Chappell Roan Calls Out the Bourgeois, Post Malone Goes Country, Victoria Monet’s Diva Finale – Outside Lands 2024: Day 3 Recap
This year’s Outside Lands leaned heavily into country music, a surprising but welcome twist for many festival-goers. From Sturgill Simpson’s soulful twang to Paul Cauthen’s deep growl, and Shaboozey’s unique fusion of styles to Charley Crockett’s modern honky-tonk flair, country artists dominated the lineup across all three days.
But the most talked-about set of the entire festival was undoubtedly Post Malone’s highly anticipated country performance. Having seen Malone live about once a year for the past few years, I knew he always delivers, but this was a completely different side of him, and I was eager to see how he would pull it off. Here’s how Day 3 unfolded amidst the cold and fog of Golden Gate Park.
Land’s End Stage – Chappell Roan: A Hot Pink Extravaganza
By the time Chappell Roan took the stage on Sunday afternoon, a good percentage of the crowd had been camped out near the front barricades of the Land’s End Stage for hours. The set began with a playful twist—a marching band played Roan’s hit single “Hot To Go” while leading a golf cart, seemingly with Roan in it, around the opposite side of the polo field. It turned out to be a drag queen dressed as Roan, setting the tone for a whimsical, cheeky performance.
Suddenly, a sea of hot pink flooded the main stage as thousands of fans, donning hot pink cowboy hats, swarmed the polo field. From my perch at the top of the hill, I watched as all standing room filled up in an instant. Marking the one-year anniversary of her smash hit “Hot To Go,” Roan appeared in the same military-sequin number she wore in the music video, kicking off the set with “Feminominon.”
Despite the freezing temperatures, Roan brought fiery energy to the stage. She performed songs like “Red Wine Supernova” and “Good Luck Babe,” channeling the essence of a pop star caricature with a bold, bratty edge. She reminded me a lot of Lady Gaga in her early, experimental “Let’s Dance” days.
A now-viral moment occurred when Roan teased VIP audience members while teaching the “Hot To Go” dance, calling them out with, “It’s funny how everyone in VIP thinks they’re too cool to do this?!” By the end of her set, tens of thousands were doing the “Hot To Go” dance, and she closed with the infamous track “Pink Pony Club.” Roan is a whimsical, macabre blend of campy, fierce, and unforgettable—an embodiment of queer pop that the festival needed.
Land’s End Stage – Teddy Swims: Bringing the Soul
Next up was Teddy Swims, performing on festival main stages for the first time in 2024. This was the third time I’d seen Jaten Dimsdale, aka Teddy Swims, in the past 14 months, with every performance larger and more elevated than the last. Dressed in a San Francisco Giants baseball jersey with “SWIMS” and the number 69 on the back, Swims and his band, Freak Freely, had big shoes to fill following Chappell Roan’s massive set.
Swims has shot up to superstardom since the start of 2024, with ballad “Lose Control” debuting on the Billboard Hot 100 in January. The single has dominated both radio waves and the Top 10 List all year long, solidly maintaining it’s place on the charts since then. His social media following has exploded, jumping from 2 million to over 6 million Instagram followers within 2024 alone.
Performing mostly from his 2023 album I’ve Tried Everything But Therapy, plus some new tracks and EDM collaborations with artists like Illenium, Swims blended ballads and upbeat, soul-tinged numbers like “The Door” and “Some Things I’ll Never Know” to an emotional crowd.
With his powerful voice, charismatic stage presence, and genuine connection to his audience, Swims brought the talent, personality, and swagger needed to heat up the chilly afternoon. He just announced another set of tour dates, including a special show to honor his father on his birthday. Whatever he’s doing, he’s doing it right, and he shows no signs of stopping anytime soon.
Land’s End Stage – Post Malone: The Unlikely Country Crooner
Post Malone’s country set was one of the most talked-about performances of the entire weekend. As the mid-afternoon fog rolled in, a surprisingly diverse crowd gathered to see the rapper-turned-country star, fresh off the release of his new country album, F-1 Trillion.
Having grown up with a lot of country music myself, Malone’s style reminded me of the classic sounds of the late ’80s and early ’90s—Garth Brooks, Hank Williams Jr., Alan Jackson, and George Strait all came to mind as he blazed through a 40-minute set of “hot” country.
Malone is a natural in this genre, and he looked to be having the time of his life on stage—self-actualized and thriving. While entertaining, the set didn’t break any new ground or deliver any surprises. I’ve seen Malone live many times, and while I’m a fan, I’ve never been a fan of pop-country, no matter who’s performing it.
His vocals were solid, well-rehearsed, and clean, but there was nothing unexpected or provocative. It would have been the perfect moment for a surprise guest, but none materialized. Moreover, if you’re into that “Way down yonder on the Chattahoochee,” “Hoochie Coochie” style country, Posty’s new project will be right up your alley.
Overall, I’m glad I satisfied my curiosity by seeing him perform his country album live. But now that I’ve seen it, I’m content to consider it a one-and-done experience.
Twin Peaks Stage – Victoria Monét: A Transcendent Finale
As the festival entered its final stretch, I was half-frozen from three days in the cold, wind, rain, and fog. But I was determined to catch Grammy-winning R&B superstar Victoria Monét. The Sacramento-raised triple threat stopped by Golden Gate Park in the midst of her summer tour and was a vision in a leather bikini with matching chaps. Her long, flowing caramel-colored hair looked majestic as it caught the wind, set against the backdrop of eucalyptus trees surrounding the stage.
Flanked by a troupe of backup dancers, Monét’s set featured intense choreography that at times felt like a competitive cheer routine. The only other acts I’ve recently seen with dancers who go that hard are Sean Paul and Megan Thee Stallion. Monét’s live singing chops were impressive, reminding me of a young Beyoncé early in her solo career—she had the looks, style, talent, and swagger to match.
She remixed several classic hits throughout her set, including songs by Outkast, Aaliyah, Sexxy Red, Glorilla, The Supremes, and of course, Beyoncé. Highlights included her opening song “Alright,” the groovy throwback-inspired “Smoke,” and a grand finale of “On My Mama” that ended the festival on a high note. Monét is clearly a superstar in the making, with definite staying power, yet she remains down-to-earth and approachable—a cool, confident, California girl who’s just really getting started, despite being around forever.
Dolores Stage – A Crystal Waters Surprise
Exhausted but exhilarated after a long weekend, I made my way toward the Dolores LGBTQ/drag stage, only to hear the unmistakable beat of my favorite song by legendary ’90s dance artist Crystal Waters, “100% Pure Love.” To my utter surprise and delight, I soon realized that it was Crystal Waters herself performing live!
It was an incredible, random thrill—one of those nuanced, unexpected moments that make going to festivals so great. It’s not just about the big headliners; it’s also about the surprises and the discoveries along the way. That spontaneous set by Waters was the perfect capstone to a weekend full of music, memories, and more than a few chilly moments.
