We’ll admit it—Saint Charles, Iowa isn’t exactly down the street from our usual coverage area. But when this year’s Hinterland Music Festival lineup dropped, we knew we’d be making the trip. It didn’t hurt that we were still mourning the early end to Bonnaroo 2025, and a festival road trip felt like the right kind of therapy. So, we loaded up the car and headed north to cover what turned out to be one of the most rewarding festival weekends we’ve had all year.
If you’ve been reading us for a while, you we’re not exactly known for brevity when it comes to festival coverage. We like to dig in and reflect on each set we catch. Fortunately for us (and for you), Friday’s pristine weather and the thoughtfully designed stage setup gave us plenty of room to roam and shoot photos. For this one, we’re going to let the visuals do a little more of the talking than usual. Don’t worry though, we’ve still have plenty to say. So let’s get to the music!
Rebecca Black
Rebecca Black kicked off our Hinterland experience with a high-impact set that was bold, polished, and fully in command. Flanked by dancers Charles and Joseph, Black made full use of the stage, delivering tightly choreographed moves and sharp visuals that matched the electronic edge of her sound.
From the strut of opener “American Doll” to the razor-sharp delivery of “Twist the Knife,” Black never let up. She hit hard with “Sick to My Stomach” and “Personal.” Throughout her set, Black infused her music and staging with a clear sense of identity and inclusiveness, channeling the celebratory, defiant energy. This message was driven home by a cover of Katy Perry’s “Ur So Gay.”
A mashup of “Friday” and “Sugar Water Cyanide” served as both a recognition of where it all began and a spotlight on how far she’s come—her earliest hit woven seamlessly with one of her most recent. She closed with “TRUST!” and “Salvation,” capping off one of the most commanding performances of the day.
This wasn’t the last we’d see of Rebecca Black at Hinterland. Almost 10 hours later we’d also be partying in the woods to her hard-hitting DJ set!
Royel Otis
If Rebecca Black lit the spark on Friday, Royel Otis stoked the flame with a set that felt like one long, sun-drenched indie-pop-rock daydream. The Australian duo, backed by a full live band, leaned into their signature blend of bright guitars and melodic hooks, with songs like “Going Kokomo,” “Adored,” and “Foam” drifting across the crowd like a heat wave.
“Sofa King” floated along with easy charm, only to give way to the driving pulse of “say something”—a shift marked by tighter drums and feisty guitar lines that pushed their sound into more urgent side of indie rock. It was a smart transition that showed the full range of their sonic palette.
They knew how to keep the energy up, too. “I Wanna Dance with You” got exactly the reaction it asked for, with the crowd close to the stage moving in sync as the band hit their stride. Their cover choices added an extra layer of personality, from the disco-infused “Murder on the Dancefloor” to a dreamy, slowed-down take on The Cranberries’ “Linger.” By the time they reached “Oysters in My Pocket,” Royel Otis had delivered just the right balance of rock and summer haze for a Hinterland afternoon.
Remi Wolf
Remi Wolf doesn’t ease into a set—she explodes into it. From the moment she stepped onstage Friday afternoon, the energy shot through the crowd like a live wire. Equal parts pop disruptor and funk-rock frontwoman, Wolf powered through a tightly packed set that blended old favorites, more recent material from her 2024 Big Ideas album, and a few surprises along the way.
“Cinderella” and “Pitiful” set the tone early, with their funky, high-gloss grooves and vivid vocal runs. Her voice cut through the air effortlessly. That vocal agility was matched only by her stage presence—never standing still for more than a few seconds. Wolf made the entire stage her domain, bringing it to life with nonstop movement and charisma. On “Kangaroo,” she literally took the reins, jumping behind the drum kit for a short solo that had the crowd clapping along in full rhythm.
There was no shortage of fan-favorite moments, from the explosive bounce of “Sexy Villain” to the soulful lean of “Liz.” Her cover of Fleetwood Mac’s “Dreams” was more tribute than reinterpretation, a rare breather in a set that otherwise refused to slow down. She closed with a knockout trio of “Disco Man,” “Toro,” and “Photo ID,” ending on an explosive high that had the entire crowd moving.
Wolf’s goal has always been to bend pop music to her will, and on Friday, she did just that—bringing crafted chaos, tight musicianship, and pure charisma to the stage.
