Schoolboy Q Shines, K. Flay Slays, Kacey Musgraves Joins Sabrina Carpenter – Outside Lands 2024: Day 2 Recap
One of the overriding themes of Outside Lands 2024 was the relentless cold. Typically, festival-goers can expect hot and sunny afternoons at Golden Gate Park, but this year, the sun was a rare guest, peeking out only occasionally before retreating behind thick clouds. At times, it even rained, adding an extra layer of challenge to an already wind-chilled weekend.
Despite the gloomy weather, Day 2 brought a lineup packed with standout performances that kept spirits high and bodies moving—even if we were all shivering a bit.
Land’s End Stage – K. Flay: A Raw and Raunchy Start
Day 2 kicked off for me with the raw, raunchy, unfiltered, lo-fi, EDM-tinged rock/hip hop hybrid sound of K. Flay on the Land’s End Stage. The Stanford alum expressed her gratitude for playing on her musical home turf, and her set was filled with impressive guitar solos, in-your-face attitude, and a relentless energy that had her pacing, marching, and stomping across the stage.
K. Flay, dressed in her trademark tomboy style—white silk shorts like a boxer and a sleeveless white tee—embodied a scrappy, feisty presence. She seamlessly transitioned from jumping and head banging to flowing lyrics like a hip hop star.
Performing songs such as “Giver,” “Blood in the Cut,” and “High Enough,” she infused the festival with unbridled energy and set the tone for the day. She was one of several incredible LGBTQ+ artists performing at the festival, adding to the inclusive and diverse spirit of Outside Lands.
Twin Peaks Stage – Amyl & the Sniffers: Punk Energy in the Afternoon Sun
By mid-Saturday afternoon, the sun made one of its rare appearances just in time for Aussie sensations Amyl and the Sniffers to take the Twin Peaks Stage. Their in-your-face, femme-fronted hardcore punk mixed with glam rock was a refreshing jolt in a lineup dominated by indie, hip hop, and country acts.
They ripped through songs like “U Should Not Be Doing That,” “Security,” and “Facts,” bringing some of the most rowdy and intense punk rock energy of the entire weekend. Lead singer Amy Taylor, dressed in a gold lamé halter top, high-waisted skin-tight jeans, white calf-high boots, and her signature bleach blonde mullet, shouted, yelled, and snarled her way through the set.
Devout fans slam-danced in a circle pit below, and the band’s performance felt like taking a shot of espresso and whiskey at the same time—a perfect wake-up call after a chilly night and morning.
Land’s End Stage – Schoolboy Q: A Hip Hop Highlight
The highlight of the entire weekend for me was Schoolboy Q’s performance on the Land’s End Stage. Touring to promote his first new album in 10 years, it was a rare treat to see him live, and he did not disappoint. The hour-long set spanned his nearly 20-year musical catalogue, with hit singles strategically placed throughout. Dressed down in a pullover hoodie and baseball cap, Schoolboy Q’s stage presence was a mix of shrewd energy and contemplative wisdom.
From the moment he kicked off with “Man of the Year,” and moved through “Hands on the Wheel” to the explosive “Collard Greens,” the crowd was electric. The set reached a particularly memorable moment when a man was lifted through the air, crowdsurfing in his wheelchair. It was a powerful and exhilarating scene that epitomized the spirit of inclusivity and unity at the festival.
Musically, Schoolboy Q is a unique blend of Kanye West’s bravado, Kid Cudi’s introspection, and Lil’ Yachty’s playful energy. A street-wise performer from South LA, Schoolboy Q impressed with his thoughtful, old-soul persona, delivering poetic lyrics that were reminiscent of Kendrick Lamar. His set was fully interactive with jumping, hand-waving, and fist-pumping that kept the crowd engaged until he closed with “Hell of a Night.”
Land’s End Stage – Grace Jones: An Unforgettable Spectacle
Honestly, I wasn’t sure what to expect as I waited for the 70-year-old, OG triple-threat, powerhouse model-actress-singer Grace Jones to take the stage. But I knew I was in for a show unlike any other, and Jones delivered. She opened her set with “Nightclubbing,” suspended from the ceiling by cables attached to her waist, singing while hanging in mid-air. She transitioned seamlessly into “Private Life,” her impossibly long skirt trailing down to the stage floor.
As the set progressed, Jones’s costume continued to evolve, from an avant-garde 1950s circle skirt to a tutu and beyond. At one point, she even hula-hooped while singing an entire song, demonstrating the physical prowess that belied her age. A gripping a cappella rendition of “Amazing Grace” was a dynamic moment, showcasing her vocal strength and emotional depth.
She closed with her hit “Slave to the Rhythm,” proving herself to be a veteran performer with decades of experience and refinement. Watching Jones, I couldn’t help but think of Janelle Monae’s quirky stage show at last year’s Outside Lands; it was clear where Monae draws some of her inspiration.
Land’s End Stage – Sabrina Carpenter: A Broadway-Inspired Finale
By the time headliner Sabrina Carpenter took the stage Saturday night, the temperature had plummeted, and the crowd was feeling the fatigue of two days in the cold. Fans in the front rows had staked out their spots since before Grace Jones, camping on the ground with thin blankets to brace against the chill. As the show began, Carpenter’s set resembled a Broadway production, complete with dancers performing complex jazz-dance choreography on a set that looked like a 1970s primetime TV special.
Carpenter, clad in vintage Roberto Cavalli and black platform heels, changed costumes several times throughout the set, each outfit more dazzling than the last. However, despite the visual spectacle, the performance began to drag by the third song. It took her six or seven songs to reach “Feather,” and the energy waned. Perhaps if it hadn’t been so cold, the set might have felt more engaging, but I found myself wishing for a quicker pace.
The setlist could have been better structured to create a more dynamic flow that suited a headlining festival audience. An unexpected highlight was when country superstar Kacey Musgraves appeared for a duet of “These Boots Are Made for Walking,” which added a fun twist to the evening.
Carpenter’s final three songs, “Because I Liked a Boy,” “Nonsense,” and “Espresso,” closed the show on a lukewarm note. While I can see why she’s popular, the performance didn’t have quite enough substance to win me over completely.
By the end of Day 2, I was exhausted from braving the cold and navigating the packed festival grounds, but I was also excited for what lay ahead. The final day promised a stacked lineup, featuring the soulful Victoria Monét, the ever-entertaining Post Malone, and breakout queer superstar Chappell Roan. Despite the chilly weather, I couldn’t wait to see what Day 3 had in store.
