnected lineup. Their cover of Grizzly Bear’s “Two Weeks” felt like a classic in its own right, and their rendition of TV on the Radio’s “Wolf Like Me” was a perfect nod to the festival’s spirit of community.
Overall, Just Like Heaven 2025 was more than just a music festival; it was a heartfelt tribute to indie and alternative music, capturing the spirit of community, nostalgia, and discovery. From historic reunions to unforgettable performances, it left attendees with memories they’ll cherish forever and a renewed appreciation for the power of live music. From Coachella to Stagecoach, Goldenvoice has once again set the standard for how a music festival should be run.