Clairo
Clairo brought a different kind of energy to the evening—a quieter one, but no less powerful. Her set unfolded like a slow bloom, each song delivered with emotional precision and a soft, deliberate presence that drew the crowd in rather than reaching out to grab them. It was a reminder that intimacy can be just as commanding as spectacle.
Opening with “Second Nature” and “Thank You,” Clairo eased into her groove, letting her melodies and phrasing do the heavy lifting. Songs like “Softly” and “Terrapin” added gentle textures, while “Flaming Hot Cheetos” and “4EVER” sparked nostalgic recognition among longtime fans. When she reached “Steeeam,” a song from her side project Shelly, she asked the crowd if they knew she was in a band—cheers erupted. Even more followed when she asked if she could play one of their songs, turning the moment into a sweet, communal nod to the breadth of her musical world.
But it was “Juna” that made a visual impact—suddenly, a sea of phone cameras lit up the crowd in what had to be one of the most recorded moments of the day. Everyone wanted to take it home as a memory. By the time she reached “Sofia,” the crowd was fully with her, singing along and swaying as one. She closed the set with quiet conviction, leaving behind an atmosphere that felt both personal and expansive.
Tyler, the Creator
We’ll admit it—we walked into Tyler, the Creator’s headlining set without deep knowledge of his catalog. But it only took a few minutes for his live show to pull us in completely. From the first booming notes of “Big Poe” to the final moments of “See You Again,” Tyler delivered a fully realized performance that was as theatrical as it was raw. His stage presence was magnetic, his sound both massive and meticulously crafted, and every detail—from lighting to pacing—felt intentional.
What surprised us most was how personal the night felt. Between explosive performances of fan favorites like “EARFQUAKE,” “WUSYANAME,” and “NEW MAGIC WAND,” Tyler took time to talk to the crowd—not with throwaway hype lines, but with real reflection. He spoke openly about the grind of touring, wondering aloud if people in Iowa were even into his music. Then, almost as if answering his own question, he said the crowd’s intensity was what gave him fuel. You could feel the shift—this wasn’t just another tour stop; it became something more reciprocal, intimate.
The setlist spanned eras, weaving together the lush emotion of “ARE WE STILL FRIENDS?,” the swagger of “LUMBERJACK,” and the melodic sharpness of “She” with samples and transitions that blurred genre lines. Whether you came as a longtime fan or, like us, as a curious newcomer, Tyler made it nearly impossible not to leave impressed.
Rebecca Black (DJ Set)
While the main stage shows were over and many Hinterlanders were heading to bed, we found ourselves hiking a hill in the dark. Rebecca Black‘s Campfire Stage DJ set was about to bring the entire day full circle. From polished pop star to dancefloor curator, Black managed to bookend Friday with two wildly different sets that still felt completely connected. Her “two personalities” as she called it.
The Campfire Stage is a bit of a trek from the main grounds, and the steep climb back afterward was no joke—but by the time Black took the stage at midnight, the crowd that had gathered made it clear that they weren’t ready for the day to end just yet. Even she seemed a little surprised by the late night energy. “Hinterland, you’re weird,” she said—somewhere between amused and impressed by the dedication of the festival-goers who showed up in that remote part of Iowa, ready to dance.
We’d been looking forward to this one. Black’s recent Boiler Room set had earned her serious momentum in the EDM world this year. Her style leaned heavy on familiarity—she dropped plenty of tracks you’d recognize—but what made it work was how she used them. Just when you started to think, “I’ve heard this one a million times,” she’d flip the energy with a well-timed drop or sneak in an unexpected mix. The transitions were smart, the selections sharp, and the pacing kept everyone locked in.
There was no grand finale or flashy moment, just an hour of thoughtfully mixed tracks that kept people dancing deep into the night. It was fun, stylish, and confident. But most of all, it was fun.
Friday At Hinterland 2025 In The Books
With flawless weather, smart stage design, and performances that kept us engaged from start to finish, Friday set a high bar. From the bold opening notes of Rebecca Black’s main stage set to her late-night turn behind the decks, the day felt thoughtfully curated and genuinely fun—no small feat for a festival in such a remote setting. As we headed back to camp—tired, happy, and knowing we’d feel all climbing all the hills in the morning—we couldn’t help but let our Saturday anticipation run wild. The weekend was just getting started.
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