Mill Valley Music Festival: the Bay Area’s next best attraction

Entering the Friends Field for Mill Valley Music Festival, I had no idea what to expect. I was definitely enticed by a few of the bands on the bill, but I went into the rest of the lineup with an open mind. And let me tell you–– I had the time of my life. I may have gone into the weekend with a bit of a broken heart, but I left with some new favorite artists and a pretty intense sunburn.

Day one started off with a peaceful, tree-framed drive to Marin County, consisting of two PB and Js and a very discordant Spotify queue. We were lucky enough to find parking within walking distance of the festival entrance, tucked away in a residential cul-de-sac. Upon arrival (20 or so minutes after the doors had opened for the day) I was met with a barrage of booths, with opportunities to tie-dye, shop for clothing and jewelry from local vendors, and enjoy a variety of different cuisines. At 12:30 Mill Valley local, Meels, beckoned festival goers to the main stage for a first time festival performance in her childhood soccer field. Clad in a red-polka-dotted gunne sax style dress with a fur coat and brown cowboy boots, her tender tone permeated the grounds. From that moment on, I could already tell that it was going to be a good day; among the handful of early birds were countless sunhats, sunglasses, and smiles.

After Meels had finished her set, my friend and I decided to venture to the alternate “Sweetwater Stage” located on the opposite end of the field. The stage itself was more akin to an RV of sorts with a wooden platform extending into the crowd and two golden gramophone fixtures atop the van. Unlike the main stage, this was definitely more of an intimate venue with people milling about on the pavement inches away from the performers. The Sweetwater stage hosted bands in between each main stage performance, so guests had the opportunity to constantly listen to live music without going through the hassle of overlapping sets. Between the two days we saw the bands Solace, The Army, the Navy, Anna Jae, and Mullet Daddy. Ranging from grunge to soft pop harmonies and even a group of students from Marin School of the Arts, it proved to be a refreshing change of scene from the thickening crowd at the main stage. As well as this, the relaxed atmosphere of the second stage allowed for audience members to immerse themselves in the music whether it be through backflips and headspins or dancing barefoot on the blacktop. 

The second main stage act of the day was former attorney Danielle Ponder, whose soulful discography consisted mainly of breakup songs. Bantering with the crowd she joked that she needs someone to date her and then break up with her so she has something to write about. Yet, the music went beyond simply anthems of failed relationships. Towards the end of the set, she challenged everyone to be present for “this moment is all we ever have.” Getting the chance to speak with her after she came offstage, she confessed that meditation and mindfulness acts as a tool for her anxiety and lingering traumas. 

Mindfulness proved to be a theme among some of the other artists at the festival, including (my personal favorite), Thee Sacred Souls. The recent breakout, San Diego-based band, had the crowd buzzing in anticipation as their tuning butted heads with the pre show playlist. Since this is one of the bands I had been itching to see, I found myself on the edge of my (metaphorical) seat, leaning over the barricade and squealing upon hearing some of their signature guitar chords. Their set was one of the standout performances of the weekend, as lead singer Josh Lane clearly knows how to connect with an audience. Lane’s honeyed voice captivated the crowd, mesmerizing individuals and lovebirds alike. In fact, since the bulk of the band’s catalog consists of love songs, Lane took a moment to survey the crowd concluding that about 47% were in love according to a show of hands. With the beginning guitar riff of “Will I See You Again,” the singer jumped off of the stage, climbing onto the barricade to serenade fans and pacing the length of the crowd to ensure he addressed each and every one of us. Other gems from the setlist include “Running Away” in which Lane took the title literally and ran through the pit, ultimately covering the entire surface area of the space dedicated to the main stage. In the introduction to “It’s Our Love,” he addressed the Israel-Palestine conflict, impressing that we are “one people” and that when one part of the world is on fire, it’s up to us to do something about it. Towards the tail end of their time slot, the band performed a new song from their recently completed sophomore album entitled “My Heart is Drowning,” which seemed to be a sulkier jazz ballad that still managed to uplift with Lane’s dulcet tones and seamless harmonies from backup singers Tatiana and Aston. The singer concluded the set with a message of mindfulness, stating that “we shouldn’t take this opportunity for granted,” and ended with their most popular song, “Can I Call You Rose.” With an abundance of red roses tossed on stage and handed to Lane when he made his rounds, he performed the silky number with a rose in the mic stand, and extended love to every member of the audience before departing the stage. 

