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The soundscape in which Dreamland 2021 lives is one of bleak techno and deep house beats, utilizing moody atmosphere to try to captivate and mesmerize as the album twists and turns.
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One of the most heart-wrenching casualties of the pandemic was the loss of in-person concerts, as the performances that used to animate restaurants, bars and late-night venues seemed to vanish overnight.
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The event was an attempt to maximize audiences’ growing desire to see live acts perform, and experimented with the constraints of the world’s new reality.
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When we at the Clog first arrived back in Berkeley, we were startled by the ubiquitous yellow festival-style wristbands on students’ wrists.
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To borrow some terminology from the Carters, this year’s Outside Lands “was a fucking zoo.”
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On Saturday, Hozier gave the most action-inspiring performance at Outside Lands and Childish Gambino attracted the largest audience in the festival’s history.
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On the final day of Outside Lands, performers brought on performances worthy of the titles of slowest burn, most stylish, strongest groove and most tritely eloquent.
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As the most prominent and highly-anticipated headliners of the weekend, Anderson .Paak and Paul Simon did not disappoint with the most wow-worthy and grateful sets of the festival.
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The first day of Outside Lands saw the most emotive, in sync, saxophone-centric and floppy sets of the festival.
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On Friday, Twenty One Pilots, The Lumineers and Flying Lotus boasted, respectively, the most risk-taking, nautical and surreal sets of the weekend.
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