Ohana Festival’s ninth year brings Eddie Vedder, Kings of Leon, Garbage, Stereophonics, and Lukas Nelson to deliver a rock celebration to the OC beach town.
The first day of Ohana Festival 2025 unfolded the way longtime festivalgoers have come to expect: with the Pacific glittering just at the edge of the festival grounds, salt air rolling in from the surf, and a lineup that managed to feel both surprising and deeply familiar. Eddie Vedder, the festival’s co-founder and curator, began each day with an offer of thanks to the loyal fans, once again anchored the first night with his Earthlings band. The day’s journey across genres and generations gave Friday its own character — a living soundtrack to the culture Vedder has carefully nurtured here on the sands of Doheny State Beach.
Makua, a native son of the Hawaiian Islands, opened the day with gentle strums and a voice that carried warmth across the early-afternoon crowd. His set leaned into reggae-tinged island song-based storytelling, bridging the Pacific with a sound rooted in folk tradition. It was a reminder that Ohana, meaning “family,” begins with connection, and Makua’s unhurried delivery gave festivalgoers a chance to settle in and exhale.
Akira Galaxy brought a sharper edge to the day. Her dreamy, synth-driven pop contrasted beautifully with the natural beach setting, creating layered textures and cinematic flourishes that gave the crowd a sense of atmospheric lift. Beach blankets filled with curious new listeners who were drawn in by her sound. Still early in her career, Galaxy performed with the poise of someone ready to graduate from small clubs to festival main stages. At one point, she stepped offstage to interact with fans — never missing a beat — delivering her set with the style, confidence, and grace of a seasoned pro.
The energy picked up with Deep Sea Diver, led by Jessica Dobson’s fluid guitar work and commanding vocals. Their blend of intricate musicianship and emotional directness translated beautifully in the open-air setting, with songs like their opener, “Billboard Heart,” cutting through the afternoon haze and pulling the crowd closer. Dobson’s voice rang clear and cutting, steering a set that balanced precision with heart, while her sharp yet melodic solos carried a quiet authority that lingered long after the final note. What stood out most was the band’s ability to weave intimacy into expansive arrangements, making even the wide festival stage feel personal and immediate — a rare gift in such a large setting.
Hinds bounded onstage with playful irreverence, despite having to overcome some early audio issues, delivering a set of jangly garage-rock that felt like a spontaneous celebration. Their ragged harmonies and scrappy energy created an irresistible sense of fun, pulling even casual listeners into their orbit. Hinds’ performance was less about polish and more about spirit, and in the laid-back atmosphere of Ohana Festival, that rough-edged charm landed perfectly. They left the stage smiling, leaving the crowd buzzing with their carefree energy.
Kim Deal commanded attention with an understated presence that spoke volumes. Her set leaned into simplicity, drawing the audience into her world with sparse arrangements and heartfelt delivery. Drawing from her vast catalog, Deal crafted a performance that was both intimate and powerful, proving that influence doesn’t always require grandeur. There was a quiet authority in her performance — a reminder that artistry often resides in restraint. But it was when Deal shot out “Cannon Ball” the Breeders hit, the crowd exploded with excitement, and the set hit a new level of energy.
Stereophonics brought their signature Brit-rock swagger as the afternoon wore on. Kelly Jones’ gravelly vocals anchored a set filled with arena-sized anthems that felt effortless in the coastal breeze. Their songs carried both scale and intimacy, bridging the gap between polished craftsmanship and raw emotional drive. Stereophonics reminded the audience that their decades-long career has been built on a balance of grit, melody, and connection.
Lukas Nelson, sans his cowboy hat, stepped into the golden light of early evening with a set that blended country soul and rock with ease. His voice, warm and confident, carried songs that felt both timeless and fresh. Nelson offered a set rich in narrative, delivering moments of communal sing-alongs and quiet introspection. His performance embodied the spirit of Ohana, music as both a personal journey and a shared experience.
Then came Garbage, who wasted no time in making a statement. Shirley Manson, all charisma and command, stalked the stage with a blend of menace and glamour. Their setlist balanced the hits that defined them in the ’90s with newer material that carried just as much bite. “Stupid Girl” and “Only Happy When It Rains” drew thunderous responses, but it was the darker, more atmospheric tracks that cemented their relevance. Garbage didn’t simply indulge in nostalgia; they reminded the audience that they’ve never gone away.
Kings of Leon carried the momentum into nightfall, their tightly wound set a showcase of Southern rock muscle and moody introspection. Caleb Followill’s distinctive drawl led the band through both smoldering ballads and arena-sized choruses, the crowd responding to every dynamic shift. By the time they closed with “Sex on Fire,” the beach was alive with voices, setting the stage perfectly for Vedder’s arrival.
Eddie Vedder and the Earthlings closed the night in a way only Vedder can: with a performance that felt both communal and deeply personal. Backed by a seasoned group of players, Vedder guided the audience through solo staples, Earthlings material, and covers, one of which was an instrumental run through of Led Zeppelin’s “Celebration Day.” The cover songs carried his own musical DNA. His voice — that unmistakable baritone — floated over the waves, carrying tenderness in ballads and urgency in rockers.
What made the set memorable wasn’t just the musicianship, though that was undeniable. It was the sense of homecoming. Vedder, performing on the very beach where Ohana was born, turned the festival’s ethos into lived experience. He reminded the crowd that Ohana is about more than music; it’s about community, place, and legacy. Like clockwork, the final number in the set saw an all-star group of performers from day one join the Earthlings on stage for a rendition of Neil Young’s “Rockin’ in the Free World.” As the final chords faded into the surf, day one of Ohana Festival 2025 felt less like a concert and more like a gathering — a reminder that on this stretch of Southern California coast, Ohana is more than music. In the literal sense, it is family.
