Photo courtesy of Goldenvoice’s Just Like Heaven and Julian Bajsel
This past Saturday, thousands descended upon Brookside at the Rosebowl for Just Like Heaven, LA’s premier festival for indie rock, alternative, and electro dance-pop music. Dedicated fans braved the summer heat to cheer on their favorite artists. Liquid I.V. pouches and Electrolit “shots” were passed around like candy, and the day’s soundtrack was underscored by the persistent humming of handheld fans. But while the weather may have been less than heavenly— I overheard countless quips about it feeling “Just Like Hell”—all was quickly forgotten thanks to the festival’s iconic lineup of talent, which proved to be nothing short of a dream come true.
*Cue clouds parting, a burst of sunlight, and operatic voices singing “Ahhhhhhhhh!”
Photo courtesy of Goldenvoice’s Just Like Heaven and Julian Bajsel
I kicked off my Just Like Heaven experience by catching This is Lorelei’s set, one of the first performances of the day. The musical project of prolific producer Nate Amos—who is also half of the indie-pop duo Water from Your Eyes—This is Lorelei has been on my radar since releasing the 2024 gem of an album Box for Buddy, Box for Star (the super deluxe version of which features Hayley Williams, Snail Mail, and MJ Lenderman), and I was beyond eager to watch Amos and his band take the stage. Steady and laidback, the 31-year-old singer-songwriter breezed through signature hits like “Dancing in the Club” and “I’m All Fucked Up” with his charming alt-country twang, as well as one of my newer favorites “Billy Came Back”—the leading single off of Amos’ upcoming album The Singer in My Band. Seeing as it was early in the day’s festivities, This is Lorelei’s set started with a modest crowd—all of whom were nodding along to the beat and scrunching their noses in “I DIG this” fashion. But unsurprisingly, the audience multiplied rapidly as festival-goers continued to trickle into Brookside. Amos seemed unphased by the growing throng as he crooned; I’ll wager this a positive, as I have a feeling that This is Lorelei’s audiences will only get bigger from here.
Photo courtesy of Goldenvoice’s Just Like Heaven and Ashley Osborn
Another standout of the festival was indie-pop act TV Girl, hailing from San Diego and best known for their dreamy, bittersweet tune “Lover’s Rock” (which has nearly 2 billion streams on Spotify, but hey, who’s counting). The band took the stage to Judy Garland’s “That’s Entertainment!”, a lively intro that set the tone for TV Girl’s lighthearted and joyful performance—complete with lead vocalist Brad Petering’s impromptu tap dancing. The audience burst into cheers upon hearing the bright, plucky melody of “Pantyhose,” and TV Girl kept the good vibes flowing with crowdpleasers like “Cigarettes Out the Window” and “Not Allowed.” Personally, I was delighted when Jordana—bedroom-pop musician and TV Girl collaborator—joined the boys for “Sweet to Dream” and “Better In The Dark.” Illuminated by a soft halo of light from the setting sun, her angelic, honeyed voice floating through the air, Jordana’s stage presence was a heavenly treat. Toward the end of TV Girl’s performance, Petering became overwhelmed with gratitude and sentimentality, remembering the days when they were the new kids on the festival block and remarking on how special it was to be deemed a “legacy act” at Just Like Heaven this year. Well, soak it in, TV Girl! You’ve earned it.
Photo courtesy of Goldenvoice’s Just Like Heaven and Jacob Mulka
When a gigantic disco ball was lifted above the Orion stage, it could’ve only meant one thing: LCD Soundsystem was coming. Of course, the legendary dance-punk ensemble needed no introduction. One of my most anticipated performances of the entire festival, LCD Soundsystem’s streamlined 8-song set (“Our songs are so fucking long!” quipped frontman James Murphy) felt like pure cinema. The opening beat of “Tonite, Tonite” electrified the audience, casting a synth-drenched spell that made everyone dance with wild, reckless abandon. With Murphy looking oh-so-effortlessly cool in simple jeans and a t-shirt, brandishing his vintage Sennheiser MD409 microphone, LCD Soundsystem’s performance of their 2005 hit “Losing My Edge” felt even more timely 20 years later thanks to society’s increasing obsession with aging and maintaining cultural relevancy. And the second keyboardist Nancy Whang launched into the singular, repetitive piano riff at the start of “All My Friends,” my friends and I immediately grabbed each other by the shoulders, jumping and shouting the lyrics like a national anthem: “You spent the first five years trying to get with the plan, and the next five years trying to be with your friends again.” Dancing ourselves clean as the glittering disco ball scattered light beams across the crowd like a kaleidoscope, LCD Soundsystem gifted us with a truly unforgettable performance that I’ll be talking about for years to come.
Photo courtesy of Goldenvoice’s Just Like Heaven and Ashley Osborn
And suddenly… the moment that Just Like Heaven had been building up to all day finally arrived. It’s no exaggeration to say that the sea of festival attendees—maybe 50% of whom were wearing The Strokes merch, myself included—vibrated with the hum of anticipation, an energy so palpable that it felt like its own entity. As a longtime lover of The Strokes who had been dying to see them perform live for years, I couldn’t help the involuntary scream of joy that erupted from me as the group took the stage. But don’t worry, the people around me were just as ecstatic (and fortunately wearing earplugs). The Strokes didn’t give us much time to catch our breath: with an explosive electric guitar riff, they immediately ripped into “Lonely in the Future,” an upbeat, cheeky tune off their new album Reality Awaits that playfully laments the loneliness of being a musical trendsetter. And given the lasting influence that The Strokes have had on the music industry—from reviving garage-rock in the early 2000s to serving as the aesthetic blueprint for the indie sleaze movement—I’d say they’ve more than earned the right to humble brag. Their setlist was eclectic, including heavy-hitting classics like “Hard to Explain,” “Reptilia,” and “The Adults Are Talking,” as well as surprises like “One Way Trigger,” “Juicebox,” and the live debut of “Going to Babble On.” Frontman Julian Casablancas appeared right at home onstage: a self-proclaimed “silly goose,” his banter between songs consisted of playfully quoting The Odyssey, dubbing the crowd “better than Coachella” (take THAT, Coachella), and laughing at himself for messing up the lyrics to “Someday.” By the time The Strokes ended their set with an encore of “Selfless,” my voice was completely shot, which didn’t stop me from croak-singing along to the best of my ability. But needless to say, finally watching the band perform live only confirmed what I’ve already known to be true: The Strokes will go down in history as one of the defining artists of the 21st century.
Come rain, shine, dust, or unforgiving summer heat, Just Like Heaven 2026 proved that nothing brings folks together like great music—no matter the weather. By platforming both up-and-coming acts and household names who need no introduction, JLH truly lived up to its name and served up a slice of musical heaven. Until next year!
Photo courtesy of Goldenvoice’s Just Like Heaven and Julian Bajsel
