The renaissance of live music continues! After a yearlong absence, Governors Ball returned to New York City in a brand-new location, with a genre-diverse lineup that had something for everyone. Since we’re still in COVID times, the fest took place in its new home at Queens’ CitiField, feeling far smaller than previous fests, but safer. (Heading to its previous location at Randall’s Island required traveling by a packed ferry—which, yeah, still crowded at the fest this year, but all outdoors.)
Governors Ball seems mostly focused on targeting “the youths,” with plenty of buzz-worthy acts that dominated charts and Twitter discourse in the past year. And in this East Coast festival’s case, many of the performers who didn’t get the headlining slot proved that they’re nonetheless strong contenders to be headlining names on the posters for years to come. These are the five acts that stood out most among a crowded roster of excellent artists.
Most worth the wait
It’s ridiculous that in 2021, Megan Thee Stallion isn’t performing as a headliner at Governors Ball. The crowd seemed to agree, too: Getting a good spot to see Stallion was one of the biggest challenges at the festival, with thousands rushing the stage to see the rapper perform. It was such a huge crowd that my friends and I masked up extra carefully, given there was barely any breathing among between the sea of fans waiting to see her. She arrived to the stage 18 minutes late, but those who decided to skip out on her set due to the delay were few and far between—because frankly, it was worth it. Stallion knows exactly how to command a stage, and her dancers’ choreographed twerking was pure art. Fans were treated to crowd pleasers like “Hot Girl Summer,” “Simon Says,” “Big Ole Freak,” “Thot Shit,” and “WAP,” making this performance feel like a triumphant return to live music from one of the biggest artists in the country. [Tatiana Tenreyro]
Most sing-along-worthy set
Since radio turned away from her following the 2011 hit “Call Me Maybe,” Carly Rae Jepsen’s been continuously writing critically acclaimed pop albums and crafting impeccable live performances under the mainstream radar, all of which she brought to her set on Sunday. Shimmering in metallic fringe, her stage presence anchors itself in cheeky charisma, sensuality, and pure fun. Her ability to connect with an audience is impressive, and it didn’t take long for her set to become a full-on dance party wrapped in the hue of golden hour. While some (read: this writer’s friends) have said, “Wow, she must get tired of playing ‘Call Me Maybe,’” there’d be no sign of it. She’s someone who whole-heartedly enjoys performing, and doesn’t shy away from the bubblegum pop persona that first brought her fame. Her set was a reminder of what live music can really offer an audience: Fuzzy feelings, palpable energy, and wide smiles. [Gabrielle Sanchez]
Best stage presence
There’s barely any trace of Orville Peck’s punk origins in his sets, but you can see it in his banter. Whether you’re a Peck fan or you don’t quite buy the Canadian cowboy schtick, it’s undeniable that he’s charismatic and commanding onstage. He asked the audience to hold any person they love next to them in the crowd close—or even those they don’t like, as well—and threw roses into the vast throng. Even though hundreds were standing around the stage, it still felt intimate in a way that others’ sets didn’t. But besides him being an excellent country singer, the allure of Peck is his persona. Watching the masked man onstage with his exaggerated speaking and singing voice (straight out of a Western) feels a bit like watching a WWE star enter the ring. His identity was revealed more than a year ago, but that hasn’t stopped the intrigue of the sultry, mysterious, masked crooner. [Tatiana Tenreyro]
Biggest exception to the indie-rock festival rule
Seemingly ever couple of years or so, there’s been a new thinkpiece or viral tweet about how indie rock doesn’t fare well at major music festivals. But then came Phoebe Bridgers. Numerous skeleton shirts were spotted in the packed crowd to see the guitar-smashing artist perform songs off last year’s critically-acclaimed record, Punisher. Acoustic tracks aren’t typically a massive hit at music festivals, but Bridgers’ set was so captivating that it felt magical—though the engaging storybook-like visuals help capture that, too. Bridgers has fully embraced her ascent from DIY singer-songwriter to rock star, and it wouldn’t be surprising if she’s listed as a headliner in years to come at GovBall. [Tatiana Tenreyro]
Biggest rock star energy
It feels wrong that MUNA was among the first to perform on GovBall’s second day, at 2:15 p.m. They’ve amassed a large, fervent fanbase, and drew one of the largest crowds for an early set. Bandleader Katie Gavin is a true rock star: Her stage presence is reminiscent of INXS’ Michael Hutchence (or for the younger crowd, The 1975's Matty Healy); she has a mesmerizing energy and voice that instantly turns you into a fan and leaves you wanting more. While some bands don’t sound quite as good on a massive stage, MUNA allowed you to close your eyes and think you’re listening to a note-perfect recording; the band is that consistent and talented live. Seeing Gavin onstage is exciting enough, but when Phoebe Bridgers joined the band onstage to sing their latest hit, “Silk Chiffon,” you’d think the crowd was freaking out over Billie Eilish, who headlined the previous day. [Tatiana Tenreyro]