Author: Ricardo Arriaga

Posted: May 30, 2025

San Diego’s waterfront was transformed into a multi-sensory playground this past weekend as Wonderfront Festival returned, turning the city into a vibrant hub of music, art, and coastal cool. Across seven dynamic stages—including a yacht cruise stage and a free-to-all stage just outside the main gates—this three-day music getaway brought together an eclectic lineup and a sunset-drenched ambiance that made it hard to leave.

From yacht parties to psychedelic dance-floors, the diversity of sound and setting defined the experience. With craft cocktails, local bites, and immersive art dotting the landscape, Wonderfront isn’t just a festival—it’s a vibe.

Friday: Kicking Off with Club Beats & Lyrical Fire

The weekend began with a sonic surge courtesy of Overmono, the Welsh brotherly duo redefining the UK's electronic scene. Taking over the Events.com Stage, their signature blend of breakbeats and cinematic energy had the Embarcadero crowd grooving before sundown. No one told Overmono that daytime sets can’t go hard—they brought a warehouse-level intensity to the seaside park.

Over at the Cypress Ascendant Stage, Isaiah Rashad delivered a birthday performance soaked in love and bass. Backed by a hype man who quite literally leapt into action, Rashad’s fluid flow, live-mixed beats, and surprise singalong birthday moments created an intimate connection with the audience—despite the ground-shaking low end.

Duke Dumont took the decks next with a flawlessly curated DJ set that blended elegance and energy. Conducting the crowd through “Red Light Green Light,” then vibing with a cigarette in one hand and a dial in the other, Duke’s sunset soundtrack melted into the bay as he closed with his indelible hit “Ocean Drive.”

As night fell, the energy turned hypnotic. Peggy Gou, the Seoul-born club icon, emerged behind the main stage decks as an ethereal silhouette, commanding a kinetic, neon-tinged dancefloor. Her set flowed like a dream, backed by pastel visuals and projected hearts that spilled emotion into every beat.

Rounding out the night on the Hazy Stage, Freddie Gibbs reminded everyone what raw stage presence looks like. Whether flawlessly riding his flow or demanding a track restart to get it just right, Gibbs’ command was total. The call-and-response from the crowd was electric—proof that his lyricism and charisma resonate as deeply live as they do on record.

Saturday: Cosmic Pop, Psychedelia, and a Stormy Soul Revival

Day two launched into orbit with STRFKR, whose cosmic indie-pop and interstellar dancers brought intergalactic vibes to the bay. Backed by their latest record Parallel Realms, their live show was equal parts catchy synth hooks and glitter-drenched spectacle. With dancers flipping through space suits and the crowd singing along, it was impossible not to smile.

Magdalena Bay, the Miami-bred dream-pop duo, followed with a conceptual, immersive performance built around their stunning album Imaginal Disk. Mica Tenenbaum's soaring vocals on “Vampire in the Corner” felt like a spiritual experience, while costume changes and LED-drenched visuals gave the whole set a futurist pop-art flair.

Later, SiR cooled things down with a silky blend of introspective R&B and slow-jam soul. Accompanied by lush backup vocals and moody lighting, his set invited the crowd to sway, breathe, and feel. A standout moment for Top Dawg Entertainment this weekend, showing their range from energy to elegance.

Then came Portugal. The Man, the indie darlings from Alaska via Portland, who brought a groovy collision of psych-pop and dance-rock to the waterfront. Their sound was a sunbeam in sonic form. Special moment? Their daughter Frances joined for a heart-melting rendition of “Purple Yellow Red and Blue” chorus. That’s what festivals are made of.

As raindrops began to patter gently on ponchos and hats, Janelle Monáe hit the stage like a thunderbolt. Fusing genres with visionary flair, her set was a masterclass in performance art—equal parts funk, soul, and theatrical storytelling. As the rain intensified, so did she, proving once again that she's not just a performer—she's a movement.

Closing the night with a bang, Foster the People turned their nostalgia-laced indie pop into a festival-wide singalong. Kicking off with their latest track “Feed Me,” frontman Mark Foster’s infectious energy translated into unrestrained dance moves and heartfelt crowd engagement. His sideways shuffle across the stage had the crowd roaring—and by the time “Sit Next to Me” dropped, Wonderfront was fully lit.

The multi-platinum sensation Neon Trees brought high-energy pop and new wave charm to close out the Hazy Stage. Even though it was drizzling lightly, the crowd packed in tight, feeding off the band’s infectious energy. They took charge with their dynamic personality and genuine performance. A surprise cover of “Pink Pony Club” added an emotional twist to their setlist. They wrapped with the crowd favorite “Everybody Talks,” ending the night on a strong note as San Diego delivered a warm welcome to Neon Trees.

Sunday: Sunlight, Soul, and Grooves by the Bay

A quiet buzz of anticipation was upon me. The sun was already high and warm as I wandered toward the stage just in time to catch the Australian indie rockers Vacations, known for their smooth, hazy tones. Their live sound didn’t stray far from their record, a comforting feeling in how consistent they are. They opened with tracks from No Place Like Home, easing the crowd into a relaxed groove before pulling older gems from Vibes and Changes. The bassist and guitarist were clearly having a good time, moving around with just enough looseness to keep things interesting. The crowd, mellow but moving, reflected the mood perfectly.

