Day 3: Sunshine, Surprise Returns, and a Legendary Send-Off
Sunday, May 25 | Harvard Athletic Complex, Boston, MA
After two days of rain-soaked revelry and genre-hopping discovery, Boston Calling 2025 closed out on Sunday with sunshine, stacked stages, and a run of unforgettable performances that spanned jam bands, funk, punk, rap, and rock royalty. Day 3 brought the most diverse crowds yet—and the most unified, as fans danced, moshed, and swayed their way through a marathon of music that capped off the weekend on an undeniable high.
Starting the Party: SNACKTIME and The Spin Doctors
Philly brass band SNACKTIME got things jumping right out of the gate with their horn-fueled street-funk swagger. Blending New Orleans grooves with hip-hop attitude, they turned the early afternoon into a block party, drawing fans toward the Green Stage like pied pipers with trumpets.
Just steps away, The Spin Doctors turned back the clock on the Green Stage, giving longtime fans (and curious younger ones) a blast of ‘90s alt-pop with hits like “Two Princes” and “Little Miss Can’t Be Wrong.” Their feel-good energy set a nostalgic tone for the sunny afternoon.
Rising Stars and Festival Favorites
Goth Babe, aka Griffin Washburn, brought beachy indie-electronica and surf rock vibes to a sun-drenched crowd that had clearly been waiting for weather like this. His set was breezy, bright, and full of hooks—the kind of music that made the whole festival feel like summer had officially arrived.
On the Blue Stage, Sam Austins delivered a high-energy set that fused R&B, rap, and rock, switching styles like costumes and proving why he’s been called one to watch in 2025. Meanwhile, Remi Wolf lit up the Green Stage with her maximalist pop and pure charisma. “Photo ID” and “Disco Man” had the crowd jumping, but it was her vocal acrobatics and offbeat stage banter that stole the set.
I Don’t Know How But They Found Me (or iDKHOW) brought their glam-tinged alt-rock to the Blue Stage in the afternoon, with frontman Dallon Weekes oozing theatrical flair. The duo’s tightly rehearsed yet delightfully weird set was a hit with fans of theatrical rock acts like Panic! at the Disco and Muse.
The 502s, Sublime, and Tom Morello’s Triumphant Return
Over at the Blue Stage, The 502s delivered what may have been the most joyous set of the day. Their banjo-driven folk-pop and boundless crowd interaction made it feel more like a backyard party than a music festival. Fans formed dance circles and lifted kids onto their shoulders—a moment of pure, goofy magic.
Sublime, now fronted by Jakob Nowell (son of original singer Bradley Nowell), brought ska-punk vibes back to the main stage. While purists may always miss the original lineup, the band honored its legacy with heartfelt renditions of “Santeria,” “What I Got,” and “Wrong Way,” prompting massive singalongs and a haze of nostalgia (and other things) across the field.
Then came Tom Morello, returning to his alma mater with a mission. The Rage Against the Machine guitarist opened with “Vigilante Nocturno” and didn’t stop swinging, blending fierce instrumental solos with political fire. When he launched into “Killing in the Name” and “The Ghost of Tom Joad,” fists flew in the air. A Harvard graduate playing a revolutionary set at a Boston festival? You couldn’t script it better.
Night Falls with Legends: Vampire Weekend, Public Enemy & Dave Matthews Band
As golden hour arrived, Vampire Weekend took to the rotating Green Stage with a vibrant, cerebral set packed with hits. Ezra Koenig and crew were loose, playful, and sharp as ever—riffing between tracks and drawing huge reactions for “A-Punk,” “Harmony Hall,” and “This Life.” Their refined yet approachable indie-pop was a perfect tonal bridge to the evening’s closing acts.
Public Enemy, in one of the festival’s most charged and thrilling moments, stormed the stage as if they were headlining a revolution. Chuck D’s commanding voice boomed across the field while Flavor Flav bounded around like a man half his age. Their set was packed with classics (“Fight the Power,” “Bring the Noise”) and commentary that resonated deeply with a multigenerational crowd.
And then came the finale: Dave Matthews Band. Taking the stage just after 9:30 p.m., DMB closed out Boston Calling 2025 with a sprawling, nearly two-hour performance that felt like a gift. With stunning visuals on the enormous video walls and tight musicianship from a band that’s played together for decades, it was a masterclass in live music. Tracks like “Crash Into Me,” “Grey Street,” and “Ants Marching” had fans swaying, arms around each other, some even in tears.
Midway through the set, Dave paid tribute to the long weekend, saying, “This festival… this city… you all stuck it out through rain, through mud, through everything. And you still came to sing.” The crowd erupted.
A Perfect Finale
Three days, four stages, dozens of artists, thousands of fans. Boston Calling 2025 delivered its most ambitious festival yet—and somehow managed to feel intimate, communal, and wildly alive.
Sunday was a microcosm of the entire weekend: new voices rising, legends returning, and music bringing strangers together in the heart of the city.
As fireworks lit up the sky behind Dave Matthews Band’s final chords, there was no mistaking it—Boston Called, and we answered.
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