REVIEW: Decadence Arizona 2025
REVIEW
REVIEW
☆ BY ELIJAH CLOWER ☆
THERE’S NO BETTER WAY TO CLOSE THE YEAR AND RING IN THE NEXT THAN DECADENCE ARIZONA - one of the biggest end-of-year festivals in the Southwest. Two nights of headbanging, bass face, and genuinely great energy made for a memorable sendoff to the year. Despite this being the festival’s 11th edition, this was actually my first time experiencing Decadence—and with a lineup of 150+ artists across two days, it left one hell of a first impression. From the scale of production to the crowd energy, everything felt dialed in and intentional.
The standout moment of the entire weekend was easily the New Year’s Eve countdown set from GRiZ. If there was ever a right choice for a midnight set, this was it. His performance was magnetic, uplifting, and perfectly timed for the moment—bringing funk, bass, and emotion together in a way that felt perfect for the occasion. The saxophone might be a bit of a cheat code, but when it works this well, who’s complaining? Rounding out my personal top five were Knock2, Sara Landry, Zedd, and Adventure Club, each delivering high-energy sets that kept momentum strong throughout the weekend. That said, the quality didn’t stop there—FISHER, Sammy Virji, Subtronics, and Mike Posner all had standout moments. Mike Posner, in particular, was a refreshing change of pace as the only true vocalist on the lineup; photographing someone who wasn’t tucked behind a DJ table added a welcome visual and performance dynamic, and his ability to hype the crowd caught me by surprise in the best way.
I was also able to catch Kai Wachi b2b Sullivan King, which was an absolute rager from start to finish, along with solid sets from Kaskade, Carrie Keller, PHRVA, Hayden James, Stevie Nova, DMTRI, SG Lewis, and Darren Styles on the two main stages. A huge shoutout goes to LEVEL UP—even though I wasn’t directly at her set, I heard every drop from where I was standing, and it was wall-to-wall heat. She’s clearly underrated live, and I’ll absolutely be making a point to catch her next time around.
One of the most impressive things about Decadence was how much love the side stages received—even during major headline slots. The Conservatory Stage was buzzing with energy when we caught Ben Sterling and OMRI, the Playhouse Stage stayed packed, and even the Quiet Quarters—a silent disco–style setup where you choose between three DJs via headphones—was consistently active. It gave the festival a layered feel, where discovery and exploration mattered just as much as the big names.
From a behind-the-scenes and media perspective, Decadence was one of the smoothest festivals I’ve worked. The media tent placement was ideal, with quick access to both main stages and no need to sprint across the grounds through dense crowds. Media handlers and security were professional, friendly, and made pit entry and exits painless—easily one of the best backend experiences I’ve had at a festival. The only real drawback came from a photography standpoint at the second main stage (Royal Ballroom), where the stage design made it nearly impossible to see performers from the pit. Ironically, better angles were found from within the crowd—not ideal, but manageable.
All things considered, Decadence delivered across the board. Incredible music, non-stop vibes, and a backend experience that genuinely supported media personnel, made the 2 day fest feel seamless from start to finish. For a first-time attendee, it set the bar surprisingly high—not just as a New Year’s party, but as a well-rounded festival experience that balances chaos with care. Walking away from the weekend, it felt clear that Decadence isn’t just a place to ring in the new year, but a destination that continues to grow into its own identity. There are some minor logistics that will need to be revisited and improved upon especially as the festival grows such as better rideshare/traffic and more bathrooms. Nevertheless, after this experience, it’s absolutely a festival I’ll be keeping on my calendar moving forward.