A shift in energy came with Neil Frances. Back in San Diego, bringing a kind of buoyant joy to the stage that immediately washed over the audience. “It’s Like a Dream” dropped early in the set, and suddenly we were all dancing. Their sound is infectious alt-pop with an electronic heartbeat—felt like the breeze coming off the bay. The highlight had to be their cover of “Music Sounds Better With You” which turned the whole space into a beachside disco. People threw their hands up as the crowd gleefully laughed. I am reminded that I need to see their Club NF set someday.

Then came something I hadn’t expected to witness, 4 Non Blondes back together and on stage. After vanishing for thirty years, they returned with a vengeance and a packed crowd ready to shout every lyric of “What’s Up?” before it even played. Linda Perry walked out like she’d never left, cracking jokes, commanding the stage, her voice just as raw and righteous as ever. They teased the chorus with a quick acapella lead-in that had the entire field singing before the instruments even kicked in. Somewhere between the Zeppelin cover and eight brand new songs I realized how much I missed that kind of grunge-infused defiance. There was a moment when Linda, completely unfiltered, spoke about the journey back and it felt earned. When the chorus finally hit in full, the crowd became a single voice. Unbelievable to think it was their first show back.

Jason Mraz, local legend and mellow mood-bringer, took the stage as each band member dressed in each color of the rainbow. It was charming, just like him. There was something inherently comforting in how he moved between soft rock, gentle funk, and even a little bit of hip-hop influence. He made a point to wave at the folks across the bay on the City Cruises Yacht Stage, which only made the whole thing feel more communal. There’s something about Mraz’s sound—it’s clean, breezy, and a little cheeky, but there’s depth in his sincerity.

Word had been floating around all day about Leon Thomas. His stage was packed, barricades had to be brought in to manage the crowd. The atmosphere was alive. And then the music hit: entrancing, slow-burning progressive R&B that wrapped itself around you like velvet. I later learned he’s an actor, Grammy winner and has worked with artists like Ariana Grande and SZA. His live presence felt effortless, magnetic. Will definitely keep an eye on their next project of any kind.

A break from the main stages brought me to something different—a gathering arranged by fellow San Diego photographer Ava-Marie over at the City Cruises Yacht Stage. We met up with others in the photo community and boarded the yacht, cruising through the marina just as the sky started to cool.

The artist on board was Jalen Ngonda, and I’m still processing how magical that set was. He sang with a falsetto that could slice straight through noise, like something out of another era. It was intimate, quiet in the best way. His songwriting was warm, tinged with classic soul, and even when he spilled his drink mid-song, a fan immediately brought him another—one of those sweet, unscripted moments that makes live music so human. I didn’t know who he was before this, but I left the yacht a fan.

Back on land, the sun dipped and the air took on that end-of-day cool. Khruangbin emerged slowly, from the top of a staircase built into their stage design—a visual nod to their A La Sala album. The trio from Texas seemed to arrive from another planet entirely. Their music—mostly instrumental, tinged with Thai funk, surf, psych, soul, and whatever else they feel like blending—defies categorization. They opened with “Juegos y Nubes” and immediately transported the audience. Mark Speer’s guitar floated, Laura Lee’s basslines grooved with elegance, and DJ’s drumming was tight and perfect. During “Maria Tambien,” the band slipped into a jam so earthy and rhythmic that nearly made me start to square dance, I don’t even know how to. The way they play with tempo is hypnotic—they’ll hit a peak and then pull it all the way back into something so soft it feels like it might vanish. I’ve seen them before, and I’ll see them again every chance I get.

As the night wrapped up, I wandered toward the Electric Lounge, pulled in by the pulse of deep and clean bass. Amtrac was behind the decks and the lighting at that stage—low fog, glimmering disco ball reflections, cool hues—turned the space into something otherworldly. Amtrac’s set was a blend of disco nostalgia and soft house. When he dropped his 2017 remix of “When Will I See You Again,” it was like stepping into a warped dream, familiar but distorted in the best way. The bassline was smooth, the transitions fluid, the energy sustained magically.

Sunday at Wonderfront felt like a slow bloom—from sunlit grooves to moonlit pulses, every set added a different shade to the day. I showed up curious, left inspired, and will definitely be watching for who returns next year. As the festival came to a close, I kept thinking about Khruangbin. Their set was the one that stuck with me. I’ve seen them before, but this time I felt myself dialed in on my coverage and comforted by their sound. The crowd moved with them, not in a loud way, but in a connected one. I didn’t expect to end the weekend so centered, but that’s what their music does—it resets you. After three days of high energy and non stop movement, it was the perfect way to land. Wonderfront gave a lot this year, but Khruangbin gave me the stillness I didn’t know I needed.

📸: Ricardo Arriaga/ @aurorealis64