Finally, it was time for day one’s headliner, Fleet Foxes. The Seattle-based indie folk band ended the day with entrancing harmonies, and lead singer Robin Pecknold’s voice felt like a warm bed to come home to. The singer sported a tattered green button-up and a beat-up guitar–– each scuff and scratch indicating that the instrument was worn and loved, much like the band themselves. With rich vocals and dreamlike instrumentation from the robust band, the crowd became still as if we were all gathered for a spiritual experience. Halfway through the set (I confess I don’t know quite when) I found myself with tear stained cheeks and an aching in my heart–– feelings I had been attempting to suppress but were instead intensified by Fleet Foxes’ melancholic ballads. When it came time to play their beloved “White Winter Hymnal,” Pecknold invited a fan onstage to provide additional guitar and vocal accompaniment, enhancing the performance for all of us. And with that, the first day had come to an end. After which, in true California fashion, we made a pit stop for In-N-Out on the way home. 

Day two had kind of a sleepy start, with us not arriving until after the first main stage and Sweetwater stage acts had performed. Sufficiently caffeinated (thanks to the powers of Yerba Mate), we headed onto Friends Field with absolutely no knowledge of the artists that were scheduled to perform. Starting off with a bang, we were transported to New Orleans by Rebirth Brass Band, with their self-proclaimed “music for the people.” The eight-piece band was a true masterclass in ensemble work, offering infectious energy that saturated the crowd. They stayed true to their name, inviting the audience to witness a rebirth of jazz through a fusion of genres. Truthfully, I could not stop smiling throughout their whole set, and there was not a still body in the crowd. 

Day two’s highlight was St. Paul & the Broken Bones, taking the main stage halfway through the day. This was another performance where everyone (myself included) couldn’t help but dance. The lead singer Paul Janeway dazzled the crowd in more ways than one–– with his resounding falsetto and impressive vocal climbs along with a holographic sequin preacher’s robe. Janeway’s impossible vocal intensity was matched by a tight ensemble, including an electrifying tango between Amari Ansari on saxophone and Allen Branstetter on trumpet. Once again, Janeway proved that there’s truly no bad “seat” at this festival, by strutting through the roaring crowd. Janeway’s theatrics were unmatched, performing from underneath the drum set in one of the final numbers, and ending the show by eating the set list. 

Next up on the main stage was the Americana sweetheart Margo Price. With sounds including psychedelic country, rhythm and blues, and 70s rock, her resonant voice and dominating stage presence pierced through any semblance of an afternoon slump. In honor of performing in the Golden State, she made sure to include the wistful “Too Stoned to Cry,” clearly enjoyed by some audience members enveloped by clouds of smoke. Halfway through the show, she set down her beloved acoustic guitar in exchange for drum sticks, absolutely rocking a synchronized drum duo in the instrumental break. Ending her set, she threw roses into the crowd, one of which yours truly caught. 

As day two came to an end, the sun cast a golden hue upon the main stage. Festival goers burrowed their toes into the green grass and the sky was utterly blue when it came time for the headliners to take the stage. Greensky Bluegrass’ six-piece, string-filled band coated Friends Field with skillful finger-picking and rich, deep vocals. Singer and mandolinist, Paul Hoffman was outfitted with glitter on both temples–– makeup that the three little girls next to me had boasted that they did for him. As the folky banjo lines washed over the crowd and the cool evening air began to creep in, I knew that my time at Mill Valley Music Festival was coming to an end. 

If you’re looking for an affordable, dynamic music festival in the Bay area, look no further. Since 2022, Mill Valley Music Festival has become a fixture for many locals, attending year after year for a consistently exhilarating experience. Each and every member of the crowd brought their own knowledge and affinities, sharing their love for music with each other. Needless to say, I thoroughly enjoyed myself and I already can’t wait for next year. 

Written By Elena Levin

Photos By Genevieve Buccieri