Ocean’s Calling has always been a festival that thrives on nostalgia, surprise, and pure rock joy. Built around O.A.R.’s hometown energy, the weekend lineup always finds ways to carve out space for bands who can deliver iconic singalongs while still keeping things unpredictable. Tonight that moment belonged entirely to Weezer.
I’ve loved Weezer for years, but to be honest, I wasn’t walking into their set expecting one of the festival-defining shows. I figured we’d get the usual mix of quirky Rivers Cuomo banter, a few of their massive hits, and some deep cuts sprinkled in. What I didn’t expect was a band that sounded revitalized, ferocious, and determined to leave Ocean’s Calling talking about them for the rest of the weekend.
The show’s opening 10-song run, in particular, was something I’ll never forget—a blistering, almost nonstop sprint through some of Weezer’s biggest anthems and best-loved tunes. It felt like they were testing how long the crowd could scream along without losing their voices. For a band that’s been together for over 30 years, the way they hit the gas right out of the gate was stunning.
The Setlist
Weezer – Ocean’s Calling 2025
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My Name Is Jonas
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Dope Nose (with a snippet of Troublemaker)
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No One Else
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Perfect Situation
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Run, Raven, Run (Pacific Sunset portion only)
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Hash Pipe
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Surf Wax America
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Undone – The Sweater Song
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Island in the Sun
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Holiday
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In the Garage
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Why Bother?
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You Gave Your Love to Me Softly
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Pink Triangle
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Beverly Hills
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I Just Threw Out the Love of My Dreams
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Pork and Beans
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El Scorcho
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Enter Sandman (Metallica cover)
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Say It Ain’t So
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Buddy Holly
A Start That Felt Like a Greatest Hits Album
From the second the opening acoustic riff of “My Name Is Jonas” rang out, the entire festival field surged forward in unison. Ocean’s Calling has a mix of diehard fans and casual passersby, but it seemed like everyone knew this one. Cuomo’s voice was sharp and clear, the guitars crunched, and suddenly it felt like we were all back in the mid-’90s—except with thousands of people singing every word.
Without pausing for breath, they dove into “Dope Nose,” a track that doesn’t always make their festival sets. Hearing Cuomo tack on a cheeky snippet of “Troublemaker” midway through was a wink to fans who’ve been around since The Red Album. It was only the second song and already the energy felt like an encore.
Then came “No One Else.” It’s always been one of the sharper, more biting tracks off the Blue Album, and played live it felt raw, urgent, and surprisingly cathartic. Rivers didn’t need to prompt the audience—people shouted the chorus as if it was a rallying cry.
“Perfect Situation” was next, one of the best cuts from Make Believe, and it soared. The big chorus that felt built for arenas worked perfectly on the beachside festival stage. And by the time they shifted gears into the dreamy section of “Run, Raven, Run,” with its Pacific Sunset portion glimmering in the lights, it was clear that Weezer was in total command.
What followed was nothing short of magic: “Hash Pipe,” “Surf Wax America,” “Undone – The Sweater Song,” “Island in the Sun,” and “Holiday” all back-to-back. It was like someone hit shuffle on Weezer’s greatest hits, but instead of random sequencing, they played it with purpose—one perfect segue after another. The entire first 10 songs could have been a finale in any other band’s career. Here, it was just the start.
Deep Cuts and Fan Service
After that blazing run, Weezer rewarded the longtime fans with a stretch of songs that showed their depth and range.
“In the Garage” was pure nostalgia, bringing back images of awkward teenage bedrooms filled with posters, stacks of comics, and a drum kit barely fitting into the corner. For many of us in the crowd, it was like revisiting our own past.
“Why Bother?” and “You Gave Your Love to Me Softly” were both surprise inclusions—songs that don’t always get the spotlight but hit perfectly in this setting. “Why Bother?” ripped with punky speed, while “You Gave Your Love to Me Softly” carried that same infectious energy that made it such a cult favorite back when it landed on the Angus soundtrack.
The set’s emotional high point, though, came with “Pink Triangle.” The bittersweet humor of the lyrics and the aching melody struck a chord, and hearing thousands of voices sing, “I’m dumb, she’s a lesbian…” with both irony and tenderness made it one of the night’s most special moments.
From there, Weezer pivoted to mass-appeal mode. “Beverly Hills” always divides fans—it’s a goofy, chart-topping single that isn’t exactly revered like their earlier work. But live, it’s undeniable. The crowd bounced, laughed, and shouted “Gimme gimme!” at full volume. At a festival, that’s the kind of communal joy you can’t argue with.
“I Just Threw Out the Love of My Dreams,” one of the rarest songs in their catalog, was a jaw-dropper. To hear that played at all, let alone at a big festival set, felt like a gift for the diehards. It reminded everyone that Weezer’s discography is full of hidden gems.
Chaos, Covers, and Climaxes
The closing stretch of the set turned into a series of knockout punches.
“Pork and Beans” had the entire field waving their arms and shouting along, proving that even mid-career Weezer can stand tall next to the classics. “El Scorcho” came next, its quirky storytelling and big chorus pulling everyone into Cuomo’s strange, hyper-specific universe.
And then, in the night’s most unexpected twist, Weezer launched into “Enter Sandman” by Metallica. At first, the crowd thought it was just a jam tease, but no—they went full throttle, nailing the iconic riff and letting it rip. Hearing Rivers Cuomo take on James Hetfield’s growl was equal parts hilarious and impressive. The crowd lost it, headbanging and moshing in the sand. It was the exact kind of playful curveball that makes festival sets unforgettable.
The show’s closing one-two punch couldn’t have been better. “Say It Ain’t So” remains one of the greatest songs of the ’90s, and live, it still has the power to unite a crowd like few others. The way Rivers let the audience take the final chorus, with nothing but the guitars ringing out, was chilling.
And then, of course, “Buddy Holly.” It’s the song that made Weezer a household name, and as the iconic opening chords rang out, Ocean’s Calling turned into one giant singalong. It was joyful, goofy, and life-affirming—everything that Weezer has always been at their best.
Why This Show Worked
Weezer’s set at Ocean’s Calling 2025 wasn’t just good—it was a reminder of why this band has endured for decades. Their catalog is vast and varied, but on this night, they struck the perfect balance: enough hits to satisfy casual fans, enough deep cuts to thrill the diehards, and just enough curveballs (that “Enter Sandman” cover!) to keep things unpredictable.
The pacing of the set was phenomenal. That 10-song opening run alone would have been enough to cement it as one of the weekend’s best performances, but they managed to sustain the momentum for the full 21 songs. By the end, it felt like we had all been part of a journey—not just a concert.
For me, as someone who already loved Weezer but didn’t expect anything earth-shattering, this show was the definition of being blown away. It was tight, powerful, funny, emotional, and joyous all at once.
A Festival Highlight
Ocean’s Calling is designed to spotlight bands who can deliver music that matters to people across generations, and Weezer fit that bill perfectly. Parents were singing along with their kids. College students were screaming lyrics that were written before they were born. Everyone was smiling.
It’s hard for a band with this much history to still feel fresh, but Weezer pulled it off. Walking out of the festival grounds that night, people kept turning to each other and saying the same thing: “Did you see that? That was amazing.”
In a weekend full of standout performances, Weezer’s set will be remembered as one of those rare moments when a band rises above even high expectations. For a festival built on singalongs and shared experiences, Weezer delivered the ultimate one.