Festivals
Boston Calling 2025 – Day Three Recap & Photos
Harvard Athletic Complex, Boston, MA – May 25, 2025
The final day of Boston Calling 2025 was a melting pot of genres, offering a diverse lineup that catered to rock enthusiasts, hip-hop heads, and indie aficionados alike. If you couldn’t find something to love on Sunday, that’s on you.
It started with local funk crew SNACKTIME, who wore matching Allen Iverson-era Sixers jerseys and blew the grogginess off the early crowd. Nothing wakes you up like a horn section!
Then came Remi Wolf, chaotic good incarnate. She hit the stage in a “Be Proud of Yourself” tee, ready to party, even if her mic wasn’t. Tech issues tried to sabotage the set early on, but Wolf handled it like a champ, cracking jokes, giving her bandmates nicknames, and buying time with banter. Once her vocals finally blasted through, it was on. “Cinderella,” “Hello Hello Hello,” and “Pitiful” lit the crowd up. She even threw in a soulful cover of Fleetwood Mac’s “Dreams” before launching into the full-throttle finale of “Photo ID.” If Boston Calling gives out gold stars, she earned a galaxy.
Sublime brought the West Coast vibes, their reggae-infused rock providing a laid-back contrast to the day’s earlier acts. Jakob Nowell, carrying on his dad Brad’s legacy, made the set feel both nostalgic and alive. He reminded the crowd it was the 29th anniversary of his father’s passing, then jumped right back into the feel-good chaos. “Let’s play something fast so we can all shove each other around a bit.” The crowd happily obliged.
Over at the Blue Stage, Tom Morello came out swinging. No band, just a man and his guitar, railing against injustice with fury. He got the crowd chanting, jumping, and yelling along to Woody Guthrie’s “This Land Is Your Land” (the uncensored version). He even brought out Chuck D for a surprise drop-in to perform “Prophets of Rage,” because why not?
Chuck D wasn’t done yet. Thirty minutes later, Public Enemy took the stage, bringing that full-force, speak-truth-no-matter-what energy they’ve had for four decades. “Fight the Power” still hits hard. Flavor Flav and Chuck D were steady as ever, and the crowd (including the Gen Z kids) danced and shouted like the revolution was starting right then.
As the sun dipped behind the Harvard Athletic Complex, Vampire Weekend made their return, 12 years after first playing Boston Calling. Ezra Koenig sounded like he hasn’t aged a day. They opened with “Ice Cream Piano,” and hit every note fans could have hoped for with “Step,” “Unbelievers,” “Diane Young,” “Oxford Comma.” It was a warm, breezy, feel-good set that satisfied all indieheads.
Then came the closer: Dave Matthews Band. Fresh off their Rock & Roll Hall of Fame induction, they came out bundled in jackets (Dave joked his was “confining”). “Crash Into Me” and “Ants Marching” got the biggest singalongs, while the extended jams gave fans what they came for. It wasn’t the flashiest ending, but it was warm, grounded, and exactly what a Sunday night closer should feel like.
The rain held off. The merch lines stayed long. The music hit the sweet spot between political fire and indie comfort. Sunday felt like a mixtape built to please everyone — young, old, loud, mellow, radical, or just here for the vibes.
Boston Calling 2025 closed on a high note. Here’s to next year and all the great memories that will ensue!
Check out our photos of Remi Wolf below or head to our Facebook page for the full gallery!
All Photo Credit: Faith Constantine
Festivals
All Things Go 2026 Returns To Toronto June 6 & 7
All Things Go Festival today announced new dates for its Toronto 2026 edition, moving to summer dates June 6th and 7th at its iconic downtown waterfront venue RBC Amphitheatre (formerly Budweiser Stage).
Expect another lineup true to All Things Go’s core identity, highlighting female and LGBTQ+ artists; the lineup will be revealed soon. The inaugural 2025 festival featured iconic sets from Reneé Rapp, Kacey Musgraves, Role Model, Charlotte Cardin, and many more… Head here to read our review of Day 1 and 2 of the the 2025 edition.
All Things Go will once again partner with Live Nation Women to deliver the best possible festival experience for fans.
All Things Go 2026 editions in the DC area at Merriweather Post Pavilion and New York’s Forest Hills Stadium will return this year, with more information to come soon.
Late last year, All Things Go proudly released the benefit compilation All Things Go: 10 Years, with 100% of the proceeds going to their longtime collaborators at The Ally Coalition (TAC), a leading nonprofit dedicated to supporting LGBTQ+ youth, founded by Jack and Rachel Antonoff. The track, “Jesus and John Wayne,” a poignant collaboration between googly eyes, Joy Oladokun, and August Ponthier, was named one of the best songs in 2025 by NPR. The compilation featured a diverse lineup of special original songs and collaborations from artists in the All Things Go community, such as Kesha, Hudson Mohawke, Maren Morris (prod. Jack Antonoff), Rachel Chinouriri, Bartees Strangem etc.
Find more information on the festival website or on their social channels: Instagram, Twitter, Facebook, TikTok
Festivals
Rolling Loud Announce Move To Orlando For 2026
Rolling Loud will stage its only U.S. festival of 2026 in Orlando, Florida, marking a notable shift for the long-running hip-hop event. Organizers announced that Rolling Loud Orlando will take place May 8–10 at Camping World Stadium, ending a decade-long tradition that kept the festival anchored in Miami.
The lineup has not been revealed, but the festival is promising a full week of “exclusive events and experiences” tied to the main weekend. Presale tickets go on sale Thursday, January 8, at 10 a.m. ET through Rolling Loud’s website, with prices starting at $249. A layaway option will be offered with a $9.99 deposit.
The Orlando dates come after years of Rolling Loud operating multiple U.S. festivals in cities such as Miami, Los Angeles, and New York. That approach has now been scaled back. Outside the U.S., Rolling Loud will still host events in Sydney and Melbourne on March 7 and 8, following recent global expansions that included the brand’s first festival in India last November. Organizers have already confirmed a return to India in November 2026.
Festival co-founder and co-CEO Matt Zingler said the move reflects a broader reset for the brand. In a statement shared via Billboard, Zingler explained that the goal was to bring Rolling Loud back to a summer schedule and build a single U.S. event without trade-offs. He pointed to Orlando’s accessibility and infrastructure as key reasons for the decision, adding that the festival aims to follow where hip-hop culture is headed, not where it has already been.
Rolling Loud began in Miami in 2015, founded by Florida natives Zingler and Tariq Cherif. What started as a one-day event in Wynwood quickly grew into a major destination festival, moving through larger venues before landing at Hard Rock Stadium by 2018. By the end of the decade, Rolling Loud Miami regularly drew crowds exceeding 200,000, becoming one of the city’s biggest music events and a major economic driver.
Over the years, the festival has hosted performances from artists such as Travis Scott, Future, Cardi B, Megan Thee Stallion, A$AP Rocky, 21 Savage, Latto, and Kodak Black, while building a reputation for spotlighting rising artists alongside established stars. The brand later expanded across North America and overseas, helping solidify hip-hop’s place at the center of the global festival circuit.
News of the move to Orlando has drawn mixed reactions online, particularly from South Florida fans who viewed Rolling Loud as a fixture of Miami’s cultural calendar. The change signals a clear new chapter for the festival as it enters its second decade, with organizers betting on a leaner U.S. footprint and a broader international focus.