As temperatures continued to spike in the San Gabriel Valley on Saturday, groves of festivalgoers descended upon Pasadena’s iconic Rose Bowl, having come prepared to beat the heat. Attendees wielding colorful parasols, oversized paper fans and electronic misters walked through the stadium’s gates and onto the fairway of the adjacent Brookside Golf Club, ready to see what the particularly sunny sixth edition of Goldenvoice’s Just Like Heaven Festival had to offer. Since its launch in 2019, the festival has served as a love letter to the indie rock sound that defined the 2000s and early 2010s, with fan-favorites such as Phoenix and Vampire Weekend headlining in years past. Indie infatuation was certainly in the air again this time around, as attendees jammed out to high-energy sets by genre legends, staples and newcomers.
One performance that really stuck out to me came from Canadian singer-songwriter EKKSTACY, whose guitar hooks and post-punk sound demanded the attention of the growing crowds around the primary Orion Stage. The overwhelmingly strong chemistry exhibited between him and his live band was impossible to ignore, so much so that I was shocked to learn that the act was in reality the solo project of 23-year-old Khyree Zienty. Another was Dayglow, who played a poppier set that felt perfect for a hot summer day. Their show culminated with the 80s-inspired “Close to You,” featuring a catchy synth lead that ended things on an upbeat, dance-y note.
To be honest, Southern California’s very own TV Girl caught me by surprise. They exist as a rather unique act in the indie scene, layering entrancing samples on top of live instruments, and I was blown away by how fantastic this sounded live. Lead singer Brad Petering, who’d kick off each song by fiddling with his Roland SP-404A sampler, was an entertaining frontman during and in-between songs. From tap dancing during “Loving Machine,” or simply ranting about how it was his first ever time wearing shorts on stage, he garnered a decent amount of cheers and laughs throughout the set. Guest guitarist Jordana arguably stole the show, providing dreamy lead vocals for two songs off her joint album with the band. The soul in her lyrics and the vigor of the band easily made “Better in the Dark” the highlight of the set. Throughout their final few songs, there were piggyback rides, maracas and a guest appearance by fellow performer and collaborator George Clanton. TV Girl simply seemed to be having fun up there, and one look at the crowd showed that their energy was infectious.
As a festival setting, Brookside offers scenic views and a great deal of space to explore. Despite being a decently large event with an estimated headcount north of 20,000, it was surprisingly easy to break away from the two stages and find space for a quick picnic. The food trucks offered a wide array of cuisines: specialty hot dogs, street tacos, udon, curry and more. Strategically placed misting stations, equipped with large industrial fans and hoses, allowed attendees to cool off before getting back into the action. The merchandise booths offered large varieties of both festival and artist merchandise, and the lines actually moved pretty fast despite their size.
Anyone who has attended Just Like Heaven will likely tell you about A Club Called Rhonda, a pop-up that has sat between the two stages since 2024. Rhonda itself began in 2008 as a monthly dance party in Silver Lake and homage to the golden age of disco, primarily making appearances at clubs and festivals around Los Angeles. Its presentation was top-notch: a lime-green DJ booth with colorful signage reading “Just Like Rhonda,” a disco ball and a crew of backup dancers wearing aluminum-foil-esque outfits straight out of a 60s sci-fi flick. Having heard some dreadful DJs the weekend prior, dancing at Rhonda was like a breath of fresh air, and I frankly found it hard to leave. Since they weren’t featured on the primary bill, I’d like to shout out DJs CFCF and Tommie Sunshine – you two were born to mix.
As the sun began to set, it was headliner time, and the names on the marquee this year were some of the biggest in festival history: LCD Soundsystem, sounding as good as ever with the ageless genius James Murphy at the helm, and the larger-than-life Strokes, riding high following the release of their seventh studio album Reality Awaits. Getting the opportunity to witness these two bands on one stage felt unreal. Explaining the extent to which they expanded my taste as a kid with cheap Skullcandy headphones or estimating the number of times I’ve listened through “Sound of Silver” and “Room on Fire” respectively, would be impossible.
LCD Soundsystem had the crowd in awe from the moment they took the stage. First and foremost, the concert production was immaculate. The synthesizers produced a robust sound that brought every song to life, the percussion was crisp, and Murphy’s low vocals and raw falsettos filled the humid air. The brilliant lighting and camera work immersed me deeper in the show. I had never felt more rewarded for remaining patient in between sets. The band didn’t miss a beat, and each of them got their own moment in the spotlight. Their renditions of “Tribulations” and “North American Scum” (one of my personal favorites) were standouts that I won’t soon forget, but I’d say the climax of the show was “Dance Yrself Clean.” I saw a crowd in worship, singing along to the many “ahh-ahhhh”s that compose the song’s buildup, and when the beat finally dropped, my section of the pit went wild. This liveliness would continue as they ended their set with “All My Friends,” which served as a sweet and triumphant conclusion to what was an extraordinary performance.
There’s always this special feeling you can see amidst the crowd when the final act comes out, and this was especially true Saturday night. Coming out swinging with their new song “Lonely in the Future,” The Strokes made a statement in the first second of their act. Belting out hit after hit, the iconic Manhattan indie group was electric. Frontman Julian Casablancas is known to be an eccentric personality on stage, and the JLH crowd was lucky to get him at his best. While his usage of autotune on their newest record has been the subject of widespread critique this summer (fans around me were placing bets on whether or not he’d use it during the show), their rendition of “One Way Trigger” made it clear that he still had the vocal talent he’s been known to flaunt. The band blessed the audience with an extended introduction to “Life is Simple in the Moonlight,” as the cameras switched between close-ups of the musicians and the recently risen moon. Adding extravagance to the visuals of their show, the stage design was reminiscent of a retro game show set, complete with vibrant lights and lasers. They performed four songs off their new record, with one of them being the surprise live debut of “Going to Babble On” during their encore. Though their victory lap was cut short due to curfew, most fans left happy having heard at least one cut from each of their incredible albums.
As the lights came on and the march towards the exit began, I felt satisfied with my experience at Just Like Heaven. The presentation, the bands and the overall vibe of the festival made it one that I’ll plan to attend for years to come, and it should be a festival on any SoCal indie enthusiast’s radar.
