Taking inspiration from the legendary Desert Trip rock festival in Indio, California ten years ago, Head Trip was scheduled to be a once-in-a-lifetime experience with some of the biggest names in EDM history. Upon seeing the lineup revealed in February, the only thought in my mind was that I had to be there. Fast forward to just a month prior to the event, Goldenvoice invited me to attend Head Trip as well as to share my experience in a review for Hit Parader magazine. Heading to the festival, I knew Head Trip would be an experience of a lifetime.
Head Trip is presented by Goldenvoice with the idea of having “Two Nights. One Stage. Just This One.” Tasked with leading the festival’s main stage production was Romain Pissenem, founder of creative production company High Scream. Pissenem and High Scream are known for projects ranging from the Paris 2024 Olympics to the Great Pyramids of Giza.
I decided to invite my best friend Ryan with me to the festival as he has been a music concert buddy of mine. As we are both busy business students at Cal Poly San Luis Obispo, we knew this would be an entire weekend’s endeavor. Driving down to Indio was definitely a memorable experience. From being hit by haboobs to seeing all of the gigantic windmills while blasting Calvin Harris and other headlining artists, I realized that Head Trip was not only a festival, but an experience. The physical change from pure greenery to desert made me realize that being in the isolated Coachella Valley meant that the focus of this weekend could fully be Head Trip.
As we arrived to will call to get our tickets, I didn’t realize how long the line would be, as it stretched as far as I could see. I didn’t realize how many people were attending this festival alongside me. Nobody likes to wait in line, but for some reason, I was excited to wait however long I needed to get the tickets in my hand. After receiving our wristbands, the feeling felt surreal. “This is legit,” I told Ryan, as we sped off to get ready for the night ahead.
Arriving to the venue was definitely another journey to remember. On the first day, we split an Uber with our next-door neighbor, also in town for Head Trip. We then walked about 30 minutes from the drop-off. On day two, there were no Ubers, the lot was full, and we parked two miles away before making the same 30-minute trek. The build up for the walk felt nerve-wracking and very fast paced. Everyone was speedwalking out of excitement and waving at strangers which made me feel included right away. Security was quick, with two wristband checkpoints before bag check. The crowd covered every age group and background, and the whole event felt inclusive.
Inside, Head Trip looked magical. A Ferris wheel, signs pointing to the stage and food, the iconic rainbow tower painted a picturesque scene that I had only ever seen on Instagram. Having never attended Coachella, I decided to go for a 2016 Tumblr look with a handmade flower crown I had made on the way to festival, and people complimented it all day. The rainbow tower also doubled as my main meeting point, and since it was air conditioned inside, it was definitely a smart way to draw people in and cool them off after dancing in the desert.
The first set of the night I saw was Peggy Gou b2b Four Tet. As the only female DJ in in the lineup, Gou had my respect immediately. However, the speakers during her set were unfortunately quieter than I had expected, which made me worry that the entire weekend would lack in sound. Getting toward the front of the stage was easy on the first night, with people fanning me as I walked through while waving their inflatable animal totems above the crowd so that groups of friends could find each other. When Peggy Gou played “(It Goes Like) Nanana,” looking around at everyone starting to dance as lasers flashed and drums boomed, I became completely immersed in the moment; this was when it fully hit me that I had really made it to Head Trip.
Then came Fisher b2b Chris Lake. This was my third time seeing Chris Lake perform after his LA State Historic Park show this summer and his 2026 Shabang headline set. Hearing the intro to Fisher’s “Losing It” in his Aussie accent saying, “Let’s go make everyone dance,” really set the mood and when the beat dropped, the crowd around me jumped up and down in unison. In retrospect, this was the greatest intro to a set I’ve ever heard, with more flashing lasers and lights than I could count. With large beach balls flying around and a light drizzle here and there, our section of the crowd began to feel like family.
Midway through “Turn Off the Lights,” one of my favorites Chris Lake tracks, the music abruptly stopped and a big yellow screen replaced the strobe lights. I thought it was a joke tied to their under-construction theme. It wasn’t. The venue was quickly evacuated due to severe weather and lightning reports tied to a nearby tropical storm. People around me were crying that they wouldn’t see Calvin Harris and other headliners, with this commotion leaving us in the parking lot in pouring rain. Too stunned to be upset, I stayed positive and hoped that the weather would clear up the next day.
The next morning, Ryan showed me the updated lineup. DJ Harvey at 3:05, Peggy Gou at 4:35, Dom Dolla b2b Kettama at 6:15, Skrillex at 7:35, Calvin Harris at 9:10, Swedish House Mafia at 11:00. Everyone had the same idea to be at Dom Dolla and Kettama’s set, so that they could avoid long lines to get a parking spot.
As Ryan went to refill his water bottle, I headed into the crowd with a group of friends knowing that I wouldn’t see him again that night. One stage, 90,000 people, and no cell service would make regrouping impossible. The second Dom Dolla and Kettama’s set started, the crowd suddenly surged forward with gaps closing, blocking people from passing through; the friendliness of day one was gone. Despite this, as a five-foot-tall girl, I was used to being under everyone’s armpits and being barely able to see, so I danced regardless and enjoyed their contagious mixes and lasers.
For Skrillex’s set, I was finally able to move up closer to the front, which made his performance a standout in my experience at Head Trip. Although some people complained about the lack of screen visuals, I thought that Head Trip’s stage design was extremely unique and perfect for each artist’s sets. When Calvin Harris began his performance at 9, it felt like the greatest payoff. From Fisher and Chris Lake’s set getting cancelled, to performances being postponed, it was a rollercoaster but finally hearing songs like ‘Feel So Close” and “I’m Not Alone,” plus a mid-set “Interbloom,” that got me emotional. After Calvin Harris’ set, Swedish House Mafia was the last performance of the festival, and it felt appropriate as the soundtrack to close out the festival; the desert was sent home on a high.
Head Trip promised “Two nights. Just this once.” Even though the weather tried to take one away, what it gave us instead were unforgettable memories and experiences. From Fisher’s intro in the fog to the rain pushing back scheduling, to Calvin Harris making good on night two, for everyone who made the journey to Head Trip, we left holding onto moments we’ll be holding onto and sharing for years to come.